Podcasts about Finding Nemo

Toy Story 5: Buzz vs Tech, New Buzz Army & Pixar's Biggest Challenge Yet | Your Nerd SideCore AngleToy Story 5 is about toys facing a new challenge: kids are growing up in a world filled with screens, tablets, and technology. The big question is whether classic toys can still matter when kids have so many digital distractions.Key Talking PointsWoody, Buzz, Jessie, and the toys return.The movie introduces a tech-related storyline involving a tablet-like character named Lilypad.There is also a major storyline involving 50 Buzz Lightyear figures.Pixar is leaning into the theme of toys versus technology.Jessie appears to have a bigger leadership role.The movie is aiming to connect with both kids and adults who grew up with Toy Story.Andrew Stanton is directing, which is important because he has deep Pixar history with Finding Nemo, WALL-E, and earlier Toy Story writing.Show AngleThis is a strong YNS topic because it works for:Pixar fansparentskidsnostalgia viewerstoy collectorsDisney fansOn this episode of Your Nerd Side, we break down what we know so far about Toy Story 5, including Buzz Lightyear's big new challenge, Jessie's role, the toys facing modern technology, new characters, and why Pixar is returning to one of its most beloved franchises. No major spoilers — just fun, family-friendly nerd talk.

The Stupid History of Finding Nemo (2003)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-stupid-history-minute--4965707/support.

In the final week of the “So What?” sermon series, Pastor Jen uses the opening of the movie Finding Nemo to illustrate the danger of independence. Just as Nemo mistakenly leaves the safety of his anemone to prove his self-sufficiency, Christians frequently drift away from God to handle life on their own terms. The Call […]

This week on Cinema Ladies, Kaly and Ellie are heading under the sea with Finding Nemo!

Do you have a plug for a miniature donkey? Please get in touch. Jane and Fi are off for the afternoon, so they're feeling liberated. They chat barely-there pavements, Noel Edmonds' farm, fox hay fever, spending sprees, and permission for raspberry trousers. There's no guest today because... there isn't. You can buy tickets for Fringe by the Sea: https://www.fringebythesea.com/off-air-with-jane-fi-and-special-guest-jan-ravens/ Our next book club pick will be a collection of short stories! 'Interpreter of Maladies' is by Jhumpa Lahiri. You can check out our YouTube channel here: https://www.youtube.com/@OffAirWithJaneAndFOur new playlist 'Coiled Spring' is up and running: https://open.spotify.com/playlist/4tmoCpbp42ae7R1UY8ofzaOur most asked about book is called 'The Later Years' by Peter Thornton.If you want to contact the show to ask a question and get involved in the conversation then please email us: janeandfi@times.radioFollow us on Instagram! @janeandfiPodcast Producer: Eve SalusburyExecutive Producer: Rosie Cutler Hosted on Acast. See acast.com/privacy for more information.

This week on Coming Out & Beyond, Anne-Marie sits down with Keith Aron (he/they), a trans and queer transformational coach, writer, proudly witchy weirdo, and self-described honorary tree. Keith writes the Substack Big Blue Sky Dragonfly, where he explores the sweet spot between belonging and authenticity — and his story is one Anne-Marie has been wanting to share for a long time.Keith came out as a lesbian in 2001, while living in conservative Northern Virginia, married to a man, and parenting a young child. There was no social media then, no community waiting on the other side of a Google search — only a Yahoo users group called Lesbian Support, a tiny LGBTQ shelf at the local Barnes and Noble, and a book titled From Wedded Wife to Lesbian Life that he devoured in his minivan. Fifteen years later, after years of sobriety, therapy, and working with gender dysphoria that had been quietly rising for most of his life, Keith came out again — this time as trans.In this conversation, Anne-Marie and Keith move slowly through the territory many of our community members know well. The double masking of sexuality and gender. The way the body keeps the score when we suppress what we know to be true. The role of community in healing what Anne-Marie has called the relational wound of queerness. The strange terrain of passing, of invisibility, of gaining male privilege as someone who lived nearly five decades culturally read as female. The both/and of every part of this work.Keith also offers his perspective on imposter syndrome — particularly the queer imposter syndrome that visits so many people who arrive at their identity later in life and wonder if they are queer enough, trans enough, allowed enough to claim what is theirs. His approach, informed by internal family systems, is one of curiosity rather than combat: getting to know the inner critic, learning what it is afraid of, what it has been trying to protect. (Listen for Keith's nod to Marlin from Finding Nemo as the inner critic we can all probably recognize.)Anne-Marie and Keith also talk practically about how to find safe community when you are exploring something new — including the often-overlooked support of 12-step affinity spaces — and how to find a therapist or coach who actually understands later-in-life identity work, because the rush to be an ally is not the same as the experience to do the work well.This conversation is for anyone listening who came in for the sexuality piece and has started to wonder if there is something else underneath. It is also for anyone who has been on this path for a while and could use the company of someone who has walked the long version of it.Connect with KeithYou can find Keith at keitharon.com and on Substack at Big Blue Sky Dragonfly (keitharon.substack.com), or by searching his name on LinkedIn. If you are curious about working with him, his website is the easiest place to start.Join us in communityIf Keith's words about the necessity of community landed somewhere tender today, we want you to know there is a place for you. Authentically Us is Anne-Marie's ongoing community on Mighty Networks for women navigating identity, sexuality, and the questions that arrive in midlife. It is warm, it is unhurried, and it is full of people who have wondered the same things you are wondering. We would love to have you. You can learn more at https://community.annemariezanzal.com.

This week on Coming Out & Beyond, Anne-Marie sits down with Keith Aron (he/they), a trans and queer transformational coach, writer, proudly witchy weirdo, and self-described honorary tree. Keith writes the Substack Big Blue Sky Dragonfly, where he explores the sweet spot between belonging and authenticity — and his story is one Anne-Marie has been wanting to share for a long time.Keith came out as a lesbian in 2001, while living in conservative Northern Virginia, married to a man, and parenting a young child. There was no social media then, no community waiting on the other side of a Google search — only a Yahoo users group called Lesbian Support, a tiny LGBTQ shelf at the local Barnes and Noble, and a book titled From Wedded Wife to Lesbian Life that he devoured in his minivan. Fifteen years later, after years of sobriety, therapy, and working with gender dysphoria that had been quietly rising for most of his life, Keith came out again — this time as trans.In this conversation, Anne-Marie and Keith move slowly through the territory many of our community members know well. The double masking of sexuality and gender. The way the body keeps the score when we suppress what we know to be true. The role of community in healing what Anne-Marie has called the relational wound of queerness. The strange terrain of passing, of invisibility, of gaining male privilege as someone who lived nearly five decades culturally read as female. The both/and of every part of this work.Keith also offers his perspective on imposter syndrome — particularly the queer imposter syndrome that visits so many people who arrive at their identity later in life and wonder if they are queer enough, trans enough, allowed enough to claim what is theirs. His approach, informed by internal family systems, is one of curiosity rather than combat: getting to know the inner critic, learning what it is afraid of, what it has been trying to protect. (Listen for Keith's nod to Marlin from Finding Nemo as the inner critic we can all probably recognize.)Anne-Marie and Keith also talk practically about how to find safe community when you are exploring something new — including the often-overlooked support of 12-step affinity spaces — and how to find a therapist or coach who actually understands later-in-life identity work, because the rush to be an ally is not the same as the experience to do the work well.This conversation is for anyone listening who came in for the sexuality piece and has started to wonder if there is something else underneath. It is also for anyone who has been on this path for a while and could use the company of someone who has walked the long version of it.Connect with KeithYou can find Keith at keitharon.com and on Substack at Big Blue Sky Dragonfly (keitharon.substack.com), or by searching his name on LinkedIn. If you are curious about working with him, his website is the easiest place to start.Join us in communityIf Keith's words about the necessity of community landed somewhere tender today, we want you to know there is a place for you. Authentically Us is Anne-Marie's ongoing community on Mighty Networks for women navigating identity, sexuality, and the questions that arrive in midlife. It is warm, it is unhurried, and it is full of people who have wondered the same things you are wondering. We would love to have you. You can learn more at https://community.annemariezanzal.com.

