Podcasts about disney princesses

Danielle Connor was diagnosed at 48 with Triple Negative breast cancer. She is a wife, mother to a teenage daughter, and a lifelong baker. In this episode, Danielle reads her essay, “My Chemo Companion,” from the 2025 Living Well issue of Wildfire Journal. Her piece invites us into the heart of her kitchen, where grief, survival, and sweetness rise together.April and Danielle discuss humor and resisting the “Disney Princess mom” narrative, emotional support hobbies, and gratitude. Danielle also talk about her twin sister Nicole's contrasting cancer experience. Learn more about Danielle: https://medium.com/@BingeandbakePurchase the Living Well issue of Wildfire Journal: `https://www.wildfirecommunity.org/shop/p/print-body25Buy the Wildfire book Igniting the Fire Within: Stories of Healing, Hope & Humor, Inside Today's Young Breast Cancer Community: https://www.amazon.com/dp/B0BJVJ629F?ref_=pe_3052080_397514860Get the free Wildfire “Hot Flashes” email newsletter: https://www.wildfirecommunity.org/newsletter?rq=newsletterLearn about Wildfire writing workshops: https://www.wildfirecommunity.org/workshopsShop Wildfire merch & more: https://www.wildfirecommunity.org/shop*Free* Get Wildfire and The Burn freebies here: https://www.wildfirecommunity.org/freeMore about Wildfire Journal: https://www.wildfirecommunity.orghttps://www.instagram.com/wildfire_bc_magazine/https://www.facebook.com/wildfirecommunityInformation on submitting your story for consideration to be published in Wildfire Journal: https://www.wildfirecommunity.org/submissions

Is Demi Lovato a Disney Princess? We discuss the Disney Channel Original Movie, Princess Protection Program, featuring a young Lovato and Selena Gomez and see if we can answer that. Music from https://filmmusic.io "Glitter Blast" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/) Artwork by Viga: https://www.patreon.com/Viga All our social media links:  https://linktr.ee/rewatchingthemagic Immigrant Legal Resource Center: http://www.ilrc.org Trans Life: http:/www.translife.org Reproductive rights are human rights. LGBTQ+ rights are human rights.

Today, we dive into stories of people making spectacularly dumb decisions and then we rate just how stupid they are! Then an unnecessarily juvenile and chaotic Disney Princess edition of FMK. We will unleash enough pure silliness to make your brain explode…with laughter!PROFESSIONALLY SILLY PODCAST BROUGHT TO YOU BY THE PIONAIRE NETWORKhttps://pionairepodcasting.com/professionallysilly/FOLLOW ME ON SOCIAL MEDIAhttps://linktr.ee/AmbersmilesjonesJoin my Professionally Silly YouTube channel membership to get access to perks:https://www.youtube.com/channel/UCEabIsoT5wrN5hRSgY7wnYQ/join  Amber “Smiles” JonesPO BOX 533Lovejoy, GA 30250Email me: itsprofessionallysilly@gmail.com LEAVE ME A MESSAGE 805-664-1828

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The Gary & Shannon Show Hour 1 (05.13) – AI campaign ads spiral completely out of control, California politics get even messier, and Gary reveals he keeps his house at a temperature usually reserved for retirement communities.• Gary & Shannon open the show investigating a mysteriously missing studio knob — with immediate suspicion falling on Michael Monks• Amy King earns the title of “Disney Princess” while giving an update on Jackie & Shadow’s bald eagle eaglets in Big Bear Valley• California’s governor race begins consolidating around Xavier Becerra — just as controversy erupts around a longtime advisor pleading guilty to stealing campaign funds• Meanwhile, Spencer Pratt continues dominating social media with bizarre AI-generated political ads that somehow keep helping him instead of hurting him• Plus: billionaire candidate Stephen Cloobeck gets arrested, listeners roast Gary for keeping his house at 82 degrees, and the show spirals into a debate over mental health days, fake sick excuses, and whether employees should even have to explain why they’re taking time offSee omnystudio.com/listener for privacy information.

We have all wanted the happily ever after at one point. As kids we have all believed that we were a Prince or Princess. But it seems like only men have grew up to realize that it was only a fairytale lol. For example take this Meg and Klay situation. We tried to ignore it but clearly we failed so let's get into it! Tune in as we discuss this and much more in this episode. Feel free to comment and give us feed back on all our social media platforms.Follow, Like and Subscribe pleasehttps://www.facebook.com/profile.php?id=61558577667028&mibextid=kFxxJDOn Facebookhttps://www.tiktok.com/@umlsauce384?_t=8o2vKZ186XP&_r=1On TikTokhttps://www.instagram.com/umls384?igsh=Y2tuZzQ4NmF4cWkw&utm_source=qrOn InstagramUMLSauce384@gmail.comEmailhttps://youtube.com/@umls384?si=cZ9m0G1pBF_x44JzPlease subscribe to us on YouTubehttps://zivo.lifeUse Promo Code: UMLS and receive 30% off

Who will the Cleveland Browns select in the NFL draft? Also, who is the best Disney Princess? We talk about the new Clayface movie, Congress' terrible approval rating, and lots more!

Collectors, assemble… the final picks are in!

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

Today we have another episode in which we look at someone's experience of learning and immersing themselves in other languages.I recently met Alejandra Escamilla Sanchez on LinkedIn and wanted to find out more about her language adventures. We talked about Alejandra's early introductions to English and why she wanted to learn How Alejandra came to be studying in the UK and why this involved spending a year in Japan What Alejandra learned about the Japanese language and culture during her stay and how new local friends helped her Tips for anyone who's learning Japanese Thoughts on doing stand-up comedy in an additional language Alejandra's new project bringing together music and translation. Alejandra has the kind of enthusiasm and energy that make it remind us why learning languages is fun! I hope you enjoy our conversation!Find out more on the show notes page - https://www.englishwithkirsty.com/podcast/episode306

