Podcast appearances and mentions of don novello

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]

Ed Catto, professor at Ithaca College and Editor-in-Chief of RetroFan Magazine joins us for a lively dive into the newest issue, packed with pure pop-culture comfort food. We talk Saturday morning cartoons and why they still matter, behind-the-scenes conversations with cast members from The Brady Bunch, and a terrific about Don Novello about the enduring appeal of Father Guido Sarducci.Ed also gives a forward-looking preview of Ithacon, Ithaca College's long-running comic convention, sharing what fans can expect and why it continues to be a vital gathering spot for creators and enthusiasts alike.

Nick revisits what may be the strangest and darkest Christmas episode Saturday Night Live ever put on the air, when Bill Murray returned to host on December 12, 1981. What should have been a holiday show quickly turned unsettling, starting with a deeply odd monologue featuring a silent Santa, followed by sketches that veered from uncomfortable to outright disturbing. There was a fake tampon commercial led by Father Guido Sarducci, played by Don Novello, a tasteless designer jeans bit, and an offbeat musical performance by the Yale Whiffenpoofs. Things took a sharp turn when Sarducci returned with Murray to share predictions for 1982, including World War III and nuclear annihilation. Almost immediately after, the show was interrupted by a real NBC news bulletin announcing that Russia had invaded Poland. What followed was one of the most surreal moments in the show's history, a bleak, apocalyptic sketch about global destruction written by Michael O’Donoghue, which ended up being his final contribution before he was fired that same night. [Ep 162]

Bob Illes and I discuss his early years; starting a radio comedy show at USC; Digby Wolfe; winning a contest to write for Tennesse Ernie Ford; Mike Ovitz; writing monologues for Bill Cosby; meeting Groucho Marx and Peter Sellers; writing for the Lily Tomlin special and winning an Emmy; The Super Emmy; writing the Sanford & Son episode, "Lamont, Is That You", The Smothers Brothers NBC reboot; Mickey Rose; Chevy Chase; Don Novello; Joe & Sons, One Day at a Time, getting dressed down by Norman Lear and his mea culpa; What's Happening!!, Captain and Tenille Show, Fernwood Tonight, winning another Emmy for the last year of The Carol Burnett Show, America 2-Night; Peeping Times; The Mary Tyler Moore Hour;       Steve Allen Comedy Hour; Catherine O'Hara, Flo, Private Benjamin, No Soap, Radio; Silver Spoons; Jason Bateman, John Houseman; The Cracker Brothers; Milton Berle; Double Trouble, Sylvan in Paradise, Jim Nabors; Courtney Cox; Jackie Bison Show; Harry Shearer, Stan Freberg; Amen; Sherman Hemsley; favorite episode; getting cancelled by NBC because Johnny Carson retired; age ranges in sitcoms

We're rewinding back to some of our favorite exclusive introductions to memorable Late Show moments, like this conversation from May about comedy legend Don Novello, who reprised his iconic role as Father Guido Sarducci and took Colbert deep into the intrigue surrounding the Vatican conclave while the world's Catholics were waiting to learn who would be the next Pope (originally aired May 6th, 2025). The Late Show Pod Show will be looking back at some of our favorite Colbert Introductions from this past season before Stephen returns with all new episodes September 2nd. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Stephen's back on the podcast this week with exclusive introductions to memorable Late Show moments, and he's kicking things off with comedy legend Don Novello, who recently reprised his iconic role as Father Guido Sarducci and took Colbert deep into the intrigue surrounding the Vatican conclave while the world's Catholics were waiting to learn who would be the next Pope (originally aired May 6th, 2025). To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Dan Vitale joined me and discussed social media presence; attention he got from Marc Maron's podcast; Lorne Michaels seeing him; his audition for The New Show; his fluctuating weight from 1986 - 1991; Cobra Kai; streaming services give more content; Dave Chappelle, Chris Rock, Bill Burr & Louis CK; being Lorne Michaels protege; being funnier now than when he was "hot" in the '80's because he's off alcohol and drugs and older; being listed above Norm MacDonald as a SNL cast member in Rolling Stone; growing up in Island Park, Long Island; other famous Island Park residents including Al D'Amato and the basis for Tony Soprano; where he did stand up pre Covid; living through Covid and protests; going back to college and feeling like Johnny Lawrence from Cobra Kai; IPhones; Dave Attell, memories of Don Novello and Randy Quaid; wanting to know who from his cast was invited to the 40th anniversary; Joan Cusack; Anthony Michael Hall; Damon Wayans; Jon Lovitz; Nora Dunn; Dennis Miller; Danitra Vance; Terry Sweeney;  A Whitney Brown; Jim Downey; Franken & Davis; remembering the Madonna episode and the horrible week working with Chevy Chase; being with world's largest man Michael Hebrank (1100 lbs.) at the Brookhaven Rehabilitation Center; intermittent fasting; coming back for the Ron Reagan Jr. episode; residuals; current SNL; Baldwin's Trump vs. Carrey's Biden; Taran Killam; Darrell Hammond making SNL a civil service job; Alan Zweibel; and John Murray

Andy Hoglund joined me to discuss finding out about SNL through Wayne's World and Comedy Central reruns; my getting tapes mailed from Canada by Bronwyn Douwsma; going to Boston University; studying film; doing a term paper about how the original cast of SNL embodies the baby boomers; working for Sen. Ted Kennedy; writing an article about SNL movies and it going viral; his copy of the Shales / Miller SNL book being autographed by almost 100 cast members; first, by Dan Aykroyd, second by Colin Quinn; writing for Vulture; being asked to recap SNL's episodes for Entertainment Weekly; Don Pardo; Johnny Gilbert; meeting a lot of ex-cast members through stand up; Christopher Guest only one to not sign; Harry Shearer; Steve Martin & G.E. Smith only non cast members to sign; season 6 cast members Denny Dillon, Patrick Weathers, Matthew Laurence; Don Novello's friendship with Francis Ford Coppola; Peter Aykroyd; Mark McKinney and his work on Studio 60; KITH Brain Candy; Season 11; Fridays; Robin Duke, Jim Belushi, Mary Gross, and Kevin Kelton; Billy Crystal was the only time he sent the book away to be signed; Dana Carvey; Robert Carradine; Michael Davis; MST3K and Joel Hodgson; Anne Beatts; Yvonne Hudson; Brian Doyle-Murray; Adam Sandler; how Lorne Michaels has changed; me getting my picture with him; Colin Jost & Michael Che; Shari Lewis; and our friendships with the late Dan Vitale

Eddie Ham and Mattalamode join us for another odd little outing of the show. A still mostly unknown Fred Willard hosts one of the mellower episodes of the original era, with Devo, still at their most abrasive, making their national television debut. It's slice of life heavy, including the debut of Don Novello's Mall sketches, while also being incredibly broad, with the official debut of Bill Murray's Honker character and a big, physical sketch for John Belushi. Does it work? Tune in to find out!    