The BOB & TOM Show — May 21, 2026 6:00 — “Enormous Penis” by Da Vinci's Notebook 6:05 — Kristi discusses an octopus movie 6:08 — Discussion about Finding Nemo and Tom not liking it 6:11 — Talking animals in movies 6:23 — Top 10 talking animal movies 6:27 — Tom discusses sign language and unintentionally upsets listeners 6:33 — Letter about Sherwood Anderson reportedly dying from complications involving a toothpick 6:34 — Letter reacting to Tom mentioning James Caan and the Playboy Mansion 6:37 — Tom discusses former Playboy models 6:47 — Letter about things Josh dislikes 6:50 — Discussion about Scout vehicles going electric 6:54 — Bench seats in future Scout vehicles 7:04 — Letter about a grandmother being buried with a six-pack of Schlitz beer 7:08 — Favorite beers discussion 7:09 — Tom says his dog house is now outside 7:11 — Letter about going to the deli for pepperoni 7:12 — Update on Josh's cat, Gravy 7:13 — Tom jokes about his dog threatening to call the ASPCA 7:24 — Beer song transition from Pat 7:26 — Sports segment 7:34 — Fingerprint theft discussion 7:38 — Chick discusses Aaron Rodgers 7:50 — “Enter the Young” by The Association 7:53 — “Along Comes Mary” by The Association 7:55 — Free T-shirts discussion tied to “Enter the Young” 8:03 — Story about the longest scarf knitted while running a marathon 8:06 — Seagull reportedly poops on King Charles III 8:08 — “Along Comes Mary” by The Association 8:09 — Arguing over bad jokes 8:09 — Discussion about surviving members of The Association 8:10 — Discussion about a “Sexy Priest” calendar 8:13 — Kristi mentions a “Sexy Rabbi” show 8:24 — Study says swearing during workouts may help performance 8:27 — Dunkin offering 48-ounce coffee buckets for one day 8:32 — Pat performs a song about swearing 8:36 — T-shirt slogan discussion 8:47 — Letter from a listener in Switzerland about the meaning of “Schlitz” 8:49 — Today in History 8:54 — Discussion about Raymond Burr being a difficult guest on The Tonight Show Starring Johnny Carson 9:05 — Zoom interview with Al Jackson 9:07 — “Get Cendy” discussion 9:22 — Zoom interview with Bob Odenkirk 9:25 — Discussion of Bob Odenkirk's movies and projects 9:32 — TSA policies regarding medical marijuana discussed 9:36 — “Rock the Boat” discussion 9:48 — Discussion about vegan and non-vegan relationships 9:51 — Jess discusses making both meat and vegan hot dogs 9:52 — Story about a frog found in a sealed salad bag 6:00 AM Hour7:00 AM Hour8:00 AM Hour9:00 AM Hour Learn more about your ad choices. Visit podcastchoices.com/adchoices

This episode was almost called A Crescendo of Crime… but then we accidentally booked a petty criminal. In this episode of Live, Laugh, Larceny: A True Petty Crime Podcast, Trevin and Amanda dive into strange crimes, bizarre animal behavior, and their first-ever interview with the subject of a story. Trevin revisits the very millennial experience of being labeled a “back-talker” as a kid, while Amanda battles bedtime negotiations as Winnie discovers the art of lovebombing for extra conversation time. For Top 5, Trevin explores rejected Illinois vanity license plates — including disasters like “THICCAF” and “BLUBALLN” — while Amanda counts down the most bizarre animal mating techniques in nature, featuring Surinam toads, bed bugs, and even fish from Finding Nemo. Trevin's story takes us to the University of Alaska, where theater student Graham Granger becomes surrounded by AI-generated artwork. But when one particular AI art display pushes him over the edge, he makes the unforgettable decision to eat the art itself. Amanda heads back to 1950 for the story of Marion D. Perry, a suburban man driven mad by nonstop barking dogs — leading him to devise a very unusual form of revenge. Then, in a first for the show, Trevin interviews Graham Granger himself to learn what actually happened, how his stomach survived eating AI art, and whether the viral news coverage got the story right. From rejected license plates to consumed artwork, this episode gets loud in all the weirdest ways.

Découvrez notre épisode de podcast entièrement consacré à Le Monde de Nemo, le célèbre film d'animation Disney Pixar devenu un classique incontournable du cinéma familial ! Dans cet épisode, nous revenons sur l'histoire de Nemo, Marin et Dory, les coulisses de création du film chez Pixar, les scènes cultes, les musiques emblématiques et l'impact du film sur toute une génération.Pourquoi Le Monde de Nemo est-il considéré comme l'un des meilleurs films Pixar ? Quels messages se cachent derrière cette aventure sous-marine pleine d'émotion et d'humour ? Comment le film a-t-il inspiré les attractions Disney dans les parcs à thèmes à travers le monde ? Au programme :Histoire et analyse du film Le Monde de NemoLes personnages cultes : Dory, Marin, Nemo, Bruce et Crush et bien d'autres !Les références cachées et easter eggs Disney PixarL'univers du Monde de Nemo dans les parcs DisneyNostalgie Disney et souvenirs des années 2000Un épisode incontournable pour tous les fans de Disney, Pixar, animation, cinéma d'animation et parcs Disney.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Every week, Sue and Kendra have the privilege of spotlighting people whose creativity, heart, and drive help make our city stronger—and today they talked with Rockport, MA native -- Academy Award winning Director Andrew Stanton whose creative force brought us the Toy Story franchise, Finding Nemo, Finding Dory, Monsters Inc and WALL-E. Sue and her husband Tom are lifelong friends with Andrew and his wife Julie; they will be on the red carpet for the LA Premiere of Toy Story 5 (opening in theatres June 19). They needed to prepare him for Sue... and have fun with a little game called "Name the Toy from its Story."