Linktree: ⁠⁠https://linktr.ee/Analytic⁠⁠Join The Normandy For Ad-Free NME, Additional Bonus Audio And Visual Content For All Things Nme+! Join Here:⁠⁠ ⁠⁠https://ow.ly/msoH50WCu0K⁠⁠In this segment of Notorious Mass Effect, Analytic Dreamz breaks down Melanie Martinez's highly anticipated album HADES. Released March 27, 2026 via Atlantic Records, HADES serves as Part 1 of a double album concept project with its utopian counterpart MM5.Analytic Dreamz examines the 18-track, 70-minute dystopian AI underworld narrative featuring the new protagonist “Circle.” The discussion covers the album's core themes including climate crisis, racism, misogyny, toxic masculinity, religious hypocrisy, cyberbullying, body dysmorphia, capitalism, and social media toxicity.This episode delivers detailed analysis of the album's alternative pop and dark pop sound, experimental production, pitched vocals, talk-singing, and cinematic storytelling. Analytic Dreamz reviews the polarized critical reception, chart performance, and commercial results including the #3 Billboard 200 debut with 84,000 first-week units (63,000 pure sales), 22.85 million streams, and strong international showings such as #5 in the UK and #2 in Scotland.Additional coverage includes single performance for “Possession” and “Disney Princess,” fan engagement metrics, catalog impact, and the strategic importance of HADES in Melanie Martinez's career following her 30+ billion career streams and previous releases Cry Baby, K-12, and Portals.Privacy & Opt-Out: https://redcircle.com/privacy

Happy Easter Everyone!!In This Week's Episode:--Chilli is MAGA, Salt is complicit, Uncle Luke is the voice of reason???--Kristi Noem's husband is a cross dressing weirdo, who knew?--Brandy's memoir.--Trump is still destroying the world and profiting off of it.--Lindsey Graham, Disney Princess.--TMZ on the hunt.--And more...

Episode 1620: Disney Princess

In this Tips and Tricks episode, Caroline and Conor are unpacking the highly anticipated return of the Bath and Body Works Disney Princess Collection. This royal collaboration stuns with 7 princessential fragrances and accessories, including new scents inspired by Snow White, Aurora, Mulan, and Rapunzel as well as the return of Belle and Tiana. Join your favorite hosts as they explore the collection, rank their favorite scents and accessories, and daydream about what's next for a partnership that is tailor-made for their poor unfortunate hearts.Shop the Bath and Body Works Disney Princess Collection!Follow us on Facebook, Instagram, Threads, BlueSky, and TikTok for fun content and exciting new updates!Subscribe to our YouTube Channel to watch the podcast!Dive deeper into the podcast by becoming a subscriber on our Poor Unfortunate Patreon for ad-free listening, exclusive bonus episodes, and more!Join the Poor Unfortunate Fam, our private community for listeners who love the podcast and want to connect to keep the discussions going! On Discord  |  On FacebookIf you like what you're hearing, help us keep bringing you your favorite Disney content by making a donation to Poor Unfortunate Podcast today!*This podcast is not affiliated with The Walt Disney Company.

Episode 1620: Disney Princess

Visit the past with Allie and Katie: Episode 54 from November 2019 Pocahontas Episode 7 from December 2018 Mulan Episode 170 from May 2022 Jasmine

Visit the past with Allie and Katie: Episode 45 from September 2019 Cinderella Episode 146 from November 2021 Sleeping Beauty Episode 88 from July 2020 Tiana

In hour three Mike Johnson, Ali Mac, and Beau Morgan talk about how 145,000 people have signed a petition to get Princess Leia added to the list of Disney Princesses, and debate about whether or not Princess Leia should be added to the list of Disney Princesses.

HR3 - Hawks could be championship contenders soon if they get NBA Draft right In hour three Mike Johnson, Ali Mac, and Beau Morgan quickly touch on some of the biggest headlines around the local and national sports scene, continue to react to the the Atlanta Hawks beating the Dallas Mavericks last night in Dallas 135-120 for their 11th straight win, explain why they think the Hawks' future is brighter than it's ever been in franchise history, let you hear part of Dukes and Bell's interview with Co-Owner and Publisher of Dawgs HQ and Co-Host on The Steakhouse Rusty Mansell where Rusty is talking about Georgia players who NFL teams are high on for 2026 NFL Draft, react to what Rusty had to say, talk about how 145,000 people have signed a petition to get Princess Leia added to the list of Disney Princesses, debate about whether or not Princess Leia should be added to the list of Disney Princesses, quickly preview all the matchups that will be happening today in the NCAA Tournament, talk about the new concession item the Arizona Diamondbacks are adding to their concessions for this season, and then close out hour three by answering people's questions about anything in the Morning Mailbag!

In this episode of I Want That Too, Jim Hill and Lauren Hersey dive into a mix of new Disney merch, fan experiences, and theme park history. They break down the newly revealed Disney Princess running shoes from Brooks, preview merchandise coming to EPCOT's Flower & Garden Festival, and look at a premium new D23 tour that takes fans through Walt Disney's Los Angeles. Then Jim returns with Part 2 of the story of how a struggling shopping area at Walt Disney World evolved from the Disney Village Marketplace into the sprawling Disney Springs destination we know today.  NEWS • Brooks and runDisney unveil the 2026 Disney Princess Half Marathon weekend shoe collection featuring Rapunzel, Belle, and Moana inspired designs - including braided laces, lantern motifs, and ocean themed colorways.• Registration prices for the Disney Princess Half Marathon continue to climb, now landing between $259 and $269, adding to the debate around race merch availability and resellers.• D23 launches the premium Walt's Los Angeles Tour for Gold Members - a $1,999 guided experience visiting Walt Disney Studios, Imagineering, Walt's former home, the Carolwood Barn, and ending with dinner at one of Walt's favorite restaurants.• A preview of EPCOT's 2026 Flower & Garden Festival merchandise highlights new Orange Bird apparel, a retro inspired button down, Spike the Bee accessories, and Annual Passholder exclusives.• Disney California Adventure prepares for the 2026 Disney California Adventure Food & Wine Festival, including new marketplace booths and the Sip and Savor Pass that lets guests prepay for festival items. FEATURE • Part 2 of the Disney Springs story: how Michael Eisner inherited the underperforming Walt Disney World Shopping Village in the 1980s.• The creation of Pleasure Island in 1989 as Disney's answer to Orlando's Church Street Station nightlife.• The evolution into Downtown Disney in the 1990s with additions like Planet Hollywood, Rainforest Cafe, LEGO Imagination Center, DisneyQuest, and Cirque du Soleil's La Nouba.• Why Pleasure Island ultimately closed in 2008 - and the short lived Hyperion Wharf concept that almost replaced it.• How a major rethink under Disney Parks leadership led to the massive Disney Springs redevelopment, expanding the complex to more than 150 shops and restaurants across four themed districts. HOSTS • Jim Hill - IG: @JimHillMedia | X: @JimHillMedia | Website: JimHillMedia.com• Lauren Hersey - IG: @lauren_hersey_ | X: @laurenhersey2 FOLLOW • Facebook: JimHillMediaNews• Instagram: JimHillMedia• TikTok: JimHillMedia SUPPORT Support the show and access bonus episodes and additional content at Patreon.com/JimHillMedia. PRODUCTION CREDITS Edited by Dave GreyProduced by Eric Hersey - Strong Minded Agency SPONSOR This episode is sponsored by UnlockedMagic. If a Disney or Universal trip is anywhere on your radar for 2026, the team at UnlockedMagic can help you secure great ticket deals with guidance from people who truly know the parks. Learn more and lock in your future trip at UnlockedMagic.com. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nikki has your Local Look for this weekend & there is a lot of fun for the kiddos on the Island this Sunday!

