Podcasts about French

Misha Glenny and guests discuss the provocative artistic phenomenon that first startled audiences in 1916 in Zurich. There, at the Cabaret Voltaire at the Holländische Meierei on the Spiegelgasse, Emmy Hennings and Hugo Ball and others gathered on a small stage, sometimes dressed in cardboard, often performing nonsense poems. This was the start of Dada, a spirit more than a movement which spread to other cities in Europe during the war. In part the Dadas (as they called themselves) were protesting against the inevitability of constant wars on the continent and in part this was an artistic experiment around the absurd; they were creating poems, songs, costumes and art that made no obvious sense, just as the war around them made no sense to the artists, designers and poets at the Cabaret Voltaire.With Dawn Ades Emeritus Professor of Art History and Theory at the University of EssexRuth Hemus Professor of French and Visual Culture at Royal Holloway, University of LondonAndStephen Forcer Professor of French at the University of GlasgowProduced by Martha OwenReading list:Dawn Ades (ed.), The Dada Reader: A Critical Anthology (Tate Publishing, 2006)Hugo Ball (trans. Ann Raimes and ed. John Elderfield), Flight out of Time: A Dada Diary (first published 1927; University of California Press, 1996)Stephen Forcer, Dada as Text, Thought and Theory (Legenda, 2015)Ruth Hemus, Dada's Women (Yale University Press, 2009)David Hopkins, Dada and Surrealism: A Very Short Introduction (Oxford University Press, 2004)Jed Rasula, Destruction was my Beatrice: Dada and the Unmaking of the Twentieth Century (Basic Books, 2015)In Our Time is a BBC Studios ProductionSpanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Misha Glenny and expert guests explore the characters, events and discoveries that have shaped our world.

Learn French by Watching TV with Lingopie: https://learn.lingopie.com/dailyfrenchpodLa flambée des prix du carburant pousse les Français à redoubler d'ingéniosité pour faire des économies. La crise au Moyen-Orient a déjà conduit 800 000 Français à renoncer à partir à l'étranger cet été. Traduction : Soaring fuel prices are pushing French households to find creative ways to cut costs. The Middle East crisis has already led 800,000 French people to cancel foreign travel plans for the summer. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

It's EV News Briefly for Thursday 16 April 2026, everything you need to know in less than 5 minutes if you haven't got time for the full show.Patreon supporters fund this show, get the episodes ad free, as soon as they're ready and are part of the EV News Daily Community. You can be like them by clicking here: https://www.patreon.com/EVNewsDailyDOUG FIELD TO LEAVE FORDDoug Field, who joined Ford in 2021 from Apple and previously helped launch the Tesla Model 3, will depart next month on a voluntary basis, with CEO Jim Farley praising him as an "invaluable partner" in Ford's electrification journey. Ford is simultaneously restructuring, creating a new "Product Creation and Industrialization" organisation under COO Kumar Galhotra that unifies EV, petrol, and hybrid programmes, with the first vehicle on Ford's new Universal EV architecture — a midsize electric pickup — due next year.DACIA READIES SUB-£16,000 ELECTRIC CITY CARDacia has revealed spy shots of a new electric city car priced from under €18,000 (£15,600), designed in just 16 months with help from its China team, featuring a design closer to its SUV range than the related Renault Twingo. Expected to use a 27.5kWh battery with around 160 miles of range, the car will make its public debut at the Paris Motor Show in October 2026, with Dacia also planning three further EVs before 2030.MERCEDES-BENZ LAUNCHES VLE RANGE FROM €82,260Mercedes-Benz has launched the VLE range starting at €82,260, built on an 800-volt architecture capable of charging at up to 300 kW, enabling 355 km of WLTP range to be added in just 15 minutes. The range spans from the entry-level VLE 250 with an LFP battery to the VLE 400 4MATIC with a 305 kW all-wheel-drive system, with seating configurations from five to eight seats and pricing up to €113,000 depending on specification.KIA EV2 FIRST EDITION JOINS UK ECGThe Kia EV2 First Edition now qualifies for the UK government's £1,500 Electric Car Grant, bringing its net on-the-road price to £26,995. The EV2 had its world premiere in January 2026, entered series production in March at Kia's Slovakia plant, and sits as the entry point to Kia's dedicated BEV line-up designed and built in Europe.FREE ELECTRICITY ON GERMAN V2G TARIFFMunich-based The Mobility House plans to launch a V2G electricity tariff in Germany, initially paired with the Renault 5, that could allow EV owners to drive for free by charging when renewable energy is cheap and selling power back to the grid at peak times. A 2024 French pilot with Renault showed that connecting a car for an average of 14 hours per day can reduce charging costs for 10,000 km of driving to effectively zero, with the Mercedes-Benz CLA and GLC also set to join the programme later in 2026.BYD GAINS GROUND IN GERMANYBYD is surging in Germany, with Carwow recording a 135% jump in purchase queries for the brand in Q1 2026, driven by rising fuel prices linked to the Middle East conflict and increasing new car costs making Chinese EVs more attractive. Interest centred on BYD's electric SUVs and the Dolphin hatchback, with Chinese-owned MG also seeing increased demand on the platform.BYD'S JINAN HEADS FOR GERMANYBYD's car carrier Jinan, one of the world's largest at 9,200-vehicle capacity, departed Shanghai on 17 March carrying fully electric and plug-in hybrid vehicles bound for Germany, arriving around 33 days later. The shipment highlights BYD's continued reliance on Chinese exports while European local production ramps up, with trial assembly underway in Szeged, Hungary since January and series production targeted for Q2 2026.BYD PRICES SEAL 6 PHEVS IN AUSTRALIABYD Australia has confirmed pricing for the Seal 6 Sedan and Seal 6 Touring PHEVs, with the Sedan Essential starting at A$34,990 (around £18,380) — undercutting the Toyota Camry Hybrid — and first deliveries expected around June 2026. Both models use BYD's DM 5.0 plug-in hybrid system with Blade battery technology, offering 55 km electric range on the Sedan and around 100 km on the Touring Premium.POLESTAR AUSTRALIA BOSS ATTACKS PHEVSPolestar Australia's managing director Scott Maynard has publicly called PHEVs "the worst of both worlds," arguing they combine electric drivetrain complexity with petrol engine weight, rarely get charged by owners, and can actually be less efficient than a pure petrol car due to the added battery mass. He also claimed PHEVs are "fast becoming irrelevant" as EV range improves — a notable stance given that Polestar's parent company Geely continues to sell PHEVs across Volvo, Lotus, and Lynk & Co.TESLA ADDS SUNWODA AS FIFTH BATTERY SUPPLIERTesla has signed Sunwoda Electric Vehicle Battery as its fifth battery supplier, with Sunwoda set to provide third-generation LFP cells capable of charging at up to 3C — cutting charge time to around 20 minutes, compared to Tesla's current 2C LFP packs. The cells are destined for export vehicles built at Giga Shanghai, with Tesla buying raw prismatic cells from Sunwoda and assembling the modules and packs in-house.HONDA DROPS E:NY1 FROM UK LINE-UPHonda has removed the e:Ny1 from its UK configurator, leaving it with no fully electric models on sale in Britain after the car sold just 7,122 units in three years, hampered by a high price and limited range requiring heavy dealer discounts. This creates a serious ZEV mandate problem for Honda, which must hit 22% BEV sales this year rising to 80% by 2030, with fines of up to £15,000 per non-compliant vehicle — relief is expected from mid-2026 when a retro-inspired compact EV on the new Super-N platform arrives priced under £20,000.