Send us Fan MailIn one corner, Finding Nemo — Pixar's emotional rollercoaster packed with unforgettable characters, big laughs, and a journey across the sea that hits right in the feels.

In this episode of What God Showed Me Today, we trace a surprising thread from the cry of Ecclesiastes—"vanity of vanities"—back to the very first human struggle over identity, possession, and worship. The journey begins with the word הבל (hevel)—breath, vapor, vanity—and how it echoes not only through Ecclesiastes but into the name Abel, the second son of Adam and Eve. From there, we step into Genesis 4 and carefully read Eve's births "with God"—a phrase that quietly reveals partnership, pain, and promise in the formation of humanity's first family dynamic. At the center stands a tension as old as Eden: What is mine… and what is God's? Cain's offering and Abel's offering are not just acts of worship—they are revelations of the heart's struggle between possession and surrender. Like the seagulls in Finding Nemo, the human heart still cries: "Mine… mine… mine…" But Heaven responds with something deeper: "Bring Me what is yours… and find Me in it." This episode explores: How הבל (vanity/breath) shapes human identity Why Abel's name is not accidental What Eve's naming of her sons reveals about partnership with God How offerings expose the difference between ownership and worship And why the first conflict in Scripture is really about possession vs. presence

Pixar Developing New “Finding Nemo” Short https://whatsondisneyplus.com/pixar-developing-new-finding-nemo-short/   #DisneyPlus  VISIT ONLINE -  http://www.WhatsOnDisneyPlus.com If you enjoy my content, please consider supporting me via our Patreon or as a YouTube Channel Membership from as little as $2 a month and get access to exclusive content and much more.  

Pixar Developing New “Finding Nemo” Short https://whatsondisneyplus.com/pixar-developing-new-finding-nemo-short/   #DisneyPlus  VISIT ONLINE -  http://www.WhatsOnDisneyPlus.com If you enjoy my content, please consider supporting me via our Patreon or as a YouTube Channel Membership from as little as $2 a month and get access to exclusive content and much more.  

Pixar Developing New “Finding Nemo” Short https://whatsondisneyplus.com/pixar-developing-new-finding-nemo-short/   #DisneyPlus  VISIT ONLINE -  http://www.WhatsOnDisneyPlus.com If you enjoy my content, please consider supporting me via our Patreon or as a YouTube Channel Membership from as little as $2 a month and get access to exclusive content and much more.  

Grade 9 is a biggie. The first year of high school. New class formats. New friends. Hormones. Social media. Robyn Bresnahan spends a day at St Francis Xavier school in Riverside South talking to ninth graders about dating, summer jobs, homework and what keeps them up at night. Credit to the Barenaked Ladies for 'Grade 9', Disney/Pixar's Finding Nemo and Disney's High School Musical.

In this episode we look back at a 2003 Pixar classic, Finding Nemo. This is when Disney made movies movies that entertained Adults and children - at two different levels - at the same time. A heart-warming tale of searching for a lost "child" while also a tale of a child on a wild adventure. Join as we consider the search for the "lost sheep" and the rich characters that captivate our imagination.

In deze aflevering duiken we in de onderwater wereld van Crush's Coaster in Disney Adventure World. Kom alles te weten over het ontstaan van deze Finding Nemo achtbaan. Wat voert deze indoor Spinning Coaster van Maurer in zijn schild en waarom staan er altijd lange wachtrijen? Uiteraard delen we ook onze mening en geven we de achtbaan een cijfer op een schaal van 0 tot 8.Hoofdstukken00:00:00 Introductie00:10:22 Van 0 tot Crush's Coaster00:18:11 Kenmerken & Statistieken00:29:30 Thematisering & Storytelling00:45:50 Crush's Coaster in het Nieuws00:49:40 Klant is Koning00:56:53 Eigen Mening & Ervaring01:05:00 0 Tot 8Volg ons ook op onze socials!Shop: shop.van0tot8baan.nlPetje af: www.petjeaf.com/van0tot8baanTiktok: @van0tot8baanInstagram: @van0tot8baanX: @van0tot8baanThreads: @van0tot8baanFacebook: Van 0 Tot 8BaanWebsite: www.van0tot8baan.nlE-mail: info@van0tot8baan.nlSupport the show

Tony Abbott served as Australia's 28th Prime Minister from 2013 to 2015. He is a Rhodes Scholar and among the most polarising and consequential figures in modern Australian political history. Rather than writing a series of memoirs detailing the turbulent years before, during and after his leadership of Australia, he instead, wanted to re-introduce a pride for Australia's history which he is afraid 'the black armband view of history' has erased. Tony makes the case that Australians have far more to be proud of than ashamed.His book is called 'Australia: A History' and tells the story of a not so long ago Australia. The evolution of Australia post 1788. Tony's speculated origins for Australia's egalitarianism. How settlers and convicts ending up working together  to create the institutions that endure through till today. And all the meanwhile, not ignoring the devastating consequences the English expansion into Australia had to the indigenous Australian's who were here as long as 60,000 years before. This interview would be good to listen to alongside my interview with Robyn Davidson. They aren't two different idea's of history, but rather two differently sympathetic perspectives on an Australia both have travelled widely and thoughtfully. Link's To Tony AbbottAustralia: A HistoryThis is a summary of what was covered in the interview today. [00:00] — The Black Armband view of history? Abbott defines the term and stakes out his "glass half full" position on Australian history.[01:50] — Ryan pushes back: did Abbott downplay frontier conflict? [03:59] — The Myall Creek Massacre, the legal scandal of the first acquittal, the fury it sparked, and the eventual hanging of seven perpetrators.[06:03] — How short Australian post-1788 history actually is. [08:35] — Peter Thiel's stagnation thesis [12:08] — What evidence does Abbott see of Australians being ashamed of their history? [15:09] — Ryan offers a different read: most Australians are curious about history, not ashamed of it.[18:43] — Why isn't Australian history dramatised more on screen? [20:19] — Finding Nemo point: great fiction drives engagement more than philanthropy or think tanks. [21:04] — Mark Twain visited Australia and described Sydney as "an English city with American energy." Abbott loves the line.[24:47] — The convict origins of Australian egalitarianism. [27:26] — What made the early governors enforce the rule of law rather than create their own tyranny? [31:56] — Overrated / Underrated (Tyler Cowen's question). [35:05] — Indonesia. Why don't we have deeper cultural ties with a neighbour of 300 million? [39:13] — Serendipity vs. Providence. Podcast Starter PacksInvestigative JournalistsOffshore Finance/Kleptocracy & Money LaunderingGeopolitics/Economics/Economic DevelopmentExplorers & AdventurersLeave a review on Apple or Spotify (nothing does more to help grow the show)