This week, join three brothers and a dad as they talk about what they have been watching, including The Greatest Average American. They also compete in a movie trivia game where they have to guess which of two movies was released first. Lastly, they review the 1997 animated movie Anastasia.

Jim and Lauren dive into the late-80s Sears exclusive Disney World Town Square replica - the ambitious “starter set” that promised Main Street magic at home just as Disney Stores began popping up in malls nationwide. Lauren's Valentine's gift to Eric sparks a deep dive into one of the most fascinating Disney retail experiments of the 1980s: the Sears-exclusive Walt Disney World Town Square replica. Jim explains how this surprisingly elaborate playset - complete with bendable Mickey and Minnie figures and optional upgrades like working streetlights and a smoking train - was born out of a major licensing deal between Sears and The Walt Disney Company. But when the first Disney Store locations began opening in malls, that partnership quickly unraveled. NEWS • A new Frozen 3 short is coming this October as part of Disney's Frozen Fan Fest, with full theatrical release slated for November 2027 • Disney continues evolving its merchandising strategy for the Frozen franchise, leaning into more adult-focused collaborations and collectibles • Bath & Body Works launches its 2026 Disney Princess fragrance collection featuring Aurora, Mulan, Rapunzel, Snow White, plus returning scents for Belle and Tiana • New Disney “Blooms” plush flower stems debut at Disney retail locations in London, Times Square, and Downtown Disney, hinting at possible Flower & Garden synergy • Josh D'Amaro outlines Disney's long-term strategy blending immersive parks, digital platforms like Fortnite, and integrated retail experiences FEATURE • The 1988 Sears-exclusive Walt Disney World Town Square replica “starter set” and its expandable ecosystem of add-ons • Optional upgrades included interior furniture packs, working streetlights, a smoking railroad train, trolley cars, tourists, and seasonal Christmas overlays • Why the playset's price was slashed 50 percent within a year - and how the rapid expansion of Disney Stores sparked a licensing rift • How this short-lived partnership reshaped Disney's retail strategy heading into the late 1980s and beyond HOSTS • Jim Hill - IG: @JimHillMedia | X: @JimHillMedia | Website: JimHillMedia.com • Lauren Hersey - IG: @lauren_hersey_ | X: @laurenhersey2 FOLLOW • Facebook: JimHillMediaNews • Instagram: JimHillMedia • TikTok: JimHillMedia SUPPORT Support the show and access bonus episodes and additional content at Patreon.com/JimHillMedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - Strong Minded Agency SPONSOR This episode of I Want That Too is brought to you by Unlocked Magic. If a Disney or Universal trip is on your radar in 2026, head to UnlockedMagic.com to lock in great ticket prices with experts who know the parks and how to save you money. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. Learn more about your ad choices. Visit megaphone.fm/adchoices

A new week means new questions! Hope you have fun with these!Launched in 2009, what was the first cryptocurrency ever created?Which team just set a record for most Field Goals in a Super Bowl and for two extra points what was the name of the kicker?Though it may seem illogical, who directed three men and a baby?How many karats of gold represents 50% purity?What is a group of zebras called, a name that Ricahrd Gere can halfway get behind?The Hyaline cartilage is a flexible connective tissue that is in several parts of the body, but forms the lower two-thirds of what body part?"Yes, she thought, laying down her brush in extreme fatigue, I have had my vision." - is the last line of which Virginia Woolf novel?Which major consumer product was the first to be publicly unveiled via a Super Bowl commercial in Apple's now‑legendary “1984” ad?Fair-skinned Greek goddess Selene was the personification of which celestial object?Located in the Uffizi, what is the title of Botticelli's painting whose name means "spring" in Italian?Who was the first black woman to win an Lead Actress Emmy for her role in "How to Get Away with Murder"?Which was the first Disney Princess to have a tattoo?A park ranger stated "There is significant overlap between the most intelligent bears and least intelligent humans" to explain the difficulty of making what invention?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!Quiz, trivia, games, pub+trivia, pub+quiz, competition, education, comedy

The Boring Company has been selected to build an underground transit system connecting Universal Orlando's parks, EPCOT's Flower and Garden Festival 2026 details are here, Avengers Campus expansion hits a major milestone at Disney California Adventure, and Six Flags Gold Passes now include 11 West Region parks. Plus: Disney Wish heads to Europe for the first time and a new Disney Princess collection from Bath and Body Works drops tomorrow.

This Week in Geek, we're recapping our recent trip to the most magical place on Earth: Walt Disney World. From park-hopping across all four parks to eating our way around the World Showcase at EPCOT, we break down our favourite experiences, standout bites, and what surprised us most along the way. We also look ahead to what has us most excited about the future of Disney Parks—and why now is such an exciting time to be a fan.Be sure to check out all of our Disney eats and food adventures on our other channel, EatcentricEatcentric - Instagram | TikTok Check out Geekcentric onYouTube | Instagram | Twitter | TikTokJoin the Geekcentric Discord HEREFollow Eatcentric - Same geeks. New Eats

Hope you're having a fantastic day and welcome to another episode of DW:60.  This week on the show we'll talk about new drink ware options themed to Disney Princesses, an exclusive DVC event for Valentine's Day, a World War II Veteran celebrates his 101st Birthday, changes to Happily Ever After during the repaint of the […]

Hey there, and a very happy Saturday to you! This is your Disney News for Saturday, January 31st, 2026. - Shanghai Disneyland to unveil "Zootopia Land" with immersive environments and character meetups. - Tokyo Disneyland introduces "Winter Wishes," a seasonal event with themed food, decor, and a winter parade. - Walt Disney World's Haunted Mansion transforms into a winter-themed "Frosted Mansion" with icy decor. - Disney+ debuts series "The Magical World of Disney Princesses," exploring new stories of beloved princesses. Have a magical day and tune in again tomorrow for more updates.