Michael Sarrazin was a Canadian. He was an actor. And, near the end of the Season Three, he hosted Saturday Night Live. A jazz pianist (Keith Jarrett) and an all-tuba band (Howard Shore's Gravity) are the musical guests. None of this is made up.  There is a lot going on and a lot to talk about in this one. To help make sense of it all, we are joined by Mark Malkoff from "Inside Late Night."  We even try to get Don Novello on the phone help figure a few things out.  Subscribe today! And follow us on social media on X (Twitter), Instagram, and Facebook.

George Beckerman joined me to talk about early TV, his first writing job, 1983's NBC Yummy Awards; Paul Winchell and Pinky Lee; growing up in Forest Hills; going to high school with Jerry Springer; going into the textile business; getting his suits on the cover of GQ; selling his business and moving to LA; writing a screenplay "Beverly Hills Shrink" for Fred Weintraub; writing a special "Blondes vs. Brunettes" directed by Steve Binder; seeing Joan Collins sans makeup and working with Don Novello; pitching 30 episode ideas to the producers of Alice; getting a job on TBS sitcom Safe at Home with pissed off cast; hiring Dan O'Shannon and Tom Anderson; an arrest during rehearsal; pitching for Head of the Class and a movie for Gene Wilder; first head of the Class "The Russians are Coming"; the problems and greatness of multi-cam comedies; writing "Child of the 60's" and meeting Lori Petty; writing "Parent's Night" and having 23 characters to write; writing Trouble in Perfectville for Robin Givens and having it changed; working with Tannis Vallely and her father on two different shows; Howard Hesseman; becoming friends with Robin Givens and her mother and needing to get Mike Tyson off the set; Leslie Bega and Khrystyne Haje; creating and leaving "Molloy"; becoming friends with Mayim Bialik; Jennifer Aniston; fighting with Bill Bixby on the set of "Man of the People"; Monty has great cast including Henry Winkler, David Schwimmer, and China Kantner - daughter of Grace Slick and Paul Kantner, but was short lived; The Jackie Thomas show was the most fun he had; trying to turn Jackie Thomas into a modern day Dick Van Dyke; playing tennis with Norm MacDonald; working with Chris Farley; meeting his wife Geraldine Leder writing for "Secret Service Guy" a show that never aired; having his film script optioned by Ben Stiller and not getting a budget; writing a Lifetime movie for Kirstie Alley; a Hallmark time travel movie; writing for children's television; making a short film "Autocowrecked"; writing a song with a member of Foster the People; the current state of TV as a business; Adam I. Lapidus and the Simpsons

We are sitting down with Kendra, and she is doing his 104 SNL Characters tournament. Check out this episode for who she thinks is the best SNL Character. If you want to do your tournament, please contact us, and we will set it up. Sarah Silverman (1993-1994) Bobby Moynihan (2008-Now) George Coe (1975-1976) Gary Kroeger (1982-1985) Brian Doyle-Murray (1979-1982) John Belushi (1975-1979) Chris Kattan (1996-2003) Eddie Murphy (1980 -1984) Cheri Oteri (1995-2000) Tina Fey (2000-2006) Joan Cusack (1985-1986) Mike Myers (1989-1995) Melissa Villaseñor (2016-present) Dan Aykroyd (1975-1979) Alex Moffat (2016-present) Bill Murray (1977-1980) Mikey Day (2016-present) Phil Hartman (1986-1994) Jon Rudnitsky (2015-2016) Amy Poehler (2001 - 2008) Aidy Bryant (2012-present) Gilda Radner (1975 - 1980) Pete Davidson (2014-present) Chevy Chase (1975-1977) Sasheer Zamata (2014-present) Dana Carvey (1986-1993) John Milhiser (2013-2014) Will Ferrell (1995-2002) Colin Jost (2014-present) Bill Hader (2005-2013) Leslie Jones (2014-present) Kristen Wiig (2005-2012) Kyle Mooney (2013-present) Chris Farley (1990 - 1995) Mike O'Brien (2013-2014) Rachel Dratch (1999-2006) Michael Che (2014-present) Adam Sandler (1990-1995) Tim Robinson (2012-2013) Maya Rudolph (2000-2007) Beck Bennett (2013-present) Jon Lovitz (1985-1990) Noël Wells (2013-2014) Al Franken (1975-1995) Abby Elliott (2008-2012) Chris Rock (1990-1993) A. Whitney Brown (1986-1991) Andy Samberg (2005-2012) Harry Shearer (1979 - 1985) Fred Armisen (2002-2013) Michael McKean (1994-1995) Laraine Newman (1975-1980) Julia Sweeney (1990 - 1994 Jason Sudeikis (2005-2013) Jenny Slate (2009-2010) Jan Hooks (1986-1991) Gail Matthius (1980 - 1981) David Spade (1990-1996) Brooks Wheelan (2013-2014) Seth Meyers (2001-2014) Jim Belushi (1983-1985) Martin Short (1984-1985) Casey Wilson (2008-2009) Billy Crystal (1984-1985) Rich Hall (1984-1985) Christopher Guest (1984-1985) Ellen Cleghorne (1991-1995) Tim Kazurinsky (1981-1984) Michaela Watkins (2008-2009) Ana Gasteyer (1996-2002) Brad Hall (1982-1984) Dennis Miller ( 1985-1991) Joe Piscopo (1980-1984) Chris Parnell (1998-2006) Mary Gross (1981-1985) Jimmy Fallon (1998 - 2004) Terry Sweeney (1985-1986) Kate McKinnon (2012-2021) Tom Davis (1977-1980) Don Pardo (1975-2014) Beth Cahill (1991-1992) Cecily Strong (2012-2021) Garrett Morris (1975-1980) Molly Shannon (1995-2001) Nora Dunn (1985-1990) Taran Killam (2010-Now) Kevin Nealon (1986-1995) Don Novello (1978-1986) Horatio Sanz (1998-2006) Vanessa Bayer (2010 - Now) Denny Dillon (1980-1981) Rob Schneider ( 1990 - 1994) Paul Shaffer (1975-1980) Julia Louis-Dreyfus (1982 - 1985) Jay Pharoah (2010 - Now) Kenan Thompson (2003-now) Lorne Michaels (1975-now) Jane Curtin (1975-1980) Tracy Morgan (1996-2003) Tim Meadows (1991-2000) Will Forte (2002 - 2010) Darrell Hammond (1995-2009) Pamela Stephenson (1984-1985) Nasim Pedrad (2009-2014) --- Send in a voice message: https://podcasters.spotify.com/pod/show/mass-debaters/message Support this podcast: https://podcasters.spotify.com/pod/show/mass-debaters/support

Erin and Brennan watch the 4th greatest submarine movie and wonder why it's not more popular than the ratings suggest. We got Michael J. Fox, Cree Summer, Don Novello, and Leonard Nemoy blazing a trail through the latter days of the Disney Rennaisance. Erin gets personal with Rasputin's . . . life, Brennan learns how fast a saw can cut a "female" in two (it's actually a FEMUR and not a FEMALE) (...dumbass), and our four basic food groups: beans, bacon, whiskey, and lard. Dr. Sweet is our favorite hero particularly as we unpack character motivations, and we wonder about Mole's backstory because no one will tell us. Apparently, we don't want to know! Ultimately this is a far more entertaining film than the critics will claim, I mean, y'all bought that there was a secret map on the back of the Declaration of Independance!!!!! 