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]

Send us Fan MailWe share a mini trip report from our March 25th to March 28th Walt Disney World getaway with a split stay at Bay Lake Tower and Art of Animation. We break down what stressed us out, what totally made the trip, and the planning tools that helped us do a lot even during heavy crowds.• spring break crowds and how they affect walking, shopping and quick-service seating• why our accessible Finding Nemo suite layout felt off and what went wrong in the room• Expedition Everest going down at rope drop and the tension of an unofficial line• flight delays and how travel friction can hit a short trip• extended evening hours at Magic Kingdom and the best late-night moments• Lightning Lane strategy that helped us ride nearly everything• how Wait Magic finds and modifies Lightning Lanes with less phone time• why short one-on-one trips with your kids matter• announcement of the new podcast Our Adventure BookIf you're enjoying the podcast, I would love if you would leave a positive review on Apple Podcasts or Spotify. If you know someone who's traveling to Disney soon, share the episode or share the show. Make sure to subscribe as well so you never miss a new episode.If you are enjoying the podcast, I would love if you would leave me a five-star review on Spotify or Apple Podcast. Make sure you come back next Monday to hear all about that. If you want to take your own little Disney short trip, I would love to help you plan that.CLICK HERE for links to my quote forms so we can start planning your next short Disney trip!

In this episode of Cause+Effect, Trent Dunham is joined by Matthew Luhn — writer, animator, director, author, and longtime Pixar story leader. Drawing from his work on Toy Story, Monsters, Inc., Finding Nemo, Up, and more, Matthew shares what makes a story memorable and why great storytelling is essential for leaders, ministries, and nonprofits trying to inspire action.Together, Trent and Matthew explore why facts alone rarely stick, how story creates emotional connection, why the audience should be seen as the hero, and how organizations can better communicate mission through compelling, human-centered narratives. Matthew also unpacks simple storytelling principles leaders can use right away to make their message clearer, stronger, and more impactful.Show Notes:Pickup a copy of Matthew's book: https://a.co/d/07QnkFfm

Discovery. Drama. Diversity. Design inspo. Let's squirm into the sea grass and the tidal crevices with California Academy of Sciences legend Dr. Terry Gosliner and the American Museum of Natural History's Dr. Jessica Goodheart to discover bunny horns, finger backs, stolen weaponry, “buttflowers,” doomed first dates, high fashion, tiny eyes, gender fluidity, “Finding Nemo” cameos, the boardgame you need, and how your phone can warm a scientists heart just by slipping on a windbreaker and looking for beautiful things. Visit the Goodheart Lab and follow Dr. Goodheart on Google Scholar Visit the Gosliner Slug Lab and follow Dr. Gosliner on Google Scholar Donations went to California Academy of Sciences and oSTEM More episode sources and links Other episodes you may enjoy: Malacology (SNAILS & SLUGS), Oceanology (OCEANS), Cnidariology (CORAL), Medusology (JELLYFISH), Biomineralogy (SHELLS), Zoohoplology (ANIMAL DEFENSES), Ophthalmology (EYES), Optical Technology (HISTORY OF EYEGLASSES + MODERN DAY VISION) 400+ Ologies episodes sorted by topic Smologies (short, classroom-safe) episodes Sponsors of Ologies Transcripts and bleeped episodes Become a patron of Ologies for as little as a buck a month OlogiesMerch.com has hats, shirts, hoodies, totes! Follow Ologies on Instagram and Bluesky Follow Alie Ward on Instagram and TikTok Editing by Mercedes Maitland of Maitland Audio Productions and Jake Chaffee Managing Director: Susan Hale Scheduling Producer: Noel Dilworth Transcripts by Aveline Malek  Website by Kelly R. Dwyer Theme song by Nick Thorburn Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Laura Burkhauser, CEO of Descript, explains the surprising truth about what actually grows a product.Most marketing advice assumes growth comes from better targeting, smarter funnels, or stronger loyalty. Laura sees it differently.In this episode, we get into what actually drives product growth — and why some of the most widely accepted ideas in marketing and SaaS don't hold up when you look at real behaviour. From why freemium often fails, to why loyalty doesn't grow your business (but still matters), to what AI will and won't change — this is a grounded, operator-level view of how products actually scale.If you work in marketing, product, or growth, this will likely challenge a few default assumptions.In this episode, we cover:Growth doesn't come from loyalty — it comes from penetrationMost freemium models don't work the way companies think they do“Target audiences” often aren't real, connected communitiesAI will amplify creativity, not replace itCustomer care is one of the last real competitive advantages02:00 – What Descript actually is and who it's for04:30 – Product vs product marketing: the career fork that shapes everything07:30 – Why big tech can slow you down (and what startups get right)10:00 – Moving from product leader to CEO — what actually changes13:30 – The freemium myth: why it didn't work the way they expected15:00 – “Are we dating or not?” — a better model for product growth16:30 – How products actually get discovered (SEO, content, and reality)18:00 – Why most “target audiences” aren't real communities20:30 – The shift from founder-led to customer-led companies22:00 – What customers are actually good at telling you (and what they're not)24:30 – Why customer care is a competitive advantage (and why most companies cut it)25:00 – Loyalty isn't growth — but it might be your moat26:00 – How to actually achieve penetration in a crowded market28:00 – The challenge of building a product for “everyone”30:00 – AI, content, and the future of podcasting — what's real vs hype33:00 – Why most AI-generated content won't work34:30 – The “Finding Nemo” moment AI still hasn't had36:00 – Scaling a company without losing creativity37:00 – Why “intrepid” might be the most important mindset for modern teamsAbout Laura BurkhauserLaura Burkhauser is the CEO of Descript, one of the most widely used platforms for podcasting, video editing, and content creation. She has held senior product leadership roles at companies including Amazon and Twitter, and is known for her product-first approach to growth.Listen / Watch more episodes:https://www.thatswhaticallmarketing.com/Thanks to our partner on this episode the always on brand tracking dashboard TracksuitIf you enjoyed this, subscribe for more conversations with CMOs, founders, and marketing leaders on how growth actually happens. Hosted on Acast. See acast.com/privacy for more information.