(00:00) Brady the former Disney princess joins the show!(18:34.18) Cedric Maxwell joins the show to talk all things Celtics!(31:08.30) Please note: Timecodes may shift by a few minutes due to inserted ads. Because of copyright restrictions, portions—or entire segments—may not be included in the podcast.CONNECT WITH TOUCHER & HARDY: linktr.ee/ToucherandHardyFor the latest updates, visit the show page on 985thesportshub.com. Follow 98.5 The Sports Hub on Twitter, Facebook and Instagram. Watch the show every morning on YouTube, and subscribe to stay up-to-date with all the best moments from Boston's home for sports!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

She sings. She sparkles. She still has two jaws and an inner mouth that could ruin your day. She's basically Ursula but with better cheekbones and a crown made of recycled skulls. What if the galaxy's ultimate killing machine traded acid blood for glitter and a castle penthouse? We unpack the forbidden question: Since Disney owns 20th Century Fox, does that make the Alien Queen a Disney Princess? 47 Minutes

(00:00) It's time for TWO Stats ONE Lie!(20:00.48) Brady the former Disney princess calls in!(34:36.49) Please note: Timecodes may shift by a few minutes due to inserted ads. Because of copyright restrictions, portions—or entire segments—may not be included in the podcast.CONNECT WITH TOUCHER & HARDY: linktr.ee/ToucherandHardyFor the latest updates, visit the show page on 985thesportshub.com. Follow 98.5 The Sports Hub on Twitter, Facebook and Instagram. Watch the show every morning on YouTube, and subscribe to stay up-to-date with all the best moments from Boston's home for sports!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What happens when a horror podcast crew wakes up too early from cryo-sleep, loses a crew member, unionizes against space labor violations, and accidentally reviews Alien (1979) from the middle of deep space? Chaos. Pure chaos..In this episode, we crash-land on Planet X to break down Ridley Scott's Alien—from chest-bursters and corporate greed to flamethrowers, killer androids, and the ultimate final girl, Ellen Ripley.Expect dark humor, absurd space banter, generational debates, and one very suspicious cat as we ask the real questions:

Many Disney films adapt works from the Victorian period, which is often called the Golden Age of children's literature. Animating the Victorians: Disney's Literary History (University Press of Mississippi, 2025) explores Disney's adaptations of Victorian texts like Alice in Wonderland, Oliver Twist, Treasure Island, Peter Pan, and the tales of Hans Christian Andersen. Author Patrick C. Fleming traces those adaptations from initial concept to theatrical release and beyond to the sequels, consumer products, and theme park attractions that make up a Disney franchise. During the production process, which often extended over decades, Disney's writers engaged not just with the texts themselves but with the contexts in which they were written, their authors' biographies, and intervening adaptations. To reveal that process, Fleming draws on preproduction reports, press releases, and unfinished drafts, including materials in the Walt Disney Company Archives, some of which have not yet been discussed in print. But the relationship between Disney and the Victorians goes beyond adaptations. Walt Disney himself had a similar career to the Victorian author-entrepreneur Charles Dickens. Linking the Disney Princess franchise to Victorian ideologies shows how gender and sexuality are constantly being renegotiated. Disney's animated musicals, theme parks, copyright practices, and even marketing campaigns depend on cultural assumptions, legal frameworks, and media technologies that emerged in nineteenth-century England. Moreover, Disney's adaptations influence modern students and scholars of the Victorian period. By applying scholarship in Victorian studies to a global company, Fleming shows how institutions mediate our understanding of the past and demonstrates the continued relevance of literary studies in a corporate media age. An audiobook will be available in January 2026. Patrick C. Fleming is a scholar of Victorian studies and children's literature. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Many Disney films adapt works from the Victorian period, which is often called the Golden Age of children's literature. Animating the Victorians: Disney's Literary History (University Press of Mississippi, 2025) explores Disney's adaptations of Victorian texts like Alice in Wonderland, Oliver Twist, Treasure Island, Peter Pan, and the tales of Hans Christian Andersen. Author Patrick C. Fleming traces those adaptations from initial concept to theatrical release and beyond to the sequels, consumer products, and theme park attractions that make up a Disney franchise. During the production process, which often extended over decades, Disney's writers engaged not just with the texts themselves but with the contexts in which they were written, their authors' biographies, and intervening adaptations. To reveal that process, Fleming draws on preproduction reports, press releases, and unfinished drafts, including materials in the Walt Disney Company Archives, some of which have not yet been discussed in print. But the relationship between Disney and the Victorians goes beyond adaptations. Walt Disney himself had a similar career to the Victorian author-entrepreneur Charles Dickens. Linking the Disney Princess franchise to Victorian ideologies shows how gender and sexuality are constantly being renegotiated. Disney's animated musicals, theme parks, copyright practices, and even marketing campaigns depend on cultural assumptions, legal frameworks, and media technologies that emerged in nineteenth-century England. Moreover, Disney's adaptations influence modern students and scholars of the Victorian period. By applying scholarship in Victorian studies to a global company, Fleming shows how institutions mediate our understanding of the past and demonstrates the continued relevance of literary studies in a corporate media age. An audiobook will be available in January 2026. Patrick C. Fleming is a scholar of Victorian studies and children's literature. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Many Disney films adapt works from the Victorian period, which is often called the Golden Age of children's literature. Animating the Victorians: Disney's Literary History (University Press of Mississippi, 2025) explores Disney's adaptations of Victorian texts like Alice in Wonderland, Oliver Twist, Treasure Island, Peter Pan, and the tales of Hans Christian Andersen. Author Patrick C. Fleming traces those adaptations from initial concept to theatrical release and beyond to the sequels, consumer products, and theme park attractions that make up a Disney franchise. During the production process, which often extended over decades, Disney's writers engaged not just with the texts themselves but with the contexts in which they were written, their authors' biographies, and intervening adaptations. To reveal that process, Fleming draws on preproduction reports, press releases, and unfinished drafts, including materials in the Walt Disney Company Archives, some of which have not yet been discussed in print. But the relationship between Disney and the Victorians goes beyond adaptations. Walt Disney himself had a similar career to the Victorian author-entrepreneur Charles Dickens. Linking the Disney Princess franchise to Victorian ideologies shows how gender and sexuality are constantly being renegotiated. Disney's animated musicals, theme parks, copyright practices, and even marketing campaigns depend on cultural assumptions, legal frameworks, and media technologies that emerged in nineteenth-century England. Moreover, Disney's adaptations influence modern students and scholars of the Victorian period. By applying scholarship in Victorian studies to a global company, Fleming shows how institutions mediate our understanding of the past and demonstrates the continued relevance of literary studies in a corporate media age. An audiobook will be available in January 2026. Patrick C. Fleming is a scholar of Victorian studies and children's literature. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