On the night of Saturday the 9th of March, 1566, a pregnant Mary Queen of Scots was having a dinner party.It was a night that ended in the brutal murder of one of her closest friends, David Rizzio, led by her husband, Lord Darnley.How did this happen? How did Mary handle this traumatic moment? And did Mary have a Scottish or French accent?!Joining Anthony once more as special guest co-host is author and historian Gareth Russell, to take us back to this disturbing night.You can now watch After Dark on Youtube: www.youtube.com/@afterdarkhistoryhitEdited by Tim Arstall and Anna Brant. Produced by Stuart Beckwith.For tickets to see Anthony and Maddy talking about her new book, Hoax, click here: https://www.conwayhall.org.uk/whats-on/event/hoax/Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.  You can take part in our listener survey here.All music from Epidemic Sounds.After Dark: Myths, Misdeeds & the Paranormal is a History Hit podcast. Hosted on Acast. See acast.com/privacy for more information.

"The key is to enjoy the moment, and never stop learning along the way." —Sharon Santoni encouragement to explore France's many antique and vintage markets, fairs and shops France. The history, the ambiance, the food, ahhh, and the antiques and vintage treasures. If you've ever dreamed of traveling to France or have traveled to France and have wanted to know how to navigate the many brocantes, antique fairs and markets, a new book has been written for you. Sharon Santoni, founder of My French Country Home - the blog, the magazine, the travel tours and the seasonal boxes filled with treasures, has spent years traveling around France treasure hunting, and mostly in the wee hours of the morning. A mother of four, now a self-described empty-nester, she and her husband had their home to furnish, and so it was to the French brocantes they went to do so. Thus began an adventure and sparked a passion for French antiques. In our conversation talking about her new book - The Art of Antiquing in France, Sharon will share how her introduction into this wonderful world of treasures and French history began, who guided her through and welcomed her into the community of dealers that find themselves at various markets and fairs over the calendar year, and she generously shares insights of where to go, what to look for and how to connect with the dealers to learn more about what catches your eye. She will also share what the true test of a good buy is when it comes to purchasing antiques, and how to hone your eye, taste and judgment so you can feel confident with your choices. Listen to the episode, #424, to hear our entire conversation and find the Show Notes on The Simply Luxurious Life blog - https://thesimplyluxuriouslife.com/podcast424 

LPs. GPs. Carry. Waterfalls. Pari passu. The unlock. Quantum. De-Risk. Niko originally thought one of these was a French dish. Liz wants to ban another from all future meetings. In their PE Funcast debut, ParkerGale Associates Liz & Niko join Devin to demystify the private equity alphabet soup, breaking down everything from formal vocabulary to finance bro speak. Whether you're a first year Associate or a founder looking to sell, this is the lingo you should know.

This is a free preview of a paid episode. To hear more, visit www.houseofstrauss.comSpike Eskin got into it with Sopan Deb of the New York Times and became a character in my article on UBS blaming the NBA for Nike woes. We podcasted about this subject, Diana Russini resigning from the Athletic, and the playoff outcome that would best help the NBA. Topics! Include!* NBA popularity decline: Discussing why Finals viewership is the real NBA popularity indicator, and UBS report linking it to Nike's struggles.* Sopan Deb's tweet skepticism: Critique of the NYT writer's demand for “concrete evidence” of crisis despite revenue claims, arguing data like ratings won't sway entrenched views.* Load management and 65-game rule defense* Star power deficit: Casual fans name only aging stars (LeBron, Steph); current top players lack youth appeal or relatability, hurting Nike sales and broad interest.* Media defensiveness/politics: NBA coverage mirrors politics—denial of decline tied to anti-conservative pushback; OutKick overstates “woke” label post-2020.* Playoff hopes: Spurs-Thunder rivalry, Luka redemption arc, or Wemby breakout could help, but his height/French persona limits mass appeal vs. relatable stars.* Diana Russini scandal: Defending her reporting skill (e.g., accurate AJ Brown rumors matched by Schefter/Rapoport) amid Vrabel photos; industry favors relationships, not just ethics.* Donate to Spike's great cause: The 2026 Walk for Paws

Welcome to episode 378 of Growers Daily! We cover: Last week I caught up with Lucio Usobiaga of Arca Tierra in Mexico, and it's hard to describe everything that this organization does. Their focus is to promote and encourage local agriculture in and around the chinampas – the famed floating gardens – in Mexico and so they aggregate a lot of food from that area. So Lucio and I talk about that. We talk about the chinampas as well—what they are, how they work (like ever think about how to get compost out to a garden on lake?), how they were created, and what their current fate is. It's a fascinating and wide ranging conversation We are a Non-Profit! 