Jim Hill and Lauren Hersey break down Disney's clever Pixar Merch Madness campaign and debate which franchise will dominate the bracket. They also dive into the overwhelming demand for Bluey in the parks, the rollout of new Bluey merchandise, and how Hannah Montana nostalgia is fueling a fresh wave of Disney consumer products. Then, Jim uncovers the surprising origin story of Disney Pez dispensers and how they became one of the company's longest-running collectibles. NEWS • Disney launches a Pixar-themed “Merch Madness” bracket on Instagram, letting fans vote daily to determine future limited-release merchandise • Early matchups show strong wins for Cars, Monsters Inc., and Finding Nemo, with Ratatouille narrowly beating Up • Bluey's Best Day Ever debuts at Disneyland with overwhelming demand, long lines, and immediate operational adjustments • Disney reevaluating Bluey show length after feedback that 40 minutes may be too long for younger audiences • New Bluey merchandise arrives at Disneyland, including apparel and collectible figures designed for both kids and adults • Hannah Montana's 20th anniversary (“Hannah-versary”) sparks new merch across Disney Store, Amazon, and fashion collaborations FEATURE • Pez was invented in 1927 as a breath freshener alternative to smoking, with dispensers modeled after cigarette lighters • Disney characters first appeared on unauthorized Pez dispensers in 1955, leading to a six-year negotiation before official licensing in 1961 • Early Disney Pez prototypes and discontinued designs are now highly valuable collector's items, with some selling for thousands • The brand shifted from adult breath mints to kid-focused candy after success with character dispensers and novelty designs • Disney park-exclusive Pez items now include Haunted Mansion and Figment dispensers, along with themed display pieces like monorails • Pez collecting remains a passionate hobby, with conventions like Pezamania and rare pieces driving a strong secondary market HOSTS • Jim Hill - IG: @JimHillMedia | X: @JimHillMedia | Website: JimHillMedia.com • Lauren Hersey - IG: @lauren_hersey_ | X: @laurenhersey2 FOLLOW • Facebook: JimHillMediaNews • Instagram: JimHillMedia • TikTok: JimHillMedia SUPPORT Support the show and access bonus episodes and additional content at Patreon.com/JimHillMedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - Strong Minded Agency SPONSOR This episode is brought to you by Unlock Magic, your go-to source for discounted Disney and Universal theme park tickets. If a Disney or Universal trip is on your radar for 2026, visit UnlockMagic.com to lock in great deals and expert support. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Editors on Editing, Glenn is joined by Axel Geddes. Axel's impressive credits include being a second film editor on WALL-E, Toy Story 3, Turning Red, Finding Nemo, Lightyear and Elio. Axel was also lead editor on Finding Dory and Toy Story 4, for which he won the Eddie. Now he's brought his excellent skills to the heartwarming adventure Hoppers.Thanks again to ACE for partnering with us on this podcast, check out their website for more.And thank you to Sohonet for their support! Check out their site here: ⁠⁠https://www2.sohonet.com/editorialWant to see more interviews from Glenn? Check out "Editors on Editing" here.The Art of the Frame podcast is available on Apple Podcasts, Spotify, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes and, please leave a review so more people can find our show!  

Axel Geddes ACE, Tony Greenberg, Chloe Kloezeman, Geoff Sledge, Ayesha Johannes The Hoppers editing team of Axel, Tony, Chloe, Geoff and Ayesha understand better than anyone, that in the world of animation, creating a captivating film involves more than just drawing and animating characters. It requires a deep understanding of storytelling, editing, and collaboration.  Not to mention the occasional party in the cutting room. Hoppers follows a young woman named Mabel Tanaka, an animal lover whose mind is transferred into a lifelike robotic beaver, allowing her to communicate with animals and save their habitat from human destruction, while inadvertently starting an uprising in doing so.   AXEL GEDDES, ACE Axel Geddes joined Pixar Animation Studios in February 1999 as an assistant editor on the Academy Award®-nominated feature "Toy Story 2." Geddes went on to work as a second assistant editor on "Monsters, Inc.," first assistant editor on Oscar®-winner "Finding Nemo" and second film editor on Oscar®-winning feature film "WALL•E."  He continued as a lead editor on two Toy Story Toons, the studio's Halloween television special "Toy Story of TERROR!" and "Finding Dory." He more recently served as Editor on the Academy AwardÆ-winning film "Toy Story 4," in addition to working on Pixar's "Lightyear." Geddes recently completed cutting Pixar's latest feature "Hoppers". Geddes was born and raised in the San Francisco Bay Area. He studied filmmaking with an emphasis on editing at The Academy of Art University in San Francisco. He resides in the East Bay with his wife and their three children. TONY GREENBERG Anthony Greenberg (call him Tony) joined Pixar in 2002 as a Second Assistant Editor for The First Incredibles. His subsequent credits include serving as First Assistant Editor on WALL•E, and Second Editor on both The Good Dinosaur and Incredibles 2. Most recently, he served as the Lead Editor for Lightyear and as a Second Editor for Hoppers. Prior to his time at Pixar, Tony began his career as an Intern at Industrial Light & Magic, where he eventually rose to the position of Assistant VFX Editor. CHLOE KLOEZEMAN Chloé Kloezeman was hired as a temporary assistant editor in 2012 for the TV special, Toy Story of Terror. What was supposed to be 3 months turned into 14 years, and she's hoping that no one has noticed. She has Second Assistant Editor credits on Finding Dory, Coco, Toy Story 4 (and said TV Special), and two credits as a Second Editor (Lightyear and the new Hoppers). Working on Hoppers has been a highlight of her career. Kloezeman was born and raised in the San Francisco Bay Area and is a UC Berkeley graduate. She lives in Oakland with her partner and two kids. GEOFF SLEDGE Geoffrey Sledge previously worked on live action features in New York, mainland China and Hong Kong. After returning to the States, he started at Pixar in 2013, first as an assistant on Coco. He transitioned into the Second Editor role while working on Hoppers. AYESHA JOHANNES Ayesha Johannes joined Pixar in the spring of 2016 as an Editorial Intern on Cars3. She then went on to become a second assistant editor on Luca and then Lightyear.  She also worked as an assistant editor on two spark shorts at Pixar, PURL and LOOP. On Hoppers she was promoted to a first assistant editor and it has been her most favorite time at Pixar so far. Prior to her time at Pixar, Ayesha studied at the Academy of Art University and while there worked with a director on a Filipino short film called Christmas Bonus. She was born and raised in Mumbai, India and now lives in Oakland, California with her family. Visit Extreme Music for all your production audio needs Listen to past interviews with 2026 ACE Eddie Winners, Michael Shawver (Sinners), Andy Jurgensen (One Battle After Another), Mark Strand (The Pitt), Nathan Schauf (KPop Demon Hunters) and Eric Kissack (The Studio) Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Show Notes The sequel to Finding Dory this week, where we start by Finding Nemo. A fantastic cast brings the beautiful animation to life. From an uber-sympathetic Willem Defoe to an “unfunny” Albert Brooks, the intention of the casting is impeccable. Pixar is really coming into its own with this one. Recommendations: Abbott Elementary; Last Kill (AMC+) Next up: Brother Bear (2003) Email us at latecomers@gmail.com Our Facebook group is here for those who consent: https://www.facebook.com/groups/1754020081574479/ **