This was supposed to be our Christmas episode but got to it at the very end. On this jam-packed episode, Tara comes back and we discuss expired passports, Disney Princesses, arranged marriages and so much more. Enjoy

Each Disney Princess movie is set in a different time and part of the world. For many they are a first glimpse of history and cultures outside of our own. But have you ever wondered what life was really like for your favorite Disney Princess? Let's take a look at each of Disney's 16 animated Princesses, including the latest addition, Asha, to determine where and when they are most likely set. Then I'll match each iconic princess to a real-life royal woman from the same time and place. So we can get a sense of what life without witches, curses and singing animal sidekicks was really like. In some cases there are interesting similarities; Eugénie de Montijo really did go from rags to riches like Cinderella, Catherine of Valois was a sleeping beauty like Aurora and Mihrimah Sultan was a respected leader like Jasmine. So put on your ballgown and tiara, or strap on your armor and let's compare Disney Princesses to real history! Part 1: Snow White - Maria Anna of Bavaria, Archduchess of Austria Cinderella - Eugénie de Montijo, Empress of the French Aurora (Sleeping Beauty) - Catherine of Valois, Queen of England Ariel (The Little Mermaid) - Louise of Hesse-Kassel, Queen of Denmark Belle (Beauty and the Beast) - Maria Josepha of Saxony, Dauphine of France Jasmine (Aladdin) - Mihrimah Sultan, Ottoman Princess Pocahontas - The historic Pocahontas Mulan - Xiao, Empress of the Sui dynasty Part 2: Tiana (The Princess and the Frog) - Ariana Austin Makonnen, Princess of Ethiopia Rapunzel (Tangled) - Louise of Prussia, Princess of the Netherlands Merida (Brave) - Matilda of Scotland, Queen of England Elsa & Anna (Frozen) - Princess Eugénie of Sweden & Norway Moana - Nafanua, Ali'i of Samoa Raya and the Last Dragon - Trưng Sisters of Vietnam Asha (Wish) - Fatima bint al-Ahmar, Princess of the Emirate of Granada Join me every Tuesday when I'm Spilling the Tea on History! Check out my Youtube Channel: https://www.youtube.com/c/lindsayholiday Follow me on Facebook: https://www.facebook.com/profile.php?id=100091781568503 Instagram: https://www.instagram.com/historyteatimelindsayholiday/ Tik Tok: https://www.tiktok.com/@historyteatime Please consider supporting me at https://www.patreon.com/LindsayHoliday and help me make more fascinating episodes! Intro Music: Baroque Coffee House by Doug Maxwell Music: Dream Of The Ancestor by Asher Fulero #HistoryTeaTime #LindsayHoliday Please contact ⁠advertising@airwavemedia.com⁠ if you would like to advertise on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kelly Keegs joins Trish for a GABFEST two years in the making. They debrief on Thanksgiving, Ann Maye's new TikTok series, George Santos latest tweets, Barstool New York, Disney Princesses, transportation secretary Sean Duffy, high school gym class, Heated Rivalry and more! Like and subscribe babes!You can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/outandabout

Each Disney Princess movie is set in a different time and part of the world. For many they are a first glimpse of history and cultures outside of our own. But have you ever wondered what life was really like for your favorite Disney Princess? Let's take a look at each of Disney's 16 animated Princesses, including the latest addition, Asha, to determine where and when they are most likely set. Then I'll match each iconic princess to a real-life royal woman from the same time and place. So we can get a sense of what life without witches, curses and singing animal sidekicks was really like. In some cases there are interesting similarities; Eugénie de Montijo really did go from rags to riches like Cinderella, Catherine of Valois was a sleeping beauty like Aurora and Mihrimah Sultan was a respected leader like Jasmine. So put on your ballgown and tiara, or strap on your armor and let's compare Disney Princesses to real history! Part 1: Snow White - Maria Anna of Bavaria, Archduchess of Austria Cinderella - Eugénie de Montijo, Empress of the French Aurora (Sleeping Beauty) - Catherine of Valois, Queen of England Ariel (The Little Mermaid) - Louise of Hesse-Kassel, Queen of Denmark Belle (Beauty and the Beast) - Maria Josepha of Saxony, Dauphine of France Jasmine (Aladdin) - Mihrimah Sultan, Ottoman Princess Pocahontas - The historic Pocahontas Mulan - Xiao, Empress of the Sui dynasty Part 2: Tiana (The Princess and the Frog) - Ariana Austin Makonnen, Princess of Ethiopia Rapunzel (Tangled) - Louise of Prussia, Princess of the Netherlands Merida (Brave) - Matilda of Scotland, Queen of England Elsa & Anna (Frozen) - Princess Eugénie of Sweden & Norway Moana - Nafanua, Ali'i of Samoa Raya and the Last Dragon - Trưng Sisters of Vietnam Asha (Wish) - Fatima bint al-Ahmar, Princess of the Emirate of Granada Join me every Tuesday when I'm Spilling the Tea on History! Check out my Youtube Channel: https://www.youtube.com/c/lindsayholiday Follow me on Facebook: https://www.facebook.com/profile.php?id=100091781568503 Instagram: https://www.instagram.com/historyteatimelindsayholiday/ Tik Tok: https://www.tiktok.com/@historyteatime Please consider supporting me at https://www.patreon.com/LindsayHoliday and help me make more fascinating episodes! Intro Music: Baroque Coffee House by Doug Maxwell Music: Dream Of The Ancestor by Asher Fulero #HistoryTeaTime #LindsayHoliday Please contact ⁠advertising@airwavemedia.com⁠ if you would like to advertise on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome!

