Podcasts about hunchback

How can horror writing help readers — and writers — work through psychological trauma? Why does cross-genre fiction take longer to find an audience, but pay off in the long run? Is running a direct sales store actually worth the inventory, postage, and learning curve? And how can SubStack work for fiction authors? With psychotherapist and award-winning author P.D. Alleva. In the intro, thoughts on why in-person conferences are still worth it, even when they are a challenge for sensitive introverts! and tips for making the best of conferences [Self-Publishing Show]. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn P.D. Alleva is the award-winning author of horror, sci-fi, thrillers, and fantasy books. He's also a psychotherapist. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why horror puts the human condition on display better than any other genre Emotional trauma as the silent psychological killer most people overlook The pros and challenges of cross-genre writing and finding your audience Practical lessons from running a direct store, including integration and signed-copy fulfilment How a 3 a.m. writing routine keeps the writing separate from the marketing and admin Serialising fiction on Substack, multiple newsletters, and avoiding paid subscriber promotions Why Facebook groups, TikTok Lives, and the three-to-one rule are working right now You can find P.D. at PDAlleva.com or on Substack. Transcript of the interview with P.D. Alleva Jo: P.D. Alleva is the award-winning author of horror, sci-fi, thrillers, and fantasy books. He's also a psychotherapist. So welcome, Paul. PD: Thank you very much. Thank you for having me. This is a great opportunity. I love doing interviews, and I love talking to great people. Jo: Oh, good. Well, first up— Tell us a bit more about you and how you got into writing and being an indie author. PD: So I've been writing since I was a kid, at least second grade and more than likely even before that. I've always had that creative itch. Getting into indie author publishing, I published my first book in 2011. At the time I was also operating my own business, which took up about 24 hours of my time every single day. Then I kind of got through that and sold that in 2016, and I'm like, you know what? The time has come. I'd always written books, poetry, short stories, but never really did anything with them because I just didn't have the time. So in 2017, that's when I really came out and said, all right, the time is now. Indie publishing was doing great. The one good thing I do love about Amazon is they allowed us to come out there and start showing our craft to people. So in 2017, I just started—let's do this. Let's write full time. Let's put books out there. Let's be creative. Let's really get those juices flowing. Plus, I was getting a little bit old, and I was like, now is definitely the time to do this. Since then I've been publishing consistently, and most of my books are horror books, but I dabble. I have a sci-fi series, and I'm starting to get into psychological thrillers too. I've got a new psychological thriller that'll be published in early 2027 called Girl on a Mission. For the most part, I'm definitely into the horror genre—books, short stories, all that good fun stuff. Jo: Right, so a couple of follow-ups. You said you're a bit old. Can you give us what decade you're in at least? PD: Well, I'm 51, so born in 1971. Jo: Oh, there you go. Same age as me. PD: All right, good. See that? So we're going head-to-head there. Jo: I don't think that's old at all. Also, you mentioned you sold your business in 2016. So what was your business before? Because I think business experience is so important. PD: Agreed 100%. So I'm a psychotherapist, and I had owned a treatment centre for mental health and addiction. That was started in 2011, and in 2016 is when it sold. Since then, my wife and I started a private practice. So I still, even to this day—well, about a year and a half ago is when I stopped. I specialise in trauma, PTSD, and addiction. Trauma mostly. Most of my caseload has always been trauma, PTSD, sexual abuse, psychological abuse, war-type trauma. I was doing that mostly individually since 2016 in private practice, and I'll still go into treatment centres and see patients there too, specifically for trauma. About a year and a half ago is when I started wanting to do writing 100% full time. I thought about becoming a professor, maybe going to college, but then I wasn't sure if I wanted to get into that full time, as far as a caseload and school and everything like that. So I decided to just do group therapy, group facilitation, and I've been doing that consistently since then. It may be 15 hours a week. I do love to give back, and to me, it's more what I teach. I specialise in neuro-linguistic programming, bilateral stimulation or EMDR, hypnotherapy, science of mind concepts, psychopharmacology, biological bases of behaviour—which is pretty much how your brain works—ancient wisdom, quantum physics. I do this in a drug addiction treatment centre mostly, also mental health. And of course, just living an addictive lifestyle is traumatic, too, in and of itself. So pretty much I'm teaching them. Behaviour modification is a big part of what I'm teaching during that time. You'll see that, too, if you read my books. There's two things you can figure out from my books. You can figure out how to murder people and get away with it, and two, you can figure out how to overcome trauma as well. The whole “murder people and get away with it” comes from my upbringing. I have a very sorted past, let's put it that way. My