Show Notes They don't know me 'cause I'm not here - sometimes a Goo Goo Dolls song is actually the theme song to a movie you didn't know existed, so we are learning things this week with Treasure Planet from 2002. A story that has been put on film a number of times, this iteration gives us space twist with cyborgs and mantis and morphs, oh my. If you have daddy issues, this one's for you. Recommendations: The Burbs (Peacock); Operation Fortune: Ruse de Guerre (Netflix) Next up: Finding Nemo (2003) Email us at latecomers@gmail.com Our Facebook group is here for those who consent: https://www.facebook.com/groups/1754020081574479/

f you'd like to see full video of this and other episodes, join the Reel Notes Patreon at the Homie ($5/month) tier or higher. Each episode is also available to buy individually for $5 (Buy it through a web browser and not the Patreon app. You'll get charged extra if you purchase through the app.) You also get early access to episodes, an invite to our Discord server, access to the Reel Talk archives, and more! My guest this week is Bronx-based DJ, writer, photographer, educator, radio host, and founder of HangTime Magazine and Hangtime Radio Flwrshrk. We spoke about Send Help, Finding Nemo, growing up around entertainers, melding together all her practices, the mark of a good DJ, running HangTime, and more stories and anecdotes than I could keep track of. Come fuck with us. Visit the HangTime Magazine and tune into HangTime Radio every Friday morning from 9-11AM on Newtown Radio. Listen to my episode of HangTime Radio here. Follow Flwrshrk on Instagram and TikTok: @flwrshrk Reel Notes stands in solidarity with American immigrants against ICE and the oppressed peoples of Palestine, Congo, Sudan, Tigray, and Haiti. Please consider donating to the Coalition for Humane Immigrant Rights, the Palestine Children's Relief Fund,  The Palestinian Youth Movement, The Zakat Foundation, HealAfrica, FreeTigray, and/or Hope For Haiti. Protest, fight back, and fuck the system.  My first book, Reel Notes: Culture Writing on the Margins of Music and Movies, is available now, via 4 PM Publishing. Order a digital copy on Amazon. Follow me on Instagram (@cinemasai), Twitter (@CineMasai_), TikTok (@cinemasai), Letterboxd (@CineMasai), and subscribe to my weekly Nu Musique Friday newsletter to stay tapped in to all things Dylan Green.  Follow Hearing Things at hearingthings.co or @hearingthingsco on all social platforms.   

Hi everyone! In today's episode we discuss how Iron Man may return in Avengers: Doomsday, the hidden meaning behind Courage the Cowardly Dog and also a dark secret behind Finding Nemo!

Phil Iscove and Emily St. James continue their Pixar 2000s miniseries with a deep dive into WALL·E, Andrew Stanton's 2008 animated sci-fi romance about a lonely trash-compacting robot left behind on Earth.Joined by Justin and Laura Khoo, they break down the film's near-silent first act, Ben Burtt's groundbreaking sound design, the Axiom's consumerist dystopia, and why WALL·E may be Pixar's most political film. They also discuss its environmental themes, visual storytelling, and how it fits alongside Finding Nemo, The Incredibles, Ratatouille, and Cars in Pixar's golden era.Is WALL·E the studio's boldest experiment? Its purest love story? Or both?Follow the Hosts & GuestsPodcast Like It'sInstagram: https://www.instagram.com/podcastlikeitsPhil IscoveInstagram: https://www.instagram.com/pmiscoveEmily St. JamesInstagram: https://www.instagram.com/emilystjamsJustin KhooInstagram: https://www.instagram.com/juskhooLaura KhooInstagram: https://www.instagram.com/laurajeanettekhoo Hosted on Acast. See acast.com/privacy for more information.

The Daily Quiz - Entertainment, Society and Culture Today's Questions: Question 1: Which actor has starred in films including Inception and The Revenant? Question 2: Name the movie that matches the following plot summary: 'A blacksmith teams up with an eccentric pirate to save his love.' Question 3: What is the plot of the movie Finding Nemo? Question 4: Which actor played the role of Iron Man in the Marvel Cinematic Universe? Question 5: What is the plot of the movie Alien? Question 6: Which actor plays the role of Heimdall in the Marvel Cinematic Universe? Question 7: Which actor has starred in films including Star Wars and Blade Runner? Question 8: What is the plot of the movie Raiders of the Lost Ark? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Hour 1: It turns out that Hugh Hefner kept a diary, and we aren't sure if the contents should be revealed. Shia Labeouf is in trouble. Ray J won't be stopped by bleeding eyes. Ben Affleck wants to try being single - that's a good idea, Ben. We wanted snow, but now it's too much at once! Do your research if you're heading to Tahoe. ‘Finding Nemo' is the best selling DVD of all time, and it probably will be. Bob likes ‘Holes' better. Mason reveals she's totally food motivated. Hour 2: Sarah gave Mason tips on getting along with Vinnie. Are they working? The ‘America's Next Top Model' documentary is here. Is Tyra Banks going to own her mistakes? What does this mean for the reboot? Miley Cyrus announced a Hannah Montana anniversary special. Is Alex Cooper the right person to host it? Cardi B's regretting her butt. It's Mardi Gras! GenZ wishes social media was never invented. Cooking: You either love it or you hate it. (37:45) Hour 3: There's a break in the rain, enjoy it! Apparently people are leaving their Waymo doors open. Sarah McLachlan STILL gets letters about adopted pets. Why is it so hard to find the fun sports to watch during the Olympics? It turns out a lot of Olympians have full time jobs. Who answers their phone any more? (1:13:28) Hour 4: There aren't many new updates about Savannah Guthrie's mother. Vinnie and Bob have their biggest disagreement yet: Are aliens real? Donna Kelce did NOT sign a wedding NDA. Are Taylor Swift and Travis Kelce still planning the wedding at all? Parents are opting kids out of school laptops in favor of pen and paper. Plus, it turns out soda is bad for you! (1:51:59)

It turns out that Hugh Hefner kept a diary, and we aren't sure if the contents should be revealed. Shia Labeouf is in trouble. Ray J won't be stopped by bleeding eyes. Ben Affleck wants to try being single - that's a good idea, Ben. We wanted snow, but now it's too much at once! Do your research if you're heading to Tahoe. ‘Finding Nemo' is the best selling DVD of all time, and it probably will be. Bob likes ‘Holes' better. Mason reveals she's totally food motivated.