Welcome back to another magical episode of Not A Bomb. This is the podcast where we go back and reexamine some of the biggest bombs in cinematic history and see if they deserve a second chance. On this week's episode, the guys, once again, find themselves tackling an early 2000's Walt Disney animated film. This time, it's the 2001 adventure film- Atlantis: The Lost Empire. Both a financial and critical flop, Atlantis: The Lost Empire is noted for an amazing voice cast and its mixture of traditional animation and CGI. Does Atlantis: The Lost Empire. stand the test of time? Were the critics correct with their initial assessment? Listen and find out!Timestamps: Intro - (1:10), Box Office Results, Critical Response, and Movie Guide - (16:38), Behind the Camera - (27:24), Voice Cast - (30:31), Production and Development - (42:16), Commercial Break - (49:34), Atlantis Discussion - (51:34), Is it a Bomb? - 84:27, and Outro - (93:11)Atlantis: The Lost Empire is directed by Gary Trousdale and Kirk Wise and 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.If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com or Contact Us - here. Also, if you like what you hear, leave a review on Apple Podcast.Cast: Brad, Troy

Alan Zweibel joined me to discuss growing up where I now live (Wantagh, NY); bar mitzvahs; writing for borscht belt comics; getting his shot on SNL; his famous poetry class anecdote; writing a parody of the Passover Haggadah with Dave Barry and Adam Mansbach; "Go the Fuck to Sleep"; Emily Litella; keeping the character going by adding "Bitch" to her vocabulary; writing and appearing on Chevy's Weekend Update; the Charles Grodin episode; when SNL broke format; writing the Gilda and Elliot Gould romance episode; people loving Gilda and her death affecting people who didn't know her; her dying on his birthday; Bunny, Bunny; his and my favorite Roseanne Roseannadanna; Mr. Death; meeting his wife at the show; being a guest writer three times; doing shows four weeks in a row; Andy Breckman; the 5th season Weekend Update running gag with his picture; being a cast member for one episode for his role in the Conductors Club sketch; Joey Bishop sketch; Lord and Lady Douchebag; being asked to stay by Jean Doumanian; Steve Martin's Best Show Ever; Chico Escuela and his comeback attempt; John Stearns; It's Garry Shandling Show; Ed Solomon; differences in writing for Billy Crystal and Martin Short; Marilyn Suzanne Miller, Rosie Shuster, and Don Novello; Marc Maron; Quintlexia; Gene Wilder; OJ Simpson and the anti-Buffalo sketch he turned down; Celebrity Battle of the Sexes and Races; commercial parodies Banshee and Swill; Jim Downey; Bruce Kirschbaum; Arnie Kogen; Jay Kogen and his It's Garry Shandling Show script. For his amazing book Laugh Lines go to Amazon.com: Laugh Lines: My Life Helping Funny People Be Funnier (Audible Audio Edition): Alan Zweibel, Billy Crystal - foreword, Alan Zweibel, Blackstone Publishing: Audible Books & Originals

Ian takes over the podcast to lead a discussion of an action-adventure tale that had a deep impact on his young movie-loving mind: Disney's ATLANTIS: THE LOST EMPIRE.

During the Covid-19 pandemic, two friends in comedy, Nina G. & OJ Patterson, joined forces to celebrate both their love of stand-up comedy to write Bay Area Stand-Up Comedy: A Humorous History (published by The History Press). The book includes over 100 photos, incorporating interviews from comedians like Don Novello (aka Father Guido Sarducci), Larry “Bubbles” Brown, Donald Lacy, Carrie Snow, Debi Durst, Tony Sparks, Ritch Shydner, and Lisa Geduldig (Kung Pao Kosher Comedy) that help tell the story of Bay Area stand-up comedy from the mid 1800s to the pandemic. Follow Nina G on Instagram @ninagcomedian and OJ Patterson @OJpatterson www.BayAreaStandUpComedy.com - To order your copy of the book and upcoming events Por*Ass Podcast Theme Song by Inappropriate Things www.veecomedy.com leave a rating! it helps the pod for new listeners to find us. www.RateThisPodcast.com/porasspodcast @porasspodcast - Instagram & Twitter email: porraspodcast AT Gmail DOT com Venmo: @BMERecovery For a personal video message from me get me on Cameo! - search Veronica Porras https://www.cameo.com/veeporras paypal me at https://www.paypal.com/paypalme/VeronicaPorras Leave a Tip Buy Me A Coffee - https://www.buymeacoffee.com/porasspodcast Leave a Tip and be added to my GoodPods Private Chat Group - Follow me on the Goodpods podcast app rate and comment on individual episodes chat with me and with other fans! https://goodpods.app.link/UzMxr9Duhkb Riverside Riverside Referral Link - Looking for a platform to record, stream, create clips of your content? Use my refferal link to sign up when you subscribe to an upgraded account I get a 10% commision https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=porasspodcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/porasspodcast/message Support this podcast: https://anchor.fm/porasspodcast/support

Teri Garr returns for her final SNL Hosting gig but can do little to overcome some dull material, including some of Don Novello's worst SNL writing. But there's at least one diamond in the rough. Scott and Kyle travel back in time to slog through the mess.

For nine years, Stephen Colbert's persona “Colbert”?—a Republican superhero and parody of conservative political pundits--informed audiences on current events, politics, social issues, and religion while lampooning conservative political policy, biblical literalism, and religious hypocrisy. To devout, vocal, and authoritative lay Catholics, religion is central to both the actor and his most famous character. Yet many viewers wonder, “Is Colbert a practicing Catholic in real life or is this part of his act?” This book examines the ways in which Colbert challenges perceptions of Catholicism and Catholic mores through his faith and comedy. Religion and the foibles of religious institutions have served as fodder for scores of comedians over the years. What set “Colbert” apart on his show, The Colbert Report, was that his critical observations were made more powerful and harder to ignore because he approached religious material not from the predictable stance of the irreverent secular comedian but from his position as one of the faithful. He is a Catholic celebrity who can bridge critical outsider and participating insider, neither fully reverent nor fully irreverent. Providing a digital media ethnography and rhetorical analysis of Stephen Colbert and his character from 2005 to 2014, author Stephanie N. Brehm examines the intersection between lived religion and mass media, moving from an exploration of how Catholicism shapes Colbert's life and world towards a conversation about how “Colbert” shapes Catholicism. Brehm provides historical context by discovering how “Colbert” compares to other Catholic figures, such Don Novello, George Carlin, Louis C.K., and Jim Gaffigan, who have each presented their views of Catholicism to Americans through radio, film, and television. The last chapter provides a current glimpse of Colbert on The Late Show, where he continues to be voice for Catholicism on late night, now to an even broader audience. America's Most Famous Catholic (According to Himself) also explores how Colbert carved space for Americans who currently define their religious lives through absence, ambivalence, and alternatives. Brehm reflects on the complexity of contemporary American Catholicism as it is lived today in the often-ignored form of Catholic multiplicity: thinking Catholics, cultural Catholics, cafeteria Catholics, and lukewarm Catholics, or what others have called Colbert Catholicism, an emphasis on the joy of religion in concert with the suffering. By examining the humor in religion, Brehm allows us to clearly see the religious elements in the work and life of comedian Stephen Colbert. Carlos Ruiz Martinez is a PhD student in the Department of Religious Studies at the University of Iowa. He is also the Communications Assistant for the American Catholic Historical Association (ACHA). His general interest is in American religious history, especially American Catholicism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