On this episode of Breakfast with Boz, Alison Jackson, Canadian National Road Race Champion and Paris-Roubaix Femmes winner, takes us inside the chaos of the spring classics. She shares how the season has unfolded, what it's like stepping into a new team, and the lessons she's picking up from her French teammates. Join us for an honest, behind-the-scenes look at life in the peloton from one of its most dynamic riders. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Today in the interrogation room, it's Belgium-born, French-speaking Texan, M.E. Proctor. Learn how she sold the first book she ever wrote, why Kansas City is the setting for KANSAS CITY SWING, and what Dossier friend Joel Nedecky thinks of this book. It's a great time except for Jeff trying to speak French. Welcome to the Writer's Dossier! thewritersdossier.com | shawmystery.com  | Voice credit: Hillary Huber

In this episode of Runnymede Radio, we share a live recording from a bilingual event hosted by the Runnymede Society's McGill University Chapter, featuring Professor Maxime St-Hilaire (Université de Sherbrooke) and Professor Victor Muñiz-Fraticelli (McGill University). The panel examines the enduring debate between legal positivism and natural law theory, focusing on whether law can be understood as a system grounded in social facts or whether its legitimacy depends on a connection to moral reasoning and the common good. Drawing on both classical traditions and contemporary scholarship, the speakers explore different approaches within positivism, the resurgence of natural law thought, and the implications of these theories for legal pluralism, the rule of law, and the professional identity of jurists. Recorded live at McGill University, this episode offers a careful examination of the theoretical foundations of legal order and their ongoing significance for public law in Canada. Portions of the discussion take place in both English and French.

Charlene Amoia (The Breadwinner, How I Met Your Mother) plays a tiny but mighty bird in this French legend about the origin of fire. Sign up for our monthly newsletter, "The Lion's Roar", here.

Welcome back friends! Tonight we will get sleepy with The Bee and the Orange Tree, an enchanting bedtime story for sleep by the French author Marie-Catherine d'Aulnoy, written way back in the seventeenth century. It's a story full of magic, wonder, and the kind of gentle adventure that's perfect for winding down. This is Part One of Two, so get yourself cozy, take a slow breath, and let the day drift away. Sweet dreams!Music in this episode is 'Lakeside' by Harbours & Oceans via Epidemic SoundThis podcast is 100% listener-supported with no ads and proud of it! Help me keep this space ad-free! Thank you for your support :)*Subscribe on Apple Podcasts from the show page, or visit driftoff.supercast.com to join through Supercast.As a Drift Off Premium member you get: Peaceful ad-free listeningWeekly bonus bedtime stories to enrich your sleep routineEarly access to select regular episodesFull-length audiobooks for sleep to calm your mind and help you drift offDid you know you can also listen to my regular bedtime stories on Insight Timer for free? It's a peaceful space for rest and relaxation. Also, for just $9.99/month, you'll get access to my premium stories plus meditations, music, and live sessions from other amazing teachers. https://insighttimer.com/relaxforawhileOh...and be sure to drift over to the podcast website to learn a little bit about the voice behind the stories. Hope to see you there! https://www.driftoffpodcast.com

Between 1763 and 1848, revolutions swept across four continents. We tend to remember three of them — the American, the French, and the Haitian Revolutions. But what about all the rest? And what connected them to each other? In this episode, we're bringing back our conversation with Janet Polasky, Presidential Professor of History Emerita at the University of New Hampshire and author of Revolutions Without Borders: The Call to Liberty in the Atlantic World, and Paul Mapp, Associate Professor of History at William & Mary, who helps us understand why historians are increasingly looking at the American Revolution through an international lens.Together, they reveal why the Age of Revolutions happened when it did, how the American Revolution fit within this larger Atlantic-wide moment of upheaval, and how revolutionary ideas traveled across borders through people, print, and rumor. Show Notes: https://www.benfranklinsworld.com/165 RECOMMENDED NEXT EPISODES

Did Arne Slot let Liverpool down as the Premier League champions were knocked out by PSG at Anfield? Or did the Reds show positive signs for the future with a much more energetic and competitive performance than in last week's first leg in Paris?Former Liverpool defender Stephen Warnock, ex-Premier League winger Andros Townsend and French football journalist Julien Laurens join Ian Dennis and Kelly Cates to dissect a thrilling night of Champions League action.As well as Liverpool's 2-0 defeat to PSG (4-0 on aggregate), Atletico Madrid progressed with a memorable victory over Barcelona, 3-2 on aggregate.Atleti will now play the winner of Arsenal v Sporting, with the panel previewing Wednesday night's game alongside commentator John Murray.And we hear reaction from England Lionesses' 1-0 victory over Spain.Timecodes: 02:20 Where has this Liverpool energy been all season? 03:20 Was this about PSG's individual quality? 04:14 Julien Laurens calls Arne Slot's line-up a “complete nonsense” — should Alexander Isak have started? 07:45 Are Liverpool carrying players in their team? How much has their recruitment been proven wrong? 15:00 Hugo Ekitike's injury 16:00 How are Liverpool looking going into the Merseyside derby? 17:30 Should Isak be getting a run of games now? 18:45 Reaction from Liverpool manager Arne Slot 20:15 A thrilling win for Atletico Madrid vs Barcelona 21:20 How worried would Arsenal be to play Atleti? 23:00 How much of a difference did red cards make for Barcelona? 24:45 Mikel Arteta previews Arsenal v Sporting and asks for ‘fire, not fear' 26:10 Preview of Arsenal v Sporting with commentator John Murray 30:40 Keira Walsh reacts to her 100th England cap as the Lionesses beat Spain 31:40 Lionesses boss Sarina Wiegman reacts

The French Connection and Paraguay In 1968, a gang of smartly-dressed gangsters robbed a bank in Buenos Aires. The fallout from the raid would lead authorities in all kinds of crazy directions — from French paramilitary hitmen to mobsters belonging to the feared Union Corse, Corsican dope traffickers who'd perfected “French Connection” routes from Southeast Asia and Turkey into Marseille, then onto New York to feed a ballooning American addiction crisis. Amid the chaos, one Frenchman fled Argentina to neighboring Paraguay. There he discovered a smuggler's paradise, full of Nazis and narcos, whose reliance on drugs and contraband would grow so huge that US drug squads would refer not only to the French Connection, but to one named for Paraguay's repressive, half-German dictator: The Stroessner Connection. He and the fugitive French mafioso would form a bond that, in many ways, has outlived both of them to today. Learn more about your ad choices. Visit megaphone.fm/adchoices