upbringing was very different than what most people grow up in. Jo: Oh, can you give us any more than that? Now everyone's like, “Oh.” PD: “What's going on with this guy, right?” So I grew up, let's say, quote unquote, “in an Italian New York family.” Jo: Okay. All right. PD: That might give people ideas, right? Jo: That's going to give people a lot of ideas. PD: If you've ever seen the movie Goodfellas, I kind of grew up in that atmosphere, and with even some of those people too. My family had connections to those people in that movie, which I find very funny. If you watch that movie with me, you get a very different perspective on what's going on in the movie. Jo: Wow. So you're an interesting guy with an interesting background, with a very interesting backstory job as well. Some people are like, “Well, of course he's writing horror because horror is just awful and full of slasher gore and all that.” I often have to say to people who don't read horror, “Look, it's not like that.” Maybe some of it is, sure. But most of it isn't. Could you talk about how reading and writing horror can also be psychologically healthy? How do these worlds intertwine for you? PD: Well, sure. It 100% can be healthy. Especially over the last few years, there's a trend going on out there right now where people are taking their trauma and putting it into a creative process through poems, short stories, and even novels. They're taking their trauma and giving it a face, like a monster, where people are overcoming that monster within the creative process. I always say that horror is the genre that puts on display, better than any other genre out there, the human condition. Why is that? When people are in a terrifying situation, you really see who they are. You get to the heart of the matter of who that person is by putting them in these horrific but undefinable situations where it's like, what are they going to come out as? That real true personality needs to come out, and that courage comes out. That's huge in horror, and I think horror gets such a bad name. Now, I know there's the extreme horror and the splatterpunk, and that has its kind of role too in what I'm saying, but that's where horror is getting its bad reputation out there with the over-the-top type of gore. For the most part, that's a small part of the horror genre. It's a subgenre for a reason. It has its readership, and that's fine. Nothing wrong with it. I read it all the time. I find a lot of joy in it, a lot of excitement. However, for the most part, any horror novel that is not completely with the gore and stuff like splatterpunk can be seen as a psychological thriller, and a lot of psychological thrillers can be seen as a horror novel. Look at books like The Silence of the Lambs, Red Dragon. That's horrific as well, but if you read the novel, it's in there. It just gets that bad rap right now, and it's not all gore. Most horror novels that I read today are psychological horror. It's tame on the gore, and the psychological aspect is there. I always see that psychological aspect—it's like psychological trauma. Most people, even in my industry, when people are out there and you mention trauma, PTSD, they're thinking about sexual abuse, physical abuse, or war-type trauma. The silent psychological one—I once wrote an article called “Emotional Trauma: The Silent Psychological Killer.” The one that's out there is the psychological trauma, the emotional trauma that is widespread. Most people go through that, and it could even be from parent to child, and most people don't understand that that's a traumatic experience. It's like a distortion of reality that you're experiencing that then creates a belief system in your brain, and you're constantly acting out that belief system. That's where the psychological component of horror really comes out. People breaking through that psychological belief system that was created through a traumatic experience by reaching courage and coming out through a horrific situation. Jo: Yes, it really annoys me, because with romance, of course people understand that romance is a huge genre. Something like a small town sweet romance is a world away from the bully romantasy, dark, or mafia. Mafia romance is a really big thing with very dark themes. I'm like, well, how can you understand that romance is a huge genre with all these different subgenres, and not think that horror or thriller or fantasy or sci-fi all have so many different subgenres within them? I personally read a lot of supernatural horror, but rarely the slasher gore kind of stuff. So I'm really glad you said that, and hopefully more people will open up a bit more. I did also want to ask you about what you write. You write all these different things. You write standalone—I mean, often horror is standalone—but you also have some series. How do you balance it? What are the benefits of cross-genre writing, but also the challenges of it? PD: Okay. So obviously I love cross-genre writing. To me, I use fantasy to explain the supernatural elements. I blend mostly a tad of fantasy to help explain the supernatural components in my supernatural novels. When I write sci-fi, specifically sci-fi, that has the fantasy element in it too, but there's also a tad of horror in there as well. It's just who I am. When I grew up, I had a lot of different influences. I had Star Wars on one side, and then I'm watching B-rated '80s slasher films on the other side. Those two mixes just kind of followed me throughout my life, and that's why I like putting them into my novels. As I tell my patients, don't limit yourself. Never limit yourself. If you're just limiting