‘Zootopia 2' star Ginnifer Goodwin joins the show. Over meatballs and spicy fusilli, Ginnifer tells me about her chaotic ‘Big Love' audition, preparing her kids for the Disney red carpet and her family's little-known Hollywood history. This episode was recorded at Jon & Vinny's in Studio City, California. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Episode SummaryErin and Rachel hop on down to 1920's New Orleans, where Disney's first Black princess spends most of her time as a frog in the Louisiana bayou. The Princess and the Frog (2010) provided much needed representation, but leaves a lot to be desired in terms of its race, class, and gender politics. Episode BibliographyThe 82nd Academy Awards | 2010. (n.d.). Oscars. https://www.oscars.org/oscars/ceremonies/2010/P?qt-honorees=1#block-quicktabs-honoreesAyres, C. (2009, December 12). The Princess and the Frog: Disney's black fairytale. The Times. https://www.thetimes.com/culture/tv-radio/article/the-princess-and-the-frog-disneys-black-fairytale-lcpnw3pj3jcBaker, E.D. (2002). The Frog Princess. Bloomsbury.Barnes, B. (2009, May 29). Her Prince Has Come. Critics, Too. The New York Times. https://www.nytimes.com/2009/05/31/fashion/31disney.htmlBreaux, R. M. (2010). After 75 years of magic: Disney answers its critics, rewrites African American history, and cashes in on its racist past. Journal of African American Studies, 14(4), 398-416. doi: 10.1007/s12111-010-9139-9Chang, J. (2009, November 24). The Princess and the Frog. Variety. https://variety.com/2009/digital/features/the-princess-and-the-frog-1200477289/Davis, A.M. (2014). Handsome heroes and vile villains: Men in Disney's feature animation. John Libbey & Company. Debruge, P. (2016, November 22). Disney's Pixar Acquisition: Bob Iger, John Lasseter Reanimated Studio. Variety. https://variety.com/2016/film/features/disney-pixar-acquisition-bob-iger-john-lasseter-1201923719/Disney Archives, The. (2025, January 14). The Princess and the Frog - Magic in the Bayou: The Making of a Princess. YouTube. https://www.youtube.com/watch?v=t9Gfgey_Oc8Disney Enterprises, Inc. (2009). The Princess and the Frog Production Notes. Oscars.org. https://web.archive.org/web/20100408202417/http://www.oscars.org/press/presskits/nominations/pdf/princess_and_the_frog.pdfEbert, R. (2009, December 9). At Disney, they still remember how to make movies like they used to movie review (2009). RogerEbert.com. https://www.rogerebert.com/reviews/the-princess-and-the-frog-2009Firehouse Five Plus Two - Wikipedia. (n.d.). Wikipedia, the free encyclopedia. https://en.wikipedia.org/wiki/Firehouse_Five_Plus_TwoFoundas, S. (2009, December 10). The Princess and the Frog. Dallas Observer. https://www.dallasobserver.com/arts-culture/the-princess-and-the-frog-6405784/Frog Prince, The. (2025, October 17). In Wikipedia. https://en.wikipedia.org/wiki/The_Frog_PrinceGallo, P. (2006, February 28). Mouse inks music man. Variety. https://variety.com/2006/film/markets-festivals/mouse-inks-music-man-1117939042/Gehlawat, A. (2010). The strange case of "The Princess and the Frog:" Passing and the elision of race. Journal of African American Studies, 14(4), 417-431. doi: 10.1007/s12111-010-9126-1Gilchrist, T. (2009, October 23). Interview: 'Princess and the Frog' Directors Ron Clements and John Musker. Moviefone. https://web.archive.org/web/20130921054004/http://news.moviefone.com/2009/10/23/interview-princess-and-the-frog-directors-ron-clements-and-jo/Gregory, S. M. (2010). Disney's second line: New Orleans, racial masquerade, and the reproduction of whiteness in The Princess and the Frog. Journal of African American Studies, 14(4), 432-449. doi: 10.1007/s12111-010-9138-xGuerrero, E. (1993). The Black image in protective custody: Hollywood's biracial buddy films of the eighties. In M. Diawara (Ed.), Black American cinema (pp. 237–246). Routledge.Hill, J. (2006, November 12). Monday Mouse Watch: Why a change of composers on “The Frog Princess” caused lots of WDFA staffers to lose their composure. Jim Hill Media. https://limegreen-loris-912771.hostingersite.com/monday-mouse-watch-why-a-change-of-composers-on-the-frog-princess-caused-lots-of-wdfa-staffers-to-lose-their-composure/Holt, K. (2006, June 23). Rhett Wickham: It's Baaack! Laughing Place. https://www.laughingplace.com/news-id510530.aspHoneycutt, K. (2009, November 24). The Princess and the Frog — Film Review. The Hollywood Reporter. https://www.hollywoodreporter.com/movies/movie-reviews/princess-frog-film-review-93780/Kayembe, B. (2021, March 9). Why are we still depicting Black women as 'Mammies'? Shado Mag. https://shado-mag.com/articles/opinion/why-are-we-still-depicting-black-women-as-mammies/Killer Reviews Staff. (2009). The Princess and the Frog Filmmakers Interview. Killer Reviews. https://web.archive.org/web/20100829054531/http://www.killerreviews.com/dispinterview.php?intid=1859King, C.R., Bloodsworth-Lugo, M.K., & Lugo-Lugo, C.R. (2010). Animated representations of Blackness. Journal of African American Studies, 14(4), 395-397. doi: 10.1007/s12111-010-9141-2King, S. (2009, November 22). Q & A with ‘Princess and the Frog' animators. Los Angeles Times. https://www.latimes.com/archives/la-xpm-2009-nov-22-la-ca-princess22-2009nov22-story.htmlLeah Chase. (n.d.). Wikipedia, the free encyclopedia. https://en.wikipedia.org/wiki/Leah_ChaseLeap of Faith: The Princess and the Frog. (2010, January 17). The Independent. https://www.the-independent.com/arts-entertainment/films/features/leap-of-faith-the-princess-and-the-frog-1870801.htmlLester, N. A. (2010). Disney's The Princess and the Frog: The pride, the pressure, and the politics of being a first. The Journal of American Culture, 33(4), 294-307. Malkin, M. (2007, February 