For nine years, Stephen Colbert's persona “Colbert”?—a Republican superhero and parody of conservative political pundits--informed audiences on current events, politics, social issues, and religion while lampooning conservative political policy, biblical literalism, and religious hypocrisy. To devout, vocal, and authoritative lay Catholics, religion is central to both the actor and his most famous character. Yet many viewers wonder, “Is Colbert a practicing Catholic in real life or is this part of his act?” This book examines the ways in which Colbert challenges perceptions of Catholicism and Catholic mores through his faith and comedy. Religion and the foibles of religious institutions have served as fodder for scores of comedians over the years. What set “Colbert” apart on his show, The Colbert Report, was that his critical observations were made more powerful and harder to ignore because he approached religious material not from the predictable stance of the irreverent secular comedian but from his position as one of the faithful. He is a Catholic celebrity who can bridge critical outsider and participating insider, neither fully reverent nor fully irreverent. Providing a digital media ethnography and rhetorical analysis of Stephen Colbert and his character from 2005 to 2014, author Stephanie N. Brehm examines the intersection between lived religion and mass media, moving from an exploration of how Catholicism shapes Colbert's life and world towards a conversation about how “Colbert” shapes Catholicism. Brehm provides historical context by discovering how “Colbert” compares to other Catholic figures, such Don Novello, George Carlin, Louis C.K., and Jim Gaffigan, who have each presented their views of Catholicism to Americans through radio, film, and television. The last chapter provides a current glimpse of Colbert on The Late Show, where he continues to be voice for Catholicism on late night, now to an even broader audience. America's Most Famous Catholic (According to Himself) also explores how Colbert carved space for Americans who currently define their religious lives through absence, ambivalence, and alternatives. Brehm reflects on the complexity of contemporary American Catholicism as it is lived today in the often-ignored form of Catholic multiplicity: thinking Catholics, cultural Catholics, cafeteria Catholics, and lukewarm Catholics, or what others have called Colbert Catholicism, an emphasis on the joy of religion in concert with the suffering. By examining the humor in religion, Brehm allows us to clearly see the religious elements in the work and life of comedian Stephen Colbert. Carlos Ruiz Martinez is a PhD student in the Department of Religious Studies at the University of Iowa. He is also the Communications Assistant for the American Catholic Historical Association (ACHA). His general interest is in American religious history, especially American Catholicism. Learn more about your ad choices. Visit megaphone.fm/adchoices

For nine years, Stephen Colbert's persona “Colbert”?—a Republican superhero and parody of conservative political pundits--informed audiences on current events, politics, social issues, and religion while lampooning conservative political policy, biblical literalism, and religious hypocrisy. To devout, vocal, and authoritative lay Catholics, religion is central to both the actor and his most famous character. Yet many viewers wonder, “Is Colbert a practicing Catholic in real life or is this part of his act?” This book examines the ways in which Colbert challenges perceptions of Catholicism and Catholic mores through his faith and comedy. Religion and the foibles of religious institutions have served as fodder for scores of comedians over the years. What set “Colbert” apart on his show, The Colbert Report, was that his critical observations were made more powerful and harder to ignore because he approached religious material not from the predictable stance of the irreverent secular comedian but from his position as one of the faithful. He is a Catholic celebrity who can bridge critical outsider and participating insider, neither fully reverent nor fully irreverent. Providing a digital media ethnography and rhetorical analysis of Stephen Colbert and his character from 2005 to 2014, author Stephanie N. Brehm examines the intersection between lived religion and mass media, moving from an exploration of how Catholicism shapes Colbert's life and world towards a conversation about how “Colbert” shapes Catholicism. Brehm provides historical context by discovering how “Colbert” compares to other Catholic figures, such Don Novello, George Carlin, Louis C.K., and Jim Gaffigan, who have each presented their views of Catholicism to Americans through radio, film, and television. The last chapter provides a current glimpse of Colbert on The Late Show, where he continues to be voice for Catholicism on late night, now to an even broader audience. America's Most Famous Catholic (According to Himself) also explores how Colbert carved space for Americans who currently define their religious lives through absence, ambivalence, and alternatives. Brehm reflects on the complexity of contemporary American Catholicism as it is lived today in the often-ignored form of Catholic multiplicity: thinking Catholics, cultural Catholics, cafeteria Catholics, and lukewarm Catholics, or what others have called Colbert Catholicism, an emphasis on the joy of religion in concert with the suffering. By examining the humor in religion, Brehm allows us to clearly see the religious elements in the work and life of comedian Stephen Colbert. Carlos Ruiz Martinez is a PhD student in the Department of Religious Studies at the University of Iowa. He is also the Communications Assistant for the American Catholic Historical Association (ACHA). His general interest is in American religious history, especially American Catholicism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

For nine years, Stephen Colbert's persona “Colbert”?—a Republican superhero and parody of conservative political pundits--informed audiences on current events, politics, social issues, and religion while lampooning conservative political policy, biblical literalism, and religious hypocrisy. To devout, vocal, and authoritative lay Catholics, religion is central to both the actor and his most famous character. Yet many viewers wonder, “Is Colbert a practicing Catholic in real life or is this part of his act?” This book examines the ways in which Colbert challenges perceptions of Catholicism and Catholic mores through his faith and comedy. Religion and the foibles of religious institutions have served as fodder for scores of comedians over the years. What set “Colbert” apart on his show, The Colbert Report, was that his critical observations were made more powerful and harder to ignore because he approached religious material not from the predictable stance of the irreverent secular comedian but from his position as one of the faithful. He is a Catholic celebrity who can bridge critical outsider and participating insider, neither fully reverent nor fully irreverent. Providing a digital media ethnography and rhetorical analysis of Stephen Colbert and his character from 2005 to 2014, author Stephanie N. Brehm examines the intersection between lived religion and mass media, moving from an exploration of how Catholicism shapes Colbert's life and world towards a conversation about how “Colbert” shapes Catholicism. Brehm provides historical context by discovering how “Colbert” compares to other Catholic figures, such Don Novello, George Carlin, Louis C.K., and Jim Gaffigan, who have each presented their views of Catholicism to Americans through radio, film, and television. The last chapter provides a current glimpse of Colbert on The Late Show, where he continues to be voice for Catholicism on late night, now to an even broader audience. America's Most Famous Catholic (According to Himself) also explores how Colbert carved space for Americans who currently define their religious lives through absence, ambivalence, and alternatives. Brehm reflects on the complexity of contemporary American Catholicism as it is lived today in the often-ignored form of Catholic multiplicity: thinking Catholics, cultural Catholics, cafeteria Catholics, and lukewarm Catholics, or what others have called Colbert Catholicism, an emphasis on the joy of religion in concert with the suffering. By examining the humor in religion, Brehm allows us to clearly see the religious elements in the work and life of comedian Stephen Colbert. Carlos Ruiz Martinez is a PhD student in the Department of Religious Studies at the University of Iowa. He is also the Communications Assistant for the American Catholic Historical Association (ACHA). His general interest is in American religious history, especially American Catholicism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