After the French project to build a canal through Panama collapses in 1889 amidst disease and financial scandal, US President Teddy Roosevelt resolves to pick up where they left off. However, powerful interests in Washington are aggressively lobbying for a different route – not through Panama, but Nicaragua. As debate rages and backdoor deals are made, Panama becomes a lightning rod for controversy…and revolution.    SOURCES: Burton, Anthony. The Canal Pioneers: Canal Construction from 2500 BC to the Early 20th Century. Barnsley, UK: Pen & Sword Maritime, 2018. Charles River Editors. The Panama Canal: The Construction and History of the Waterway Between the Atlantic and Pacific Oceans. CreateSpace Independent Publishing, 2013. Diaz Espino, Ovidio. How Wall Street Created a Nation: J.P. Morgan, Teddy Roosevelt, and the Panama Canal. New York: Four Walls Eight Windows, 2003. Greene, Julie. The Canal Builders: Making America's Empire at the Panama Canal. New York: Penguin Press, 2009. Karabell, Zachary. Parting the Desert: The Creation of the Suez Canal. New York: Alfred A. Knopf, 2003. Keller, Ulrich. The Building of the Panama Canal in Historic Photographs. New York: Dover Publications, 1983. Lasso, Marixa. Erased: The Untold Story of the Panama Canal. Cambridge, MA: Harvard University Press, 2019. Lindsay, John. Emperors in the Jungle: The Hidden History of the U.S. in Panama. 2003. Lopez, Sean J. Chokepoint: The Epic History of the Suez Canal. New Haven, CT: Yale University Press, 2024. Marlowe, Elias. A History of Panama: Canal, Conquest, and Independence. Albuquerque: University of New Mexico Press, 2012. McCullough, David. The Path Between the Seas: The Creation of the Panama Canal, 1870–1914. New York: Simon & Schuster, 1977. Morton, Levi P. “No. 105. Mr. Morton to Mr. Frelinghuysen.” Papers Relating to the Foreign Relations of the United States, Transmitted to Congress, With the Annual Message of the President, December 1, 1884, U.S. Department of State Office of the Historian, 5 July 1884,https://history.state.gov/historicaldocuments/frus1884/d105 Parker, Matthew. Panama Fever: The Epic Story of the Building of the Panama Canal. New York: Doubleday, 2007. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, you'll practice the French /ɛ̃/ nasal sound (pain or vin) or with a simple listen & repeat exercise.

Welcome to episode 377 of Growers Daily! We cover: today we are asking if people are actually mostly good at heart, we'll take questions about contamination, plus we shall take a closer look at that dang Jang. We are a Non-Profit! 

study the present tense conjugation of the verb 'venir'.

The 7 Steps to Align Purpose with Profession   Finding Your Vocation    At 33, Florian Kemmerich was running a major healthcare corporation with all the external markers of success. Yet in a therapy session, his inner child delivered a brutal truth: "What you do makes no sense." That moment launched him on a 25-year journey across four continents, mobilizing nearly $1B in impact capital, and creating a structured methodology called "vocating" to help people align their purpose with their profession. In this episode, Rocky and Florian explore why your six-figure business might be making you miserable, how to distinguish between a job and a vocation, and why human agency matters more than ever in the age of AI.    Learning Insights  Success Without Purpose Creates Burnout, Not Freedom. Most high-achieving business owners believe they're working toward freedom and fulfillment. In reality, they're building golden handcuffs. The longer you defer living your actual life, the more trapped you become by your own success.   Your Inner Child Knows What Your Adult Self Denies. We're taught from childhood to suppress our intuition, our feelings, and our natural inclinations in favor of external markers of success.   The Difference Between a Job, a Career, and a Vocation. A job is transactional. You trade time for money. A vocation is something entirely different. It's work that matters to you, that serves something greater than your ego, that aligns with your deepest values. When you have a true vocation, you don't have to justify it to anyone because you're not doing it to perform. You're doing it because you can't imagine doing anything else.  Your Superpower Needs a Purpose to Matter. You might be excellent at financial modeling, marketing, operations, or sales. But excellence without purpose is just technical skill.   True Service Isn't About Helping, It's About Investing Yourself. Florian learned this brutal lesson when the child he had photographed for his nonprofit's newsletter died from a preventable infection. Real impact requires sustained investment, not charity.    Why This Conversation Matters  This conversation matters because it addresses the silent crisis affecting millions of successful entrepreneurs and business owners. You can optimize your profit margins, streamline your operations, and scale your revenue, but if you're not doing work that matters to you, you will eventually hit a wall. Usually around age 40 or 50. For small business owners between $1M and $25M in revenue, the stakes are particularly high because you have enough success to feel trapped but not enough flexibility to easily pivot. This episode provides both the framework for understanding your misalignment and a practical methodology for fixing it before the midlife crisis forces the issue.    Money Learning  The relationship between money and vocation is not what most business owners believe it to be. The conventional wisdom says you earn money first and do what you love later, but Florian's evidence from 25 years of impact investing across four continents suggests the opposite. When people align their work with their actual purpose, they naturally become more effective, more resilient, and ultimately more profitable. The stress becomes healthy, self-inflicted stress driven by intrinsic motivation rather than the corrosive stress of doing work that doesn't matter. You don't have to sacrifice financial success to find vocational alignment. In fact, the two reinforce each other when done correctly.    Key Takeaway  The question you should ask yourself is not "How can I make more money?" or "How can I become more successful?" The question is "What did my inner child actually want before society told me what I should want?" Once you answer that with honesty, your next question is "How can I use my skills and resources to serve that purpose?" The rest follows naturally. You may not feel this misalignment yet, but Florian's research suggests it's coming for most high-achieving people. The earlier you ask the question, the more of your life you get to actually live.    If you're ready to explore your vocation and align your business with your actual purpose, don't miss this episode!    About Florian Kemmerich  Florian Kemmerich is an impact investor, serial entrepreneur, purpose strategist, and global keynote speaker who helps individuals and institutions align purpose with profession to drive systemic impact. He is the author of On Vocation: How to Align Your Purpose with Your Profession (Routledge, 2025), introducing "vocating"—a structured seven-step method for building a vocation that supports personal fulfilment and societal transformation.  Over 25+ years across Europe, the Americas, Africa, and Asia, he has mobilised nearly $1B in impact capital and co-founded Human Planet and Resilienture—ventures advancing climate resilience, humanitarian innovation, and innovative finance. He has lectured and facilitated at Oxford Saïd, IMD's Executive MBA, the YPO Global Impact Summit, and more, leading "On Vocation" workshops on purpose, resilience, and impact-driven leadership.  A former paratrooper, multilingual communicator (German, English, Spanish, French, Italian), father of five, and musician at heart, Florian blends personal development, strategy, systems thinking, and impact investing. His journey from bullied outsider to judo champion to international impact investor underpins his leitmotif: "Impact Lives, Share Profits."    Links  Website: https://on-vocation.com/  LinkedIn: https://www.linkedin.com/in/floriankemmerich/  Facebook: https://www.facebook.com/florian.onvocation  Instagram: https://www.instagram.com/flokemmerich  X: https://x.com/flokemmerich  YouTube: https://www.youtube.com/@FloKemmerich      Watch the full episode on YouTube: https://www.youtube.com/@richersoul  Richer Soul Life Beyond Money. You got rich, now what? Let's talk about your journey to more a purposeful, intentional, amazing life. Where are you going to go and how are you going to get there? Let's figure that out together. At the core is the financial well being to be able to do what you want, when you want, how you want. It's about personal freedom!  Thanks for listening!  Show Sponsor: http://profitcomesfirst.com/  Schedule your free no obligation call: https://bookme.name/rockyl/lite/intro appointment 15 minutes  If you like the show please leave a review on iTunes: http://bit.do/richersoul  https://www.facebook.com/richersoul  http://richersoul.com/  rocky@richersoul.com  Some music provided by Junan from Junan Podcast  Any financial advice is for educational purposes only and you should consult with an expert for your specific needs. 