Send a textThis week we're diving headfirst into the Pixar deep end with the very funny Chris Higgins. Watch along as we clown on dentists, pelicans, and the ocean itself. Hit play, grab a snack, and remember: fish are friends, not food.Give Chris a follow on instagram @mybudchrisIf you want to watch along with us, check us out on Youtube @MovieRuiners.         If you enjoy the show follow us on instagram for more updates @MovieRuiners and check out our Patreon for Bonus Material and Deleted Scenes from the pod www.Patreon.com/MovieRuiners

It's Audience Choice time! Our Patreon supporters voted and so this week we're covering the Pixar classic FINDING NEMO. We're defending family destroying barracudas, incompetent dentists and vegetarian sharks.  Produced by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Andrew Ivimey⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ as part of The From Superheroes Network. Visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.FromSuperheroes.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for more podcasts, articles, YouTube series, web comics, and more. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1995, Disney was the undisputed king of animation. But behind the scenes, a decade-long war for creative control was just beginning. This is the story of how a "vendor" named Pixar became Disney's biggest rival, and how Steve Jobs used a string of billion-dollar hits to force a total regime change in Burbank. From the "Circle 7" secret studio to the high-stakes negotiations over Toy Story 2 and Finding Nemo, we're exploring the corporate battle that nearly destroyed the Disney/Pixar partnership—and the unlikely friendship between Bob Iger and Steve Jobs that eventually saved it. In this video, we explore: The 1995 Pixar IPO that turned the power dynamic upside down. Michael Eisner's "Experimental Era" and Disney's struggle for identity. The "Sequel War" and the "free" movie that fueled Steve Jobs' resentment. Bob Iger's Hong Kong epiphany and the $7.4 billion deal that changed animation forever. If you love exploring how Disney connects to the broader world of history, business, and pop culture, make sure to SUBSCRIBE  https://www.youtube.com/@synergylovescompany?sub_confirmation=1 Podcast: Listen to Synergy Loves Company → https://synergylovescompany.com Support the Show: Shop official Synergy Loves Company merch → https://shop.synergylovescompany.com Affiliate Disclosure: Some links above may be affiliate links. If you click and purchase, I may receive a small commission at no extra cost to you. Thank you for supporting the channel! Connect with Me: Instagram → https://www.instagram.com/synergylovescompany Bluesky → https://bsky.app/profile/erichsynergy.bsky.social Facebook → https://www.facebook.com/synergylovescompany Credits / Resources: • Synergy Loves Company is not affiliated with The Walt Disney Company or any of its subsidiaries. • Images and clips are used under fair use for commentary, criticism, and education. Until next time, keep discovering the magic in everything! This podcast is powered by Pinecast.

Watch the best scene reading: https://www.youtube.com/watch?v=Fj9bGNUIFdY A delightful blend of adventure and emotional depth, reminiscent of films like “Finding Nemo,” where the bond between characters drives the narrative through perilous waters. I thought of “The Shape of Water” as well, with its unique exploration of relationships between humans and extraordinary creatures, creating a sense of wonder and connection. Additionally, “A Monster Calls” came to mind, as it beautifully intertwines fantastical elements Get to know the writer: What is your screenplay about? The screenplay is about Gilly, a decades old, extremely intelligent Giant Pacific Octopus who lives in the Mermaid's Cave in Oahu where she has been gifted an information hub by her marine biologist friend. As time passes, Gilly enhances her ability to shape shift and learns how to communicate. In present day, she saves a government agent who is drowning in the ocean. Their relationship is at the center of the character driven story which unfolds like a chaotic, humorous, fast paced rollercoaster. It climaxes with Gilly and her new found friends saving the Arizona Memorial from attack from North Korea's marine biology program. What genres does your screenplay fall under? My story fits the following genres: Sci-Fi, Fantasy, Thriller, Comedy, with slight traces of Horror. It is suitable for all ages. It can be animated, use live actors, or be a combination of both. Why should this screenplay be made into a movie? I have received extremely positive feedback from multiple industry evaluators. I will use the review by the International Screenwriters' Association to answer this question. “The project presents a distinctive blend of science fiction and emotional drama, anchored by the unlikely relationship between Slip, a disillusioned former agent, and an intelligent, shapeshifting octopus named Gilly. Their connection provides both the narrative's emotional center and its conceptual novelty, exploring trust, survival, and empathy in an unconventional yet interesting context. The tone operates in a deliberately hybrid register, merging high-concept science fiction with a light, often self-aware humor. In its best moments, this tonal elasticity creates a sense of discovery and curiosity, it allows for levity in scenes that might otherwise risk melodrama. The concept itself, an intelligent, shapeshifting octopus that engages with humanity, is imaginative and commercially distinctive, particularly in a cinematic landscape with familiar properties. What makes it notable is not simply its novelty but its potential for visual and tonal contrast, the serene oceanic imagery juxtaposed with covert operations, and the organic intelligence of a sea creature contrasted with human technology. Overall, this screenplay's originality and emotional core position it as a distinctive and engaging piece with strong cinematic potential.” Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

This episode is sponsored by BetterHelp. Go to http://betterhelp.com/super for 10% off your first month. Download your Carlin Order Checklist here :: https://supercarlinbrothers.com/pixar-chronological-order/  Pixar movies aren't just connected — they exist on one giant timeline. In this video, we break down the exact order you should watch every Pixar movie if you want to experience the full Pixar Theory the way it was meant to be seen.Welcome to The Carlin Order. From The Good Dinosaur to Monsters Inc., from Toy Story to Wall-E, this chronological Pixar timeline connects magic, memory, AI, souls, and evolution into one cohesive story — including where movies like Elemental, Soul, and Cars ACTUALLY belong. If you try watching Pixar this way please let us know — does the Carlin Order change how you see these movies forever? Chapters:0:10 – The Pixar Timeline Problem1:22 – What Is The Carlin Order?2:26 – The Good Dinosaur (65 Million Years Ago)3:13 – Brave & Ancient Magic4:48 – The Incredibles Era6:58 – Luca & Sea Monsters8:08 – Lightyear & Toy Story9:55 – A Bug's Life Placement10:54 – Turning Red & Bear Magic12:36 – Up & Ratatouille16:50 – Finding Nemo & Dory20:02 – Elemental Explained21:31 – Inside Out & Memory22:29 – Coco & The Second Death23:30 – Elio Changes Everything25:13 – Cars Explained (Finally)26:39 – Soul & Wall-E28:24 – Onward30:04 – Monsters U & Monsters Inc

This week on Podcast Like It's the 2000s, Phil and Emily continue their deep dive into Pixar's 2000s run with Finding Nemo, joined by critic and writer Caroline Framke.Released in 2003, Finding Nemo marked a major turning point for Pixar pairing cutting-edge animation with a surprisingly emotional story about parenthood, fear, and letting go. The group breaks down how revolutionary the film felt at the time, why it still holds up as one of Pixar's most accessible crowd-pleasers, and how its influence reshaped both animation and merchandising culture in the years that followed.They also dig into Albert Brooks' anxious Marlin, Ellen DeGeneres' instantly iconic Dory, the film's surprisingly existential undertones, and the question of whether Finding Nemo has been culturally overshadowed by later Pixar classics or simply made to look “conventional” by its own success.Along the way, the conversation touches on disability representation, Pixar's evolving thematic ambitions, and why the ocean remains one of cinema's most quietly terrifying settings.You can find Caroline Framke at: www.carolineframke.comSupport the show:Get more from Podcast Like It's... on Patreon Hosted on Acast. See acast.com/privacy for more information.