For nine years, Stephen Colbert's persona “Colbert”?—a Republican superhero and parody of conservative political pundits--informed audiences on current events, politics, social issues, and religion while lampooning conservative political policy, biblical literalism, and religious hypocrisy. To devout, vocal, and authoritative lay Catholics, religion is central to both the actor and his most famous character. Yet many viewers wonder, “Is Colbert a practicing Catholic in real life or is this part of his act?” This book examines the ways in which Colbert challenges perceptions of Catholicism and Catholic mores through his faith and comedy. Religion and the foibles of religious institutions have served as fodder for scores of comedians over the years. What set “Colbert” apart on his show, The Colbert Report, was that his critical observations were made more powerful and harder to ignore because he approached religious material not from the predictable stance of the irreverent secular comedian but from his position as one of the faithful. He is a Catholic celebrity who can bridge critical outsider and participating insider, neither fully reverent nor fully irreverent. Providing a digital media ethnography and rhetorical analysis of Stephen Colbert and his character from 2005 to 2014, author Stephanie N. Brehm examines the intersection between lived religion and mass media, moving from an exploration of how Catholicism shapes Colbert's life and world towards a conversation about how “Colbert” shapes Catholicism. Brehm provides historical context by discovering how “Colbert” compares to other Catholic figures, such Don Novello, George Carlin, Louis C.K., and Jim Gaffigan, who have each presented their views of Catholicism to Americans through radio, film, and television. The last chapter provides a current glimpse of Colbert on The Late Show, where he continues to be voice for Catholicism on late night, now to an even broader audience. America's Most Famous Catholic (According to Himself) also explores how Colbert carved space for Americans who currently define their religious lives through absence, ambivalence, and alternatives. Brehm reflects on the complexity of contemporary American Catholicism as it is lived today in the often-ignored form of Catholic multiplicity: thinking Catholics, cultural Catholics, cafeteria Catholics, and lukewarm Catholics, or what others have called Colbert Catholicism, an emphasis on the joy of religion in concert with the suffering. By examining the humor in religion, Brehm allows us to clearly see the religious elements in the work and life of comedian Stephen Colbert. Carlos Ruiz Martinez is a PhD student in the Department of Religious Studies at the University of Iowa. He is also the Communications Assistant for the American Catholic Historical Association (ACHA). His general interest is in American religious history, especially American Catholicism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies

For nine years, Stephen Colbert's persona “Colbert”?—a Republican superhero and parody of conservative political pundits--informed audiences on current events, politics, social issues, and religion while lampooning conservative political policy, biblical literalism, and religious hypocrisy. To devout, vocal, and authoritative lay Catholics, religion is central to both the actor and his most famous character. Yet many viewers wonder, “Is Colbert a practicing Catholic in real life or is this part of his act?” This book examines the ways in which Colbert challenges perceptions of Catholicism and Catholic mores through his faith and comedy. Religion and the foibles of religious institutions have served as fodder for scores of comedians over the years. What set “Colbert” apart on his show, The Colbert Report, was that his critical observations were made more powerful and harder to ignore because he approached religious material not from the predictable stance of the irreverent secular comedian but from his position as one of the faithful. He is a Catholic celebrity who can bridge critical outsider and participating insider, neither fully reverent nor fully irreverent. Providing a digital media ethnography and rhetorical analysis of Stephen Colbert and his character from 2005 to 2014, author Stephanie N. Brehm examines the intersection between lived religion and mass media, moving from an exploration of how Catholicism shapes Colbert's life and world towards a conversation about how “Colbert” shapes Catholicism. Brehm provides historical context by discovering how “Colbert” compares to other Catholic figures, such Don Novello, George Carlin, Louis C.K., and Jim Gaffigan, who have each presented their views of Catholicism to Americans through radio, film, and television. The last chapter provides a current glimpse of Colbert on The Late Show, where he continues to be voice for Catholicism on late night, now to an even broader audience. America's Most Famous Catholic (According to Himself) also explores how Colbert carved space for Americans who currently define their religious lives through absence, ambivalence, and alternatives. Brehm reflects on the complexity of contemporary American Catholicism as it is lived today in the often-ignored form of Catholic multiplicity: thinking Catholics, cultural Catholics, cafeteria Catholics, and lukewarm Catholics, or what others have called Colbert Catholicism, an emphasis on the joy of religion in concert with the suffering. By examining the humor in religion, Brehm allows us to clearly see the religious elements in the work and life of comedian Stephen Colbert. Carlos Ruiz Martinez is a PhD student in the Department of Religious Studies at the University of Iowa. He is also the Communications Assistant for the American Catholic Historical Association (ACHA). His general interest is in American religious history, especially American Catholicism. 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

For nine years, Stephen Colbert's persona “Colbert”?—a Republican superhero and parody of conservative political pundits--informed audiences on current events, politics, social issues, and religion while lampooning conservative political policy, biblical literalism, and religious hypocrisy. To devout, vocal, and authoritative lay Catholics, religion is central to both the actor and his most famous character. Yet many viewers wonder, “Is Colbert a practicing Catholic in real life or is this part of his act?” This book examines the ways in which Colbert challenges perceptions of Catholicism and Catholic mores through his faith and comedy. Religion and the foibles of religious institutions have served as fodder for scores of comedians over the years. What set “Colbert” apart on his show, The Colbert Report, was that his critical observations were made more powerful and harder to ignore because he approached religious material not from the predictable stance of the irreverent secular comedian but from his position as one of the faithful. He is a Catholic celebrity who can bridge critical outsider and participating insider, neither fully reverent nor fully irreverent. Providing a digital media ethnography and rhetorical analysis of Stephen Colbert and his character from 2005 to 2014, author Stephanie N. Brehm examines the intersection between lived religion and mass media, moving from an exploration of how Catholicism shapes Colbert's life and world towards a conversation about how “Colbert” shapes Catholicism. Brehm provides historical context by discovering how “Colbert” compares to other Catholic figures, such Don Novello, George Carlin, Louis C.K., and Jim Gaffigan, who have each presented their views of Catholicism to Americans through radio, film, and television. The last chapter provides a current glimpse of Colbert on The Late Show, where he continues to be voice for Catholicism on late night, now to an even broader audience. America's Most Famous Catholic (According to Himself) also explores how Colbert carved space for Americans who currently define their religious lives through absence, ambivalence, and alternatives. Brehm reflects on the complexity of contemporary American Catholicism as it is lived today in the often-ignored form of Catholic multiplicity: thinking Catholics, cultural Catholics, cafeteria Catholics, and lukewarm Catholics, or what others have called Colbert Catholicism, an emphasis on the joy of religion in concert with the suffering. By examining the humor in religion, Brehm allows us to clearly see the religious elements in the work and life of comedian Stephen Colbert. Carlos Ruiz Martinez is a PhD student in the Department of Religious Studies at the University of Iowa. He is also the Communications Assistant for the American Catholic Historical Association (ACHA). His general interest is in American religious history, especially American Catholicism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