Jay Horwitz sits down with Mets Executive Chef Jason to go behind the scenes of the Citi Field food program — from how new menu items are created to what makes Mets food the best in sports. Chef Jason breaks down the full process, from brainstorming ideas a year in advance to working with local vendors and building out a menu that feeds 40,000 fans every night. They dive into the newest food items at Citi Field, including the cookie and cream egg roll, bulgogi spring rolls, French dip sandwich, cheesecake desserts, and more. Plus, the story behind Mookie Wilson's food stand, the Taste of Queens initiative, and how local restaurants get featured in the ballpark. You'll also hear how fan feedback shapes the menu, how Citi Field continues to evolve its food offerings, and what it takes to maintain a championship-level food program year after year. Learn more about your ad choices. Visit megaphone.fm/adchoices

Revolutions: A New History (Verso Books, 2025) is a sparkling account of political upheaval and the power of history. We think of revolutions in terms of fleeting events, such as the fall of the Bastille or the storming of the Winter Palace. In reality, they take decades to burn out, if they ever do.Historian Donald Sassoon takes the long view of some of the most famous upheavals: the English Civil War, the American War of Independence, the national uprisings that unified Italy and Germany, and the French, Russian and Chinese revolutions. This is a history rich in irony and surprises. As Sassoon shows in this tour de force account, revolutions usually catch revolutionaries themselves by surprise, and the consequences are difficult to fathom at any remove. Revolutions will change how you think about the transformative moments in history, both big and small. Revolutions is a sparkling account of political upheaval and the power of history. We think of revolutions in terms of fleeting events, such as the fall of the Bastille or the storming of the Winter Palace. In reality, they take decades to burn out, if they ever do.Historian Donald Sassoon takes the long view of some of the most famous upheavals: the English Civil War, the American War of Independence, the national uprisings that unified Italy and Germany, and the French, Russian and Chinese revolutions. This is a history rich in irony and surprises. As Sassoon shows in this tour de force account, revolutions usually catch revolutionaries themselves by surprise, and the consequences are difficult to fathom at any remove. Revolutions will change how you think about the transformative moments in history, both big and small. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: https://www.youtube.com/user/a48266/videos Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Revolutions: A New History (Verso Books, 2025) is a sparkling account of political upheaval and the power of history. We think of revolutions in terms of fleeting events, such as the fall of the Bastille or the storming of the Winter Palace. In reality, they take decades to burn out, if they ever do.Historian Donald Sassoon takes the long view of some of the most famous upheavals: the English Civil War, the American War of Independence, the national uprisings that unified Italy and Germany, and the French, Russian and Chinese revolutions. This is a history rich in irony and surprises. As Sassoon shows in this tour de force account, revolutions usually catch revolutionaries themselves by surprise, and the consequences are difficult to fathom at any remove. Revolutions will change how you think about the transformative moments in history, both big and small. Revolutions is a sparkling account of political upheaval and the power of history. We think of revolutions in terms of fleeting events, such as the fall of the Bastille or the storming of the Winter Palace. In reality, they take decades to burn out, if they ever do.Historian Donald Sassoon takes the long view of some of the most famous upheavals: the English Civil War, the American War of Independence, the national uprisings that unified Italy and Germany, and the French, Russian and Chinese revolutions. This is a history rich in irony and surprises. As Sassoon shows in this tour de force account, revolutions usually catch revolutionaries themselves by surprise, and the consequences are difficult to fathom at any remove. Revolutions will change how you think about the transformative moments in history, both big and small. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: https://www.youtube.com/user/a48266/videos Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

NHK WORLD RADIO JAPAN - French News at 14:00 (JST), April 14

Today on Too Opinionated, we're joined by the award-winning French Family Band, a Nashville-based country group bringing classic country and western swing back to the spotlight. Their brand new single:

Colombia is going to start killing the hippos linked to the late drug lord Pablo Escobar, French cement maker Lafarge found guilty of financing ISIS operations in Syria, Indian bus driver fired after video surfaces of him operating bus with woman sitting on his lap

Retrouvez l'émission du mardi 14 avril 2026 en (presque) intégralité.

Repaying debt, buying new farm machinery, splashing out on a holiday or even purchasing a classic Hilux. Those are some of the ways Fonterra's farmer-shareholders plan to spend Tuesday's major capital return. Farmers have received an average $400,000 each for their share of the sale of the company's consumer brands to French company Lactalis. Anna Sargent reports.

Revolutions: A New History (Verso Books, 2025) is a sparkling account of political upheaval and the power of history. We think of revolutions in terms of fleeting events, such as the fall of the Bastille or the storming of the Winter Palace. In reality, they take decades to burn out, if they ever do.Historian Donald Sassoon takes the long view of some of the most famous upheavals: the English Civil War, the American War of Independence, the national uprisings that unified Italy and Germany, and the French, Russian and Chinese revolutions. This is a history rich in irony and surprises. As Sassoon shows in this tour de force account, revolutions usually catch revolutionaries themselves by surprise, and the consequences are difficult to fathom at any remove. Revolutions will change how you think about the transformative moments in history, both big and small. Revolutions is a sparkling account of political upheaval and the power of history. We think of revolutions in terms of fleeting events, such as the fall of the Bastille or the storming of the Winter Palace. In reality, they take decades to burn out, if they ever do.Historian Donald Sassoon takes the long view of some of the most famous upheavals: the English Civil War, the American War of Independence, the national uprisings that unified Italy and Germany, and the French, Russian and Chinese revolutions. This is a history rich in irony and surprises. As Sassoon shows in this tour de force account, revolutions usually catch revolutionaries themselves by surprise, and the consequences are difficult to fathom at any remove. Revolutions will change how you think about the transformative moments in history, both big and small. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: https://www.youtube.com/user/a48266/videos Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