5). Alicia Keys into Next Movie Role. E! Online. https://web.archive.org/web/20070210054735/http://www.eonline.com/gossip/planetgossip/blog/index.jsp?uuid=d21d0e39-9f0d-4b01-b81d-3989932f34abMcGee, A.M. (2012). Haitian vodou and voodoo: Imagined religion and popular culture. Studies in Religion, 41(2). doi: 10.1177/0008429812441311Misick, B. (2020, October 29). Controversy Over 'The Princess and the Frog'. Essence Magazine. https://www.essence.com/news/critics-dispute-princess-and-the-frog/Moffitt, K. R. (2019). Scripting the way for the 21st-century Disney princess in The Princess and the Frog. Women's Studies in Communication, 42(4), 471-489. doi: 10.1080/07491409.2019.1669757Moffitt, K. R., & Harris, H. E. (2014). Of negation, princesses, beauty, and work: Black mothers reflect on Disney's The Princess and the Frog. Howard Journal of Communications, 25(1), 56–76. doi:10.1080/10646175.2014.865354Myrlados, A. (2021, January 18). The Princess and The Frog: A case in cultural revisionism. The Enlightenment. https://lifeisgoodblog.com/2021/01/18/princess-and-frog-cultural-revisionism/Ness, M. (2016, June 2). The End of an Era: Disney's The Princess and the Frog. Reactor. https://reactormag.com/the-end-of-an-era-disneys-the-princess-and-the-frog/New Orleans Voodoo. (2025). New Orleans. https://www.neworleans.com/things-to-do/multicultural/traditions/voodoo/Noyer, J. (2010, June 1). The Princess And The Frog's Directors John Musker and Ron Clements take us to “the other side” of animation! Animated Views. Retrieved September 22, 2025, from https://animatedviews.com/2010/the-princess-and-the-frog-directors-john-musker-and-ron-clements-take-us-to-the-other-side-of-animation/Panaram, S., Rogers, H., & Stoddard, T. (n.d.). The Princess and the Frog: Rewriting Jazz Age History and Culture. The Black Atlantic. https://sites.duke.edu/blackatlantic/sample-page/contemporary-film-and-black-atlantic/history/disneyfied-histories-disneys-intentional-inaccuracy-historical-films-and-the-black-atlantic/the-princess-and-the-frog-and-rewriting-jazz-age-history-and-culture/Parasecoli, F. (2010). A taste of Louisiana: Mainstreaming Blackness through food in The Princess and the Frog. Journal of African American Studies, 14(4), 450-468. doi:  10.1007/s12111-010-9137-yPérez, E. (2021). “I got voodoo, I got hoodoo”: Ethnography and its objects in Disney's The Princess and the Frog. Material Religion, 17(1), 56-80. doi: 10.1080/17432200.2021.1977954Pinsky, M. I. (2010, January 7). What Walt Wrought. Wall Street Journal. https://www.wsj.com/articles/SB10001424052748703580904574638143338424878The Princess and the Frog. (n.d.). Box Office Mojo. https://www.boxofficemojo.com/release/rl3916137985/Robertson, B. (2010, January). The Tradition Lives On. Computer Graphics World. https://www.cgw.com/Publications/CGW/2010/Volume-33-Issue-1-Jan-2010-/The-Tradition-Lives-On.aspxRoush, G. (2009, October 21). Interview: Princess And The Frog Directors John Musker And Ron Clements. Plus 7 Brand New Images! LatinoReview.com. https://web.archive.org/web/20091022114309/http://www.latinoreview.com/news/interview-princess-and-the-frog-directors-john-musker-and-ron-clements-plus-7-brand-new-images-8310Schwarzbaum, L. (2009, December 18). The Princess and the Frog. Entertainment Weekly. https://ew.com/article/2009/12/18/princess-and-frog-2/Sciretta, P. (2009, 28 February). WonderCon: The Princess And The Frog And The Future Of 2D Animation At Disney. Slash Film. https://www.slashfilm.com/502703/wondercon-the-princess-and-the-frog-and-the-future-of-2d-aniamtion-at-disney/Scott, M. (2009, November 22). New Orleans setting for 'Princess and the Frog' is a Disney dream come true for one man. NOLA.com. https://www.nola.com/entertainment_life/movies_tv/new-orleans-setting-for-princess-and-the-frog-is-a-disney-dream-come-true-for/article_c84036c3-ff1c-5fcd-94e3-9f7e916b774e.htmlScott, N. (2009, December 12). For 'Princess and the Frog,' Disney animators go back to the drawing board. NOLA.com. https://www.nola.com/entertainment_life/movies_tv/for-princess-and-the-frog-disney-animators-go-back-to-the-drawing-board/article_70787df8-b6ee-575d-9a0e-f1648f40cced.htmlSharkey, B. (2009, November 25). Review: 'The Princess and the Frog'. Los Angeles Times. https://www.latimes.com/archives/la-xpm-2009-nov-25-la-et-princess25-2009nov25-story.htmlTaylar. (2022, November 12). The Firehouse Five Plus Two - Disney's Jazz Band. The Disney Classics. https://www.thedisneyclassics.com/blog/firehouse-five-plus-twoTejada, A. (2020, July 14). Representation Without Transformation: Can Hollywood Stop Changing Cartoon Characters of Color? Reactor. https://reactormag.com/representation-without-transformation-can-hollywood-stop-changing-cartoon-characters-of-color/Terry, E.J. (2010). Rural as racialized plantation vs rural as modern reconnection: Blackness and agency in Disney's Song of the South and The Princess and the Frog. Journal of African American Studies, 14(4), 469-481. doi: 10.1007/s12111-010-9132-3Turner, S.E. (2013). Blackness, bayous and gumbo: Encoding and decoding race in a colorblind world. In Cheu, J. (Ed.), Diversity in Disney films: Critical essays on race, ethnicity, gender, sexuality, and disability (pp. 83-98). McFarland & Company.Update: Princess Anika and the Frog. (n.d.). E! News. https://www.eonline.com/news/59173/update-princess-anika-and-the-frogWhelan, B. (2012). Power to the princess: Disney and the creation of the 20th century princess narrative. Interdisciplinary Humanities, 29(1), 21–34.Wloszczyna, S. (n.d.). Enchanting return to 2-D: Disney animation conjures magical kingdom of yore. USA Today. https://usatoday30.usatoday.com/printedition/life/20070503/d_cover03.art.htm