For nine years, Stephen Colbert's persona “Colbert”?—a Republican superhero and parody of conservative political pundits--informed audiences on current events, politics, social issues, and religion while lampooning conservative political policy, biblical literalism, and religious hypocrisy. To devout, vocal, and authoritative lay Catholics, religion is central to both the actor and his most famous character. Yet many viewers wonder, “Is Colbert a practicing Catholic in real life or is this part of his act?” This book examines the ways in which Colbert challenges perceptions of Catholicism and Catholic mores through his faith and comedy. Religion and the foibles of religious institutions have served as fodder for scores of comedians over the years. What set “Colbert” apart on his show, The Colbert Report, was that his critical observations were made more powerful and harder to ignore because he approached religious material not from the predictable stance of the irreverent secular comedian but from his position as one of the faithful. He is a Catholic celebrity who can bridge critical outsider and participating insider, neither fully reverent nor fully irreverent. Providing a digital media ethnography and rhetorical analysis of Stephen Colbert and his character from 2005 to 2014, author Stephanie N. Brehm examines the intersection between lived religion and mass media, moving from an exploration of how Catholicism shapes Colbert's life and world towards a conversation about how “Colbert” shapes Catholicism. Brehm provides historical context by discovering how “Colbert” compares to other Catholic figures, such Don Novello, George Carlin, Louis C.K., and Jim Gaffigan, who have each presented their views of Catholicism to Americans through radio, film, and television. The last chapter provides a current glimpse of Colbert on The Late Show, where he continues to be voice for Catholicism on late night, now to an even broader audience. America's Most Famous Catholic (According to Himself) also explores how Colbert carved space for Americans who currently define their religious lives through absence, ambivalence, and alternatives. Brehm reflects on the complexity of contemporary American Catholicism as it is lived today in the often-ignored form of Catholic multiplicity: thinking Catholics, cultural Catholics, cafeteria Catholics, and lukewarm Catholics, or what others have called Colbert Catholicism, an emphasis on the joy of religion in concert with the suffering. By examining the humor in religion, Brehm allows us to clearly see the religious elements in the work and life of comedian Stephen Colbert. Carlos Ruiz Martinez is a PhD student in the Department of Religious Studies at the University of Iowa. He is also the Communications Assistant for the American Catholic Historical Association (ACHA). His general interest is in American religious history, especially American Catholicism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Meet Father Guido Sarducci, the comic creation of Don Novello, in this miniprogram. A chance find of a monsignor's outfit at a San Francisco Goodwill Store back in 1973 was the start of a legendary 50-year career playing Father Sarducci, a slyly hip correspondent for the Vatican. Find extended cuts in the comments at laughtracksradio.com and thanks for sharing our shows.

Monica, Samantha & Greg guess the plot of movies/TV shows: Atlantis & I am Sam. Follow us on: www.instagram.com/implotsters/ www.twitter.com/implotsters www.facebook.com/implotsters www.youtube.com/channel/UCNt0P8dGWkM1OdnhKO3pXKg TikTok @Implotsters Visit our website: www.implotsters.com

Welcome to the Instant Trivia podcast episode 149, where we ask the best trivia on the Internet. Round 1. Category: Well, Duh! 1: Samuel Goldwyn supposedly said anyone who goes to one of these doctors should have his head examined. Psychiatrist. 2: The English word for this animal comes from the Greek "kamelos". camel. 3: Joan Embery reports that all birds have these, "A characteristic shared by no other type of animal". Feathers. 4: Ballplayer Alex Johnson said this when asked, "2 homers last year. 7 this year -- what's the difference?". 5. 5: This brand of oats uses a man in Quaker garb in its logo. Quaker Oats. Round 2. Category: Saturday Night Lives 1: His classic characters on "SNL" included the Killer Bee, Joe Cocker and the Samurai Warrior. John Belushi. 2: In the fall of 1976, this star of "Fletch" became one of the first cast members to leave the show. Chevy Chase. 3: The show's original cast members were billed as these "players". "The Not Ready For Prime Time Players". 4: For 2 seasons Don Novello appeared regularly on the show as this "Father". Father Guido Sarducci. 5: Cast member Nora Dunn boycotted the final show of the '89-90 season when this controversial comedian hosted. Andrew Dice Clay. Round 3. Category: Classic Sitcoms By Character 1: Cliff,Carla,Coach Pantusso. Cheers. 2: Bud,Kelly,Peg,Al. Married... with Children. 3: Floyd,Opie,Emmett. The Andy Griffith Show. 4: Rosie,Dr. Sidney Friedman,Father Mulcahy. M*A*S*H. 5: Wrangler Jane,Corporal Agarn,Chief Wild Eagle. F Troop. Round 4. Category: Party Food And Drink 1: This drink is always served at a kegger, until it runs out. Beer. 2: A mixture of beverages, this party drink remains nonpotent until spiked. Punch. 3: Spanish words for peppers and cheese give this Tex-Mex dip its name. Chile con queso. 4: Porcine term for little hot dogs wrapped in puff pastry. Pigs in a blanket. 5: The rare golden sterlet type of this fish roe delicacy was once reserved for czars and shahs. Caviar. Round 5. Category: The Movies: But Weight, There's More 1: He took time off from filming "Raging Bull" in order to gain the weight he needed for the ending. Robert De Niro. 2: He gained as well as lost weight for his role in "Cast Away". Tom Hanks. 3: An Italian pasta job could have bulked her up for the 2003 film "Monster". Charlize Theron. 4: For his role as the hobbit Samwise, he packed on 30 pounds. Sean Astin. 5: The pounds he put on for "Cop Land" may have been from a lot of rocky road ice cream. Sylvester Stallone. Thanks for listening! Come back tomorrow for more exciting trivia!