Revolutions: A New History (Verso Books, 2025) is a sparkling account of political upheaval and the power of history. We think of revolutions in terms of fleeting events, such as the fall of the Bastille or the storming of the Winter Palace. In reality, they take decades to burn out, if they ever do.Historian Donald Sassoon takes the long view of some of the most famous upheavals: the English Civil War, the American War of Independence, the national uprisings that unified Italy and Germany, and the French, Russian and Chinese revolutions. This is a history rich in irony and surprises. As Sassoon shows in this tour de force account, revolutions usually catch revolutionaries themselves by surprise, and the consequences are difficult to fathom at any remove. Revolutions will change how you think about the transformative moments in history, both big and small. Revolutions is a sparkling account of political upheaval and the power of history. We think of revolutions in terms of fleeting events, such as the fall of the Bastille or the storming of the Winter Palace. In reality, they take decades to burn out, if they ever do.Historian Donald Sassoon takes the long view of some of the most famous upheavals: the English Civil War, the American War of Independence, the national uprisings that unified Italy and Germany, and the French, Russian and Chinese revolutions. This is a history rich in irony and surprises. As Sassoon shows in this tour de force account, revolutions usually catch revolutionaries themselves by surprise, and the consequences are difficult to fathom at any remove. Revolutions will change how you think about the transformative moments in history, both big and small. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: https://www.youtube.com/user/a48266/videos Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

An exhibition venue, event space and meeting point for Afro-descendant cultures in all their diversity: its founders call MansA an open house, where a world of art and artists are welcome. As the centre launches a bilingual magazine, we hear from its editor Sebastien Thème on celebrating Black excellence, on the French legislation being debated that should eventually see thousands of looted treasures returned to their countries of origin, and on the cultural figures continuing the work of intellectuals like civil rights activist Angela Davis.

Revolutions: A New History (Verso Books, 2025) is a sparkling account of political upheaval and the power of history. We think of revolutions in terms of fleeting events, such as the fall of the Bastille or the storming of the Winter Palace. In reality, they take decades to burn out, if they ever do.Historian Donald Sassoon takes the long view of some of the most famous upheavals: the English Civil War, the American War of Independence, the national uprisings that unified Italy and Germany, and the French, Russian and Chinese revolutions. This is a history rich in irony and surprises. As Sassoon shows in this tour de force account, revolutions usually catch revolutionaries themselves by surprise, and the consequences are difficult to fathom at any remove. Revolutions will change how you think about the transformative moments in history, both big and small. Revolutions is a sparkling account of political upheaval and the power of history. We think of revolutions in terms of fleeting events, such as the fall of the Bastille or the storming of the Winter Palace. In reality, they take decades to burn out, if they ever do.Historian Donald Sassoon takes the long view of some of the most famous upheavals: the English Civil War, the American War of Independence, the national uprisings that unified Italy and Germany, and the French, Russian and Chinese revolutions. This is a history rich in irony and surprises. As Sassoon shows in this tour de force account, revolutions usually catch revolutionaries themselves by surprise, and the consequences are difficult to fathom at any remove. Revolutions will change how you think about the transformative moments in history, both big and small. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: https://www.youtube.com/user/a48266/videos Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Péter Magyar, leader of the Tisza party, has promised closer ties with the European Union - and an anti-corruption drive - after winning the Hungarian election. The 45-year-old defeated Viktor Orbán, of the Fidesz party, who had ruled the country for 16 years. Also, Iran has said it won't submit to threats from the US after President Trump said the American military would start blockading the Strait of Hormuz from Monday afternoon. Peru's election authority says it will be reopening some polls after tens of thousands of people were unable to vote in Sunday's Presidential election. We hear how a lack of basic sanitation in Zambia is putting mothers at high risk of maternal sepsis. French film director, Francois Ozon, talks about adapting the work of philosopher Albert Camus. And, in golf, Rory McIlroy has become only the fourth man ever to win successive Masters titles.The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight. Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment. Get in touch: globalpodcast@bbc.co.uk

Max breaks down seven essential French words and expressions you'll hear every day in France but probably never learned in a textbook. You'll hear them in context, explore real-life examples, and understand the subtle nuances behind each one. Which one will you start using straight away?➡️ Click here to watch the video version of this episode.➡️ Get free mini-lessons and language tips every week by signing up to our newsletter: https://coffeebreaklanguages.kit.com/newsletter Hosted on Acast. See acast.com/privacy for more information.

When the exiled Ayatollah Khomeini received Western media in a small French village in 1978, he sat cross-legged in his robes and black turban under an apple tree in the garden. They described him as “on another planet,” with “eyes of steel,” and compared him to an Eastern sage or ascetic guru. French philosopher Michel Foucault, most famous for his penetrating analysis of power, knowledge (and punitive coercion) was there as well. He called the holy man “an old saint in exile” who had no personal political ambitions. Visiting Iran during the revolution, the philosopher was captivated by what he called a new form of “spiritual politics” that he saw as “advancing toward a luminous and distant point.” Foucault dismissed Iranian feminists who warned of the true dangers of an Islamic state being established once the autocratic king—the Shah—had been overthrown. Today, as the reckless and destructive American and Israeli war against the Iranian regime continues, Julian revisits the political history of Iran and the complex regional power struggles between nationalists, monarchists, communists, and Islamists that played out on the Cold War stage. He examines the connections between the controversial 1953 CIA coup d'etat and the hugely popular 1979 Islamic Revolution, which led to the one-party totalitarian theocracy that dominates the Iranian people to this day. How did so many within Iran and in the West, including the most influential radical philosopher of his time, misperceive Khomeini and his ruthless intentions? Show Notes Foucault: What Are The Iranian's Dreaming About Did Foucault Disregard Iranian Feminists? Dr. Taimur Rahman's Red Star Lectures The CIA Coup That Never Was Iran's Decade of Assassinations Bayandor: Iran and The CIA Foucault's Iranian Folly Foucault and the Question of Orientalism The Shah, by Abbas Milani Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's guest is Lucie Franc de Ferriere, the self-taught baker and founder of From Lucie, the popular East Village bakery known for its mini cakes, chocolate chip cookies, and French-inflected charm. Lucie is also the author of the new cookbook “Cake From Lucie: Recipes and Techniques From the French Countryside to New York City.” Lucie and host Kerry Diamond discuss how the book blends her upbringing in southwest France with her life in New York, the importance of working with a creative team that understands her vision, and why she wanted the book to feel personal and approachable. Lucie reflects on the influence of her mother's tea room, her grandmother's Madeleine recipe, and the rituals that shaped her love of baking.  Click here for Lucie's Matcha White Chocolate Mini Cake recipe. Thank you to on/Sight and “In The Kusina” by Woldy Reyes for supporting our show. Questions? Email hello@on-sight.co. This interview was recorded at Newsstand Studios at Rockefeller Center.  Jubilee ticketsThe Cherry Bombe print issue with Lucie on the cover More on Lucie: From Lucie, “Cake From Lucie” cookbook More on Kerry: Instagram, “So You Want To Open A Restaurant” Substack series