yourself to one genre, you're missing out on so much more that's out there. So I love the blend of mixing genres. It just gets my goat each and every time. It is a challenge though. I remember when I first started getting into indie publishing, I was never big into Facebook and social media up until I started becoming an indie author. Before that, with my type of upbringing, you don't advertise yourself. You don't advertise where you're going. That's a big no-no. So I always had this aversion to social media. I'll tell you a funny story. It was the late 2000s, probably 2006. I was a full-time single father at that time, and I was living in Florida. My family—brothers and sisters-in-law—were living in New York, and my sister-in-law said, “Get a Facebook account so we can see pictures of the kids.” I said, “Oh.” I didn't want to do it, but I said, “Okay,” so I did it. And I'm thinking, looking at this Facebook thing, “How do I put pictures on here?” So I figured out how to put pictures in folders. Then I phone called her, and I'm like, “Okay, so they're on there.” And they're like, “Well, where are they?” I'm like, “I put them in these folders. You can go and look at them.” She's like, “No, you've got to post them.” That to me was like, “I'm not posting pictures of my kids.” That was a big no-no. It didn't click. When I got on there finally in 2016, 2017, I'm like, “Okay, so I need to figure out social media. As an indie author, I need to be on there, so I need to get through this aversion and get on there.” I started noticing how people are so particular with their genres. If they're reading a romance, it had to be very specific with that exact type of romance, and if you deviated from it, they're not going to like it. So that was the challenge. I was like, “All right, number one, I'm not going to dilute myself” and say, “All right, take things out of my writing or out of my novel just so I could cater to a certain type of audience.” I'm like, “I'm not going to do that.” I know with me, myself, as a reader, I'll read everything. I don't limit myself to a specific genre. I'll read psychological thrillers. I'll read romance. I've been doing that all my life. So I'm like, if there's a person like me out there—and look at this, I just met like four other people who also read cross genres—then I know that there's at least another 30,000 people, and I know that at least then there's 300,000, then there's three million people out there. So just write the books that you're writing and find your audience. Now, that takes longer. So you've got to chip away. Chip away. You're going to find readers here and there, and then that reader kind of tells a few people about you, and then you've got a few more readers. Then you keep going, and you go on these Facebook groups, and you do a whole bunch of different things, and then you gather a few more readers. Then they're telling some friends, and then you've got more. The process takes a lot longer, yes, 100% agreed, but I would say be true to yourself and you can never go wrong. Jo: Yes, I agree. I write cross-genre as well, and I've browsed your collection. Golem was the one I was like, “Ooh, yes, I like that one.” I haven't read it yet, it's on my list. I think when you're cross-genre, my people come to my store as well, and it's like, “Okay, I'm interested in lots of things, but this is the one by this author that I'm interested in.” Whereas with other authors who only write one type of thing, then I might not like any of their stuff. So I think there are definitely pros and cons and different ways into our world. I also wanted to ask you about the differences in business. Obviously you ran this treatment centre and there were physical humans on all sides, and now you've got a business as an author. So what have you learned in business from what you used to do and what you do now? PD: Okay. You're right. The treatment centre industry is very different from what I'm doing now, but it's still people. Treat those people right, have integrity. If you say you're going to do something, follow through with it. My word is my bond type of thing. That definitely has fed into the writing and publishing industry that I'm in now in a huge way. Just connecting with people is, to me, the biggest part of it. I mean, treatment centres, you've got to connect with people. When I would market the treatment centre, where would I go? I would go to hospitals, residential facilities, detoxes, and talk to them about my programme and why they should be referring clients there. It's the same thing here. Why should you be reading my books? You get there through interviews like what I'm doing here with you. Other podcasts. You get there by doing Facebook Lives, TikTok. I haven't started TikTok Lives yet, but I actually love that platform. I'm falling in love with it. IG Lives, anything like that where you're talking to people and you're making a connection with those people. Through that, I've gathered so many different types of readers who are like, “Yes, I'll give this book a shot.” And then they read it and they're like, “Hey, this is really good, and I'm going to read another book.” With my books, I have very different books. Golem is my psychological horror novel. It's my slow-burn psychological horror novel, heavily inspired by Frankenstein and the Pygmalion myth. It's my first true horror book that I published. Then there's Jigglyspot and the Zero Intellect, which is inspired by B-rated '80s horror movies and the old grindhouse movies of the '70s, and it's mind manipulation. It's just wild and bizarre. And then The Sleepy Hollow Incident is my Gothic tale—it's