Dan Vitale joined me and discussed social media presence; attention he got from Marc Maron's podcast; Lorne Michaels seeing him; his audition for The New Show; his fluctuating weight from 1986 - 1991; Cobra Kai; streaming services give more content; Dave Chappelle, Chris Rock, Bill Burr & Louis CK; being Lorne Michaels protege; being funnier now than when he was "hot" in the '80's because he's off alcohol and drugs and older; being listed above Norm MacDonald as a SNL cast member in Rolling Stone; growing up in Island Park, Long Island; other famous Island Park residents including Al D'Amato and the basis for Tony Soprano; where he did stand up pre Covid; living through Covid and protests; going back to college and feeling like Johnny Lawrence from Cobra Kai; IPhones; Dave Attell, memories of Don Novello and Randy Quaid; wanting to know who from his cast was invited to the 40th anniversary; Joan Cusack; Anthony Michael Hall; Damon Wayans; Jon Lovitz; Nora Dunn; Dennis Miller; Danitra Vance; Terry Sweeney; A Whitney Brown; Jim Downey; Franken & Davis; remembering the Madonna episode and the horrible week working with Chevy Chase; being with world's largest man Michael Hebrank (1100 lbs.) at the Brookhaven Rehabilitation Center; intermittent fasting; coming back for the Ron Reagan Jr. episode; residuals; current SNL; Baldwin's Trump vs. Carrey's Biden; Taran Killam; Darrell Hammond making SNL a civil service job; Alan Zweibel; and John Murray --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Entertainer, comedian, and podcaster Mark Malkoff joined me to talk his early influences; Norm Macdonald; Andy Kaufman; our fanaticism for Saturday Night Live; being in the audience for Letterman and Conan; Don Novello; Carl Reiner; Mel Brooks; Biff Henderson; working for the Late Show with David Letterman; Donick Cary; the trials of being head writer; Rich Hall; guests he's still working on; Dyan Cannon and Angie Dickinson; how he does a family friendly podcast; the work that goes into his show; being ghosted by a guest; how you never know why a guest can't make it, the "Will Ferrell curse"; Loni Anderson; how mistakes aren't aired anymore; Isabella Rossellini; Daljit Dhaliwal; K-Marr the Discount Magician; Otero; how Letterman hit the ground running; Carson guests who were never asked back; Carson v. Letterman guests; Letterman doing the show for himself vs. Leno doing it for NBC; guest hosts; Johnny's legacy; trial by fire of hosting a podcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In a lengthy interview, Bob Illes and I discuss his early years; starting a radio comedy show at USC; Digby Wolfe; winning a contest to write for Tennesse Ernie Ford; Mike Ovitz; writing monologues for Bill Cosby; meeting Groucho Marx and Peter Sellers; writing for the Lily Tomlin special and winning an Emmy; The Super Emmy; writing the Sanford & Son episode, "Lamont, Is That You", The Smothers Brothers NBC reboot; Mickey Rose; Chevy Chase; Don Novello; Joe & Sons, One Day at a Time, getting dressed down by Norman Lear and his mea culpa; What's Happening!!, Captain and Tenille Show, Fernwood Tonight, winning another Emmy for the last year of The Carol Burnett Show, America 2-Night; Peeping Times; The Mary Tyler Moore Hour; Steve Allen Comedy Hour; Catherine O'Hara, Flo, Private Benjamin, No Soap, Radio; Silver Spoons; Jason Bateman, John Houseman; The Cracker Brothers; Milton Berle; Double Trouble, Sylvan in Paradise, Jim Nabors; Courtney Cox; Jackie Bison Show; Harry Shearer, Stan Freberg; Amen; Sherman Hemsley; favorite episode; getting cancelled by NBC because Johnny Carson retired; age ranges in sitcoms

Is there such a thing as too much "extra"?Well Katie bar the door, I think we finally finish talking about those stirring late year films and their positioning in the Oscar race with special guest Lakers blogger and writer Christian Rivas (@radrivas) from Silver Screen and Roll/SB Nation.There is extensive discussion of the Two Popes, we talk about Oscar hopefuls Jojo Rabbit, Ford v Ferrari, and Little Women, plus our quiz questions. Lastly we reminisce about a brush with fame when Mark met his namesake Mark Ruffalo. Brad is behind the board again, please catch his musical all-stars at Arroyo Seco Golf Course on Wednesdays at 7pm for Wine and Song and Thursdays at 7 pm for The Blue Guitar, and if you’re in a comedy mood, friend of the show Vance Sanders will be bringing his BARK New Years Laugh show featuring the estimable Maria Bamford show to the Barkley on Huntington on January 15 at 8 pm. Visit our website at www.what2watchlive.com

We are thrilled to be joined by special guest Carly Skonnord as we discuss Casper (1995). She shares how her connection to the character came from a Pizza Hut toy. And we may or may not have been visited by Casper while recording. You can support animals at Berkeley Humane by making a donation or sending a gift from their wishlist. An afterlife therapist and his daughter meet a friendly young ghost when they move into a crumbling mansion in order to rid the premises of wicked spirits. Stars Christina Ricci, Bill Pullman, Cathy Moriarty, Eric Idle, Amy Brenneman, Devon Sawa, Ben Stein, Jessica Wesson, Garette Ratliff Henson, the voices of Malachi Pearson, Joe Nipote, Joe Alaskey, Brad Garrett, John Kassir, and cameos from Dan Aykroyd, Rodney Dangerfield, Clint Eastwood, Mel Gibson, and Don Novello. (from IMDb.com) Thanks to our sponsor Frankie & Myrrh! Save 20% by using promo code “HAPPILY” on their selection of aroma therapy products and at the same time, you support the show! Find other amazing podcasts by searching #ladypodsquad on Twitter, Facebook, and all the social media platforms. Follow us on Twitter and Instagram @HEAMCast, like us on Facebook @HappilyEverAftermath, and e-mail us at contact@heamcast.com.

From 1983: The most difficult part of talking with comedian Don Novello was deciding if he was going to be Novello or the prodigal bad boy of the gospel, Father Guido Sarducci. I assumed he could be both, or just Novello. Please eavesdrop on some of our opening banter.