Welcome to episode 376 of Growers Daily! We cover: today we are breaking down the crop voted most oxalic in high school, Swiss Chard , and Water Bankruptcy. We are a Non-Profit! 

Comment un roman du XIXe siècle peut-il soudain apparaître dans le Paris d'aujourd'hui?  Et peut-on lire un classique sans le lire en entier?  Nous parlons ici de Bel-Ami, notre nouvelle obsession sur le podcast !  Tout a commencé l'été dernier, quand nous avons traversé le Bois de Boulogne, et que Felicia s'est écriée pour faire rire Lisa « Bel-Ami dans sa calèche! ».  Ce premier épisode lance une série Bel-Ami : une balade parisienne (deux épisodes), puis une conversation littéraire avec Aurélie. La lettre qui accompagne cet épisode propose des extraits du roman pour apprécier le style de Maupassant et comprendre son personnage de Bel-Ami, sans forcément lire le livre en entier. Notre balade commence rue Boursault, au-dessus de la gare Saint-Lazare, là où Bel Ami loge au début du roman. Elle se poursuit rue de Constantinople, à la recherche de l'adresse de l'appartement loué par Clotilde de Marelle.  Avec Alistair — venu s'imprégner de l'ambiance pour composer la musique de la série — nous explorons un Paris à la fois littéraire et bien réel, animé et printanier. Bienvenue dans cette nouvelle obession contagieuse !  www.onethinginafrenchday.com Mots-clés : learn french, spoken french, french stories, paris stories, french daily life, authentic french, real french, life in paris, french podcast, intermediate french, Guy de Maupassant, Bel Ami, Paris literary walk, 19th century Paris, French literature, learn French with stories, Paris neighborhoods

Here we go with the latest Best Smooth Jazz Podcast—more smooth jazz, more great vibes, and a bit of fun along the way.Angie's picked out a lovely French wine for this episode, while we keep the music flowing with instrumental smooth grooves from London, England. It's all about melody—perfect for work, rest, or just kicking back.Things get a little dramatic too, as Rod's prized tape machine literally goes up in smoke live in the studio!You can watch the TV version on YouTube as well. Enjoy the music, enjoy the moment.First aired on 11th April 2026, and this one runs for over two hours.BSJ website: https://BestSmoothJazz.com 

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

Today's story: Mahjong, a traditional Chinese tile game, is gaining popularity again around the world. Once a major trend in the U.S., it declined for decades but survived in small communities. Now, clubs, apps, and pop culture are introducing it to new players, drawn by its mix of strategy, luck, and social interaction. Transcript & Exercises: https://plainenglish.com/855Get the full story and learning resources: https://plainenglish.com/855--Plain English helps you improve your English:Learn about the world and improve your EnglishClear, natural English at a speed you can understandNew stories every weekLearn even more at PlainEnglish.comMentioned in this episode:Hard words? No problemNever be confused by difficult words in Plain English again! See translations of the hardest words and phrases from English to your language. Each episode transcript includes built-in translations into Spanish, Portuguese, Chinese, German, French, Italian, Japanese, Polish, and Turkish. Sign up for a free 14-day trial at PlainEnglish.com

Welcome back to the Sorry to Interrupt podcast! Mike French is back for Part 3 of his French 5 series as he breaks down the WRs from this year's class. Mike gives gives his top 5 prospects from this group then details where they may be taken come next week's draft. Then, he gives his next favorite prospects that missed out cracking his Top 5 list. Everyone enjoy the pod and remember to subscribe to the pod to get all of your NFL Draft info!