When Avatar came out in 2009, it shattered box-office records.  And even though it was billed as a sci-fi epic featuring blue aliens on a far-away moon, the movie didn't shy away from a pretty Earth-based message of environmental conservation.So, with a third Avatar hitting theaters this weekend, we were inspired to bust out the popcorn, dim the lights, and play the part of pop culture critics. How do movies – from blockbusters to documentaries to Disney films –  shape our conception of the natural world?SUPPORTTo share your questions and feedback with Outside/In, call the show's hotline and leave us a voicemail. The number is 1-844-GO-OTTER. No question is too serious or too silly.Outside/In is made possible with listener support. Click here to become a sustaining member of Outside/In. Follow Outside/In on Instagram and BlueSky, or join our private discussion group on Facebook.LINKSSimilar to Avatar, the animation required to pull off Finding Nemo was a technological feat for its time. Here's a documentary showing you behind the scenes.Listen to all of “Little April Showers” (that catchy tune from Bambi) here.  You can find Alyssa Vitale's movie reviews on her Youtube channel, Mainely Movies. Salma Monani's academic work within ecocinema extends far beyond that of FernGully. Her faculty page at Gettysburg College can be found here.Find some of Erin Trahan's recent work on her website, including a recent documentary following Michael Dukakis.You can find David Whitley's book on Disney animation here. CREDITS Produced by Marina Henke. For full credits, transcript, and a list of movies mentioned in this episode visit outsideinradio.org Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

(3:10) – Rotoworld Player News: Colts sign Philip Rivers to practice squad(14:20) – Keep it Open/Close it Out, QB + RB: Justin Herbert, Ashton Jeanty, Breece Hall, Tony Pollard(26:00) – Matthew reveals a past movie pitch for a spinoff of “Finding Nemo”(28:25) – Keep it Open/Close it Out, WR + TE: Terry McLaurin, DeVonta Smith, Khalill Shakir, Theo Johnson(40:30) – Update on the League of Assholes Playoff Bracket and Matthew's point total for the regular season(43:35) – Blind Date: Uncovering recent production from Michael Wilson, Ja'Marr Chase, Josh Allen, Jaxson Dart, and Matthew Stafford(49:00) – Last Call: Betting Kyle Shanahan for Coach of the Year, Philip Rivers for Comeback Player of the Year, and the Raiders regular season win total Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

(3:10) – Rotoworld Player News: Colts sign Philip Rivers to practice squad(14:20) – Keep it Open/Close it Out, QB + RB: Justin Herbert, Ashton Jeanty, Breece Hall, Tony Pollard(26:00) – Matthew reveals a past movie pitch for a spinoff of “Finding Nemo”(28:25) – Keep it Open/Close it Out, WR + TE: Terry McLaurin, DeVonta Smith, Khalill Shakir, Theo Johnson(40:30) – Update on the League of Assholes Playoff Bracket and Matthew's point total for the regular season(43:35) – Blind Date: Uncovering recent production from Michael Wilson, Ja'Marr Chase, Josh Allen, Jaxson Dart, and Matthew Stafford(49:00) – Last Call: Betting Kyle Shanahan for Coach of the Year, Philip Rivers for Comeback Player of the Year, and the Raiders regular season win total Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

(3:10) – Rotoworld Player News: Colts sign Philip Rivers to practice squad(14:20) – Keep it Open/Close it Out, QB + RB: Justin Herbert, Ashton Jeanty, Breece Hall, Tony Pollard(26:00) – Matthew reveals a past movie pitch for a spinoff of “Finding Nemo”(28:25) – Keep it Open/Close it Out, WR + TE: Terry McLaurin, DeVonta Smith, Khalill Shakir, Theo Johnson(40:30) – Update on the League of Assholes Playoff Bracket and Matthew's point total for the regular season(43:35) – Blind Date: Uncovering recent production from Michael Wilson, Ja'Marr Chase, Josh Allen, Jaxson Dart, and Matthew Stafford(49:00) – Last Call: Betting Kyle Shanahan for Coach of the Year, Philip Rivers for Comeback Player of the Year, and the Raiders regular season win total Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Finding Nemo, the tariff policy, and the China policy have a lot more in common than you think. Listen for more on Two Minutes in Trade. 

A Note from JamesI'm honored to have today's guest: Tristan de Montebello, a finalist in the World Championship of Public Speaking. He also co-founded UltraSpeaking (ultraspeaking.com/james), where he teaches techniques to improve communication through games and real-world practice. We even played some of those games during this episode, and they surprised me with how much they revealed about my own speaking.Public speaking isn't just about giving a good talk—it's about understanding who you are, what you stand for, and how you connect with others. I've been speaking for more than 25 years, but I'm still always looking for ways to improve. At the end of the day, sharing ideas—through writing, storytelling, or speaking—is how you can change the world.This conversation with Tristan is fascinating because he's gone from zero experience to becoming one of the best in the world, all while reverse-engineering what it takes to truly connect with an audience.Episode DescriptionHow does someone go from a complete beginner to a world-class speaker in less than a year? Tristan de Montebello did exactly that—and in the process, he uncovered the strategies, mindsets, and training methods that make communication powerful.In this episode, James and Tristan break down the mechanics of storytelling, humor, vulnerability, and flow in speaking. They explore why audiences respond the way they do, how to use analogies to create connection, and why mindset is the foundation of every great communicator. Whether you're on a stage, in a meeting, or simply trying to share an idea with friends, these lessons will change the way you approach communication.What You'll LearnHow Tristan went from novice to World Championship finalist in under a year.Why humor and vulnerability are essential ingredients for authentic connection.Practical ways to use storytelling and analogies to make ideas stick.How to handle insecurity, fumbles, and “tough audiences” without breaking flow.Why mindset—not technique—is the foundation of great communication.Timestamped Chapters[01:00] A Note from James and introducing Tristan de Montebello[04:15] Inside the World Championship of Public Speaking[07:45] Humor, storytelling, and why connection matters[11:10] The Fear Olympics: lessons from Tristan's grandmother[16:30] “Never be the hero of your own story”[20:15] Breaking down stories like Finding Nemo[24:45] How Tristan trained humor like a stand-up comic[28:30] What great speakers and clowns have in common [33:20] Managing insecurities and staying in character[41:40] From finalist to struggling in an online mastermind[50:20] Slacklining as a metaphor for learning[54:10] Building analogies as a core communication skill [60:30] Reading tough or quiet audiences[67:15] Handling bias and building trust with skeptical crowds[69:45] Flow state in public speakingAdditional ResourcesUltraSpeaking – ultraspeaking.com/jamesToastmasters International – toastmasters.orgRich Dad Poor Dad by Robert Kiyosaki – Amazon linkEight Mile (film referenced by James & Tristan) – IMDbSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Join Knox and Jamie as they cruise through Pixar's finest—Cars, Monsters, Inc., Toy Story, and Finding Nemo! This brand new collection is now available at knoxandjamie.shop! Hosted on Acast. See acast.com/privacy for more information.