What Disney princess are you based on your astrological sign?

I want to be where the people are, assuming they are answering 10 trivia questions about the official Disney Princesses! If you'd like to choose a specific topic or dedicate an episode to a friend send a donation of your choice on Venmo to @NoChitChatTrivia and write the topic you'd like in the comments: https://account.venmo.com/NoChitChatTrivia Our official store is live!  Support the show by grabbing a NCCT shirt, hat, puzzle, or more: https://www.thetop10things.com/store Social Media Links: TikTok, Instagram, FaceBook, YouTube Visit our sister site thetop10things.com for travel and entertainment information! Thank you to everyone who listens!  Say hello or let's collaborate: nochitchattrivia@gmail.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Is it too late to rebuild your relationship with your adult child? What if there's grief, resentment, or even silence between you? In this episode, Kathy Cunningham, a Christian counselor, ordained minister, coach, and inner healing ministry leader shares her deeply personal journey of healing, transformation, and restored connection with her adult children. Kathy went through a journey with both of her kids and started to see more and more parent child estrangement in her counseling practice. This led her to start a ministry that helps parents grow and be a cheerleader instead of controlling their adult kids. Here is some of what we cover:  Why your own healing journey is key to restoring connection Setting healthy boundaries in your home while honoring your child's independence What to do when your child has cut off contact Radical acceptance: creating space for disagreement without division Moms whose identity has been wrapped up in parenting find themselves feeling lost and unsure of who they are once their kids leave home- what to do next Connect with Kathy Cunningham:  Website:  Grace For The Journey Facebook: A Seed of Hope Instagram:  Katherine L Cunningham (@kathycunningham717) Links Mentioned:   Doing Life with Your Adult Children: By Jim Burns Parents of Addicted Loved Ones | Support Group for Parents, Spouses, Family of Addicted Loved One FREE resources for parents to reconnect with adult children  Grace Restored Membership Related Episodes: “How do I connect better with my kids?” [Ep 475] Building Healthy Relationships by Exploring Adult Attachment Patterns (Part 1) :: Charissa Lopez [Ep 498] Building Healthy Relationships by Exploring Adult Attachment Patterns (Part 2) :: Charissa Lopez [Ep 499] Featured Sponsors:  GoPure Beauty–For a limited time, our listeners get 25% off goPure with code DMA at checkout. Just head to gopure.com, use code DMA, and you're all set. And after you buy, do us a favor—when they ask where you heard about goPure, tell them it was from our show! Policygenius: Head to policygenius.com to compare life insurance quotes and get the coverage you need. Because being financially protected? That's the ultimate self-care. Hiya Health: The same multivitamin that more than a million parents trust is now available with an enchanting Disney Princess welcome kit, with a new Princess unboxing experience including Princess bottle and stickers. And we've worked out a special deal with Hiya for their best selling children's vitamin. Receive 50% off your first order. To claim this deal you must go to hiyahealth.com/DMA. This deal is not available on their regular website. get your kids the full-body nourishment they need to grow into healthy adults. Find links to this week's sponsors and unique promo codes at dontmomalone.com/sponsors. 

SUMMARY: Matt notes how Scoopfest tends to be held around fiery times, which leads us to discuss some unfortunately topical subjects that matter to us. Paul goes on the hunt for a COVID shot while Matt hunts for an airplane seat upgrade to Canada. Also, an 80s movie-themed Scoopardy.

Today on the Show: Episode Summary Tim kicks off the week from Ashtabula with a shorter Monday show, but still packed with strange clips, bizarre arrests, and completely unhinged behavior. We start with the shocking (and sad) downfall of Irene Bedard, the voice actress behind Disney's Pocahontas, who was caught on police bodycam footage shouting […] The post Poca-Hot Mess: A Disney Princess Meltdown first appeared on Distorted View Daily.

Jim Hill and Lauren Hersey return with a new episode of I Want That Too, diving into Disney Princess Week, new merchandise drops, and the latest Disney history feature. From LEGO sidekicks to Bath & Body Works villains, they've got the stories (and opinions) Disney fans will want to hear. Highlights from Disney Princess Week, including merchandise, sidekick collections, and special events The “Meant to Be” adult rom-com book series reimagining Disney Princesses in modern settings Early fan reactions to Bath & Body Works' Disney Villains collaboration EPCOT Food & Wine Festival merch, featuring Muppet Labs, Figment, and Chef Mickey collections Jim and Lauren revisit the story of Kay Kamen and continue their Disney cereal history deep dive From modern merch drops to classic collectibles, this episode blends Disney history, fan culture, and insider stories from Jim and Lauren. Learn more about your ad choices. Visit megaphone.fm/adchoices

Who does God say you are? And how do you step into your true identity when the world (and even yourself) have told you otherwise? If you (or your kids) feel unseen, unworthy, or unwanted, this episode is for you. In this powerful conversation, Hosanna Wong shares her journey of growing up on the streets of San Francisco with a father who battled addiction, only to see God transform his life and spark an outdoor church that reached the hurting. Her story goes on to share how she went through some hard years that were full of disappointment and lies from the enemy. She continued to press into the word and God reminded her who she is in Christ, through that season her spoken word ministry was born. Here is some of what we talked about:  How God uses ordinary moments and people, like a mother opening her door to a vacuum salesman and sharing faith, to change generations The struggle of feeling like you don't measure up to “good Christian molds” and learning freedom in Christ Why God delights in your unique personality, schedule, and situation, He made you that way on purpose Hosanna reminds us that we have freedom in how we connect with our creator and God wants to meet us where we are  Connect with Hosanna Wong:  Website:  HOSANNA Facebook: Hosanna Wong Instagram:  Hosanna Wong (@hosanna.wong) Links Mentioned:   SPOKEN WORD: I Have A New Name What God Says About You: By Hosanna Wong You Are More than You've Been Told: By Hosanna Wong  Related Episodes: Exchange False Beliefs with True Identity :: Jamie Winship [Ep 433] When You Need a Personal Revival :: Cleere Cherry Reaves [Ep 504] Fighting Toxic Thoughts :: Jennie Allen [Ep 272] Featured Sponsors:  Thrive Causemetics: Maximize your look with minimal effort. Go to ThriveCausemetics.com/DMA for an exclusive offer of 20% off your first order.  Hiya Health: The same multivitamin that more than a million parents trust is now available with an enchanting Disney Princess welcome kit, with a new Princess unboxing experience including Princess bottle and stickers. And we've worked out a special deal with Hiya for their best selling children's vitamin. Receive 50% off your first order. To claim this deal you must go to hiyahealth.com/DMA.  Outschool: Get your family's first month for only $1 when you use our link: https://outschool.com/DMA and use code DMA at checkout. Find links to this week's sponsors and unique promo codes at dontmomalone.com/sponsors.