A radical macroeconomic experiment is under way at exactly the moment the US external position is showing signs of real stress.Gilles Moëc, Chief Economist at AXA, has written a chapter in the fourth Paris Report, published jointly by CEPR and Bruegel, on stablecoins: what they are, why the US government is so keen to promote them, and what risks they carry. His argument is that stablecoins are a fast-growing digital asset backed almost entirely by short-dated US government debt. When investors buy a dollar stablecoin, they are effectively buying into a US T-bill at zero interest; the platform keeps the yield. The US government likes this because it draws global savings into dollar assets at minimal cost, extending the dollar's reach and helping fund the deficit. But the regulatory framework has a three-year grace period and leaves supervision partly to the states, which compete to attract platforms. And there's the historical parallel: find out how the National Banking Acts of 1863 and 1864 give us an insight into the attraction, and risks, of using stablecoins in this way.The report discussed in this series of episodes:Rey, Hélène, Beatrice Weder di Mauro, and Jeromin Zettelmeyer (eds). 2026. The New Global Imbalances. Paris Report 4. CEPR Press and Bruegel. Free to download at cepr.org.The chapter discussed in this episode:Moëc, Gilles. 2026. "Stablecoins and global imbalances: Attempting to preserve the US exorbitant privilege." In Rey, Weder di Mauro, and Zettelmeyer (eds), The New Global Imbalances. Paris Report 4. CEPR Press and Bruegel. Chapter 9, p. 210.To cite this episode:Phillips, Tim, and Gilles Moëc. 2026. "Stablecoins and Global Imbalances." VoxTalks Economics (podcast). Assign this as extra listening. The citation above is formatted and ready for a reading list or VLE.About Paris Report 4The fourth Paris Report, The New Global Imbalances, is a joint publication of CEPR and Bruegel. It was edited by Hélène Rey (London Business School and CEPR), Beatrice Weder di Mauro (Geneva Graduate Institute and CEPR, and President of CEPR), and Jeromin Zettelmeyer (Bruegel and CEPR). The report examines how, in a high-debt and fragmented world, excess savings, rising surpluses, and rising deficits pose a risk to stability and undermine the global trading system. It is free to download at cepr.org.About the guestGilles Moëc is Chief Economist at AXA and Head of AXA Research. He previously held senior roles at in the French civil service, Banque de France, and Bank of America Merrill Lynch. His research covers macroeconomics, monetary policy, and the European economy.Research cited in this episodeStablecoins are privately issued digital tokens whose value is pegged to an existing fiat currency, typically the dollar, and backed by safe and liquid assets, typically short-dated US Treasury bills. Unlike most cryptocurrencies, they are designed to maintain a stable exchange rate with the pegged currency. Platforms issue the tokens and invest the cash received in T-bills, keeping the interest for themselves; holders receive no yield. Stablecoin platforms may have absorbed roughly twenty to twenty-five percent of net US T-bill issuance.The GENIUS Act (Guiding and Establishing National Innovation for US Stablecoins) is the US federal legislation organising the stablecoin market. It requires platforms to hold back-to-back liquid assets as reserves and establishes common minimum standards across states. Regulatory competition across states means platforms can seek the most permissive jurisdiction. European regulation, MiCA, is more detailed and already in force but has not yet generated European platforms.Exorbitant privilege describes the advantage the US gains from issuing the world's dominant reserve currency. For decades, foreigners were content to hold low-yielding dollar assets while Americans invested in higher-returning foreign assets; the result was a positive US income balance despite a large trade deficit. In 2024, for the first time in modern records, the income balance turned negative: the US was paying more on its foreign liabilities than it was earning on its foreign assets. The National Banking Acts of 1863 and 1864 created a system of private national banks that issued dollar banknotes backed by US government bonds. The structure is the closest historical parallel to today's stablecoin framework: private platforms issuing dollar-denominated tokens backed by government debt. The system required over-collateralisation (one hundred and ten dollars of bonds for every one hundred dollars of notes) and included a Treasury backstop. Milton Friedman, in his Monetary History of the United States, identified the key flaw: money supply became tied to the quantity of public debt rather than the needs of the economy. The system was replaced by the Federal Reserve in 1913.De-dollarisation refers to the trend in some countries toward conducting trade and holding reserves in currencies other than the dollar. Moëc notes examples such as Iranian demands for non-dollar payments for passage through the Strait of Hormuz. Stablecoins work against this trend by making dollar access easier and cheaper for people in developing countries with weak or distrusted domestic financial systems; rather than buying dollars directly, they can buy a dollar-pegged token through a digital platform. More VoxTalks Economics episodesThis episode is the second of two published simultaneously to mark the launch of Paris Report 4. In the first episode, Maurice Obstfeld of the Peterson Institute for International Economics examines the history of global imbalances and what today's policymakers can learn from previous episodes. For an interview with two of the report's editors, Beatrice Weder di Mauro and Jeromin Zettelmeyer, on the problem of global imbalances, listen to The Sound of Economics, Bruegel's podcast. Available at bruegel.org.

2. This source focuses on Americanintervention under General Pershing, who resisted amalgamating U.S. troops into French units. Lloyd examines how Germanforces were physically defeated in 1918 despite later "stab in the back" myths, noting that the Allies were too exhausted to pursue them into Germany. (2)1943 PATTON

5. This file examines Frenchleadership, specifically Joffre's steadiness during the 1914 invasion and the subsequent rise of commanders like Nivelle and Pétain. Lloyd describes Ferdinand Foch as a "Supreme Allied Commander" whose charisma and understanding of modern warfare successfully coordinated multinational forces for victory in 1918. (5)1944 SWORD BEACH

8. Lloyd examines the "twinned" battles of Verdun and the Somme in 1916. He contrasts Falkenhayn's ruthless attritional goals with Haig's optimistic breakthrough attempts. The source concludes with the failure of Nivelle's 1917 offensive, which pushed the French army toward mutiny before Americanintervention changed the war's momentum. (8)1945 BERLIN

Annie Sargent and Elyse Rivin are back, and this time they're settling the big question: which famous destinations in France actually deliver, and which ones need a reality check? Listen to this episode ad-free They cover prehistoric painted caves, perched medieval villages, Loire châteaux, mountain valleys, and coastal wonders. They also get honest about the places that disappoint — bad weather, bad timing, or just bad hype. No sugarcoating. No brochure language. Just two people who know France well, telling you what's worth your time. If you love France and want to travel smarter, this episode is for you. Subscribe to Join Us in France so you never miss an episode — a new one drops every Sunday. Table of Contents for this Episode Today on the podcast: France's Most Stunning Destinations: What's Worth the Hype (and What Isn't) Magazine segment Welcome to Wow France What Makes a Wow Ugly France Reality Check Managing Wow Expectations Mona Lisa Hype Trap Eiffel Tower Surprise Old Paris Street Magic Pech Merle Painted Cave Brittany Wild Coast Loire Chateaux Wow Perched Villages Provence Chartres Cathedral Blue Bayeux Tapestry Marvel Alps and Pyrenees Peace Durance Valley Alps Mont Saint Michel Reality Versailles Visit Strategy Carcassonne and Memories Natural Wonders Roundup The Cliffs at  Étretat The Dune du Pilat Les Gorges du Verdon Le Cirque de Gavernie Rocamadour Villages And Modern Icons Food Wine And Markets Alsace Wine Route Strasbourg, Annecy, Nice Tourist Traps Warnings Moulin Rouge Camargue Gorges du Tarn Les Calanques Between Marseille and Cassis Gordes in Provence Riquewihr in the Alsace Saint Paul de Vence in Provence Les Baux de Provence and Carrière de Lumière La Tour Montparnasse Gets Complained About a LOT Restaurants Near Any Major Landmark Are Meh The Champs Elysées Large Group Wine and Food Tours Mixed on Hop On Hop Off Buses Instagram Travel And Wrap Copyright More episodes about French culture

Inscrivez-vous à mon nouveau Grand Live gratuit “Les clés pour ne jamais manquer de clients” ce lundi 13 avril à 21h : https://www.demian.education/grand-live-le-systeme-pour-ne-plus-jamais-manquer-de-clients✨ Ce dimanche, je partage avec vous un extrait avec Constance Jablonski qui montre à quel point le marché peut parfois nous surprendre. En lançant leur marque, elle pensait s'adresser à une niche très spécifique… avant de réaliser que leurs vraies clientes étaient en réalité beaucoup plus proches d'elles qu'elles ne l'imaginaient.La suite dès lundi matin !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.