Our Town host Andy Ockershausen interviews two outstanding professionals, Attorney Mike Collins and Dr. Joe Novello, in this all new Our Town podcast episode. Andy introduces both men to us by telling us about their very different career paths, then segues into a long laundry list of what they have in common. Up first is Attorney Mike Collins. He is managing partner of The Collins Firm and host of Legally Speaking radio show on WMAL. Andy prompts Mike to talk about his alma mater Notre Dame. Mike provides insight into his early years growing up in Chicago’s school system, and how he started Notre Dame at 16. They go on to talk about Mike’s Dad, the first Notre Dame fan Mike ever met. Although never having attended Notre Dame, his Dad had season tickets with 9 friends and he attended every home game for 49 years. The group was cut off from the tickets when the person whose name the tickets were in passed away. Mike went through a letter writing campaign to get his Dad reinstated and was successful. His Dad ended up with four season tickets for his lifetime, which Mike had to acknowledge and promise not to contest down the road. As founder of The Collins Firm, Mike has been conducting estate planning seminars throughout the DC Metro for years. He used to charge for them, but not any more. Mike has made it his mission to educate people 50+ about estate planning. Mike realizes that most folks don’t want to think about planning their estate although they know it should be done. His free seminars are the perfect way to get people motivated to get their affairs in order starting now. You’ll be entertained as you listen in to Mike describe his entrepreneurial experiences in Southern California. He and a partner started the first skate park and waterslide park there. Toward the end of his interview, you’ll laugh as you listen to Mike recall stories about his waterslide investment. These successful ventures resolved community issues for young and older people alike and made life more harmonious between the two groups. Mike wraps up this first part of his interview with Andy by recalling his major and the changes that took place during his four years at Notre Dame, before he attended law school at Georgetown University. Next you'll listen in to a personal conversation between Dr. Joseph Novello and Andy. Andy is quick to thank Joe for his help with Andy's then teenage son, who came to visit one summer. Andy says he never forgot the advice he received from Dr. Novello, and passes it on to this day to parents of teenagers. They also discuss how Joe became a Navy flight surgeon. At the peak of the Vietnam War, Joe was a resident in surgery after medical school at Michigan. He knew he would be drafted so he signed on to the Navy Flight Surgeon program. When he was done, his orders took him to Puerto Rico. While there he and his squadron made hops to Guantanamo Bay Naval Base (GTMO) many times. Afterward, Joe went back to Michigan to do a residency in psychiatry. You will also learn during their discussion that he was a child of immigrants and grew up in Cleveland, Ohio. His parents expectations were that one of their sons would be a professional and the other a priest. Joe became and doctor and his brother became a priest - well sort of. Joe's brother is Don Novello who played Father Guido Sarducci on Saturday Night Live. Andy and Joe reminisce about Joe’s Saturday evening call-in show on WMAL. Joe mentions that it was somewhat unchartered territory which resulted in as Andy says “Some of the weirdiest calls”. Joe was very pleased with the service he provided his listeners on that show. His greatest moment though was not on his on show, but when he had to stay on to answer a few of Ken Beatrice's callers. Ken happened to be at training camp and was stuck in traffic so was late to his show. Dr. Novello stepped in to help out and took first two or three calls.

Don Novello is a man of many characters.  Perhaps best known as SNL's Father Guido Sarducci, he is also the author of the wildly popular Lazlo Letters book series.  In the books, Novello is known as Lazlo Toth, the prolific writer of letters that are pure nonsense, yet pure genius.  He joins us to talk about the value of mischief, but also the power of the written letter to connect with people who are impossible to reach.

Don Novello, best known for Father Guido Sarducci, discusses his Carson appearances, writing for Saturday Night Live, and The Lazlo Letters.

Título original The Godfather: Part III Año 1990 Duración 163 min. País Estados Unidos Estados Unidos Director Francis Ford Coppola Guión Francis Ford Coppola, Mario Puzo (Novela: Mario Puzo) Música Carmine Coppola Fotografía Gordon Willis Reparto Al Pacino, Diane Keaton, Talia Shire, Andy García, Eli Wallach, Joe Mantegna, George Hamilton, Bridget Fonda, Sofia Coppola, Raf Vallone, Franc D'Ambrosio, Donal Donnelly, Richard Bright, Al Martino, Helmut Berger, Don Novello, John Savage, Franco Citti, Mario Donatone, Vittorio Duse, Enzo Robutti, Michelle Russo, Robert Cicchini, Rogerio Miranda, Carlos Miranda, Vito Antuofermo Productora Paramount Pictures Género Drama | Mafia. Crimen. Familia. Años 70. Secuela Sinopsis Michael Corleone, heredero del imperio de don Vito Corleone, intenta rehabilitarse socialmente y legitimar todas las posesiones de la familia negociando con el Vaticano. Después de luchar toda su vida se encuentra cansado y centra todas sus esperanzas en encontrar un sucesor que se haga cargo de los negocios. Vincent, el hijo ilegítimo de su hermano Sonny, parece ser el elegido.

Título original The Godfather: Part III Año 1990 Duración 163 min. País Estados Unidos Estados Unidos Director Francis Ford Coppola Guión Francis Ford Coppola, Mario Puzo (Novela: Mario Puzo) Música Carmine Coppola Fotografía Gordon Willis Reparto Al Pacino, Diane Keaton, Talia Shire, Andy García, Eli Wallach, Joe Mantegna, George Hamilton, Bridget Fonda, Sofia Coppola, Raf Vallone, Franc D'Ambrosio, Donal Donnelly, Richard Bright, Al Martino, Helmut Berger, Don Novello, John Savage, Franco Citti, Mario Donatone, Vittorio Duse, Enzo Robutti, Michelle Russo, Robert Cicchini, Rogerio Miranda, Carlos Miranda, Vito Antuofermo Productora Paramount Pictures Género Drama | Mafia. Crimen. Familia. Años 70. Secuela Sinopsis Michael Corleone, heredero del imperio de don Vito Corleone, intenta rehabilitarse socialmente y legitimar todas las posesiones de la familia negociando con el Vaticano. Después de luchar toda su vida se encuentra cansado y centra todas sus esperanzas en encontrar un sucesor que se haga cargo de los negocios. Vincent, el hijo ilegítimo de su hermano Sonny, parece ser el elegido.

Título original Casper Año 1995 Duración 96 min. País Estados Unidos Estados Unidos Director Brad Silberling Guión Sherri Stoner, Deanna Oliver Música James Horner Fotografía Dean Cundey Reparto Bill Pullman, Christina Ricci, Eric Idle, Cathy Moriarty, Amy Brenneman, Ben Stein, Devon Sawa, Don Novello, Wesley Thompson, Dan Aykroyd, Clint Eastwood, Mel Gibson Productora Universal Pictures / Amblin Entertainment / The Harvey Entertainment Company Género Fantástico. Comedia. Infantil | Sobrenatural. Casas encantadas. Fantasmas. Comedia de terror. Cine familiar Sinopsis La señora Crittenden (Cathy Moriarty) contrata al doctor Harvey (BIll Pullman) para que libere su mansión de los cuatro fantasmas que la habitan. Látigo, Tufo y Gordy no toleran a los mortales dentro de la casa y su negro sentido del humor ahuyenta a los más audaces. Su sobrino Casper, en cambio, es un joven amistoso que está harto de sus tíos. Harvey se presenta en la mansión con su hija Kat (Christina Ricci), una soñadora adolescente. Ella y Casper simpatizan inmediatamente, a pesar de que tienen problemas para relacionarse. De Casper huye todo el mundo porque es un fantasma; de Kat también, en cuanto se enteran de la profesión de su padre. El fantasma y la chica son dos almas gemelas que viven en continuo conflicto con sus respectivos parientes.

Jeremy's back!  This time we talk about Don Novello's album in character as Father Guido Sarducci – “Breakfast in Heaven.”  Enjoy! Uncle Jermy's Smyle Hour A Drinking Game  Host: Jason Klamm Producer: Mike Worden This Week's Guest: Jeremy Guskin Father Guido Sarducci's … Continue reading →

Coming next week – our old pal Jeremy Guskin talks about Father Guido Sarducci's (Don Novello) album “Breakfast in Heaven.”  Very difficult to find, and out of print, this one was a big influence on Jeremy.  Since the episode isn't … Continue reading →