like a dark romance mixed in with Gothic horror. So I always try to put something for everyone that's out there. To me, when I'm writing, it's got to be about depth, psychological depth. I always refer to my books to be like peeling layers off a Texas-sized onion. The more you read, the more in-depth you get into not only the characters, but the story. It's just something that comes out of me. It's part of me. That's the way I always have to do it. I always have to put that depth in there. To me, that's good storytelling. When I grew up, I read a lot of classic literature. Yes, Edgar Allan Poe, but also Dante's Inferno, Milton's Paradise Lost, The Hunchback of Notre Dame, the Brontë sisters. Keep going. Ray Bradbury, Ayn Rand, Daphne du Maurier, Shirley Jackson. Those to me are my books that I absolutely love. So there's a sweet science in today's fast-paced, social media type of world in marrying the depth of the old classic literature and the entertainment value that is required today for being an author. There's that sweet science behind it, and I love just hitting that nail on the head every time. Jo: So did you ever pitch traditional publishing, or have you thought about going that way? Because I also find that a lot of horror actually sits very close to literary. Like, I read a lot more literary horror than I do in some of the other genres. PD: Correct. So in the beginning, yes. Not in a long time. I maybe went to a couple of indie publishers, but as far as traditional, the Big Five publishers, I have an aversion to them for a big reason. I know people who have worked in that industry that have told me some pretty bad horror stories about those places. So I haven't sent anything to that type of place in a very, very long time. Maybe close to 20 years. Indie publishers, the small presses, yes, here and there, but even then, I'm always moving at a fast pace. So if I've got a book and I'm sending it out as a query letter, by the time that query letter is even read, I'm almost done publishing. I love that aspect of it. The control of my story, where I know where this character's going. And listen, I've got my beta readers, I've got my ARC readers. They're there to tell me, “Hey, maybe you should change this or change that.” Whether I take that advice or not, of course my editor too, is really up to me. I always put out the book that I know is the one I want to read. And to me, I haven't gone wrong in doing so. I know with traditional publishing, you sometimes get too many thoughts in the pot there. Let's put it that way. Jo: Okay, so coming back to being indie then. You mentioned Amazon earlier, but you have a store where you sell direct. Many authors are doing this now, but it can be a challenge. So what have you found are the pros and cons of your direct store? What's working? Any lessons there? PD: Okay. So I use a place called Big Cartel. They're the platform where the books are on. They're hosting my website, PDAlleva.com. The big challenge was actually just starting it. It was so overwhelming. How do I put this on there? At the time, I've got all these books, so how do I present them? I'm even going to be doing another revamp with it too, because I want better pictures—taking pictures of the books, stuff like that, instead of just having the covers on there. I also have a lot of shirts that I'm selling. So I think the biggest challenge is just getting on there and starting it. Then of course, you've got to learn a whole new platform, and the mechanics, and how people are going to be downloading, and how that's done on an e-book versus a print version of the book. So it's a huge learning curve that you've really got to put your focus on and give it time. What most people like in indie publishing is signed copies. It's a huge part of indie publishing, selling those signed copies. People love a signed copy, and that's primarily what my website is for. You can order signed copies from me. I also use a place called IngramSpark, and they're more like a distributor. They're used by everyone. They've been around for a very long time. Traditional publishing uses them too, and they're just distributing your novel. I'd say about a year ago, maybe two years ago, they started where you can sell your books on discount through them as well. So I have that on my website too, where you're just clicking on the book and you're pretty much going directly to their site and you're buying paperbacks and hardbacks at a discount. That's going well too. For the most part, people are definitely coming to my site because they want the signed copies. A good thing with indie publishing is limited editions, first print copies, special editions. That type of stuff really just takes off. People love to see that, especially in the indie community. You can sell them too. I go to a few different book conventions during the year, and the limited editions are there. Like I said, people love the signed copies. They love being a part of that and getting that signed copy. They treasure it, just like I treasure my books too. I'm not referring to my books that I've written, but books that I have as well. I love my e-reader, don't get me wrong, but I still prefer the physical copy—the paperback, and even more so than the paperback, the hardback. So people love those signed copies, and that's why I created the website, to sell on there for them. Jo: Yes, I mean, we're getting to a point now though where I think some people are questioning the pros and cons of it. For example, you doing the signed copies—I don't do that from my Shopify store because I don't want to hold stock and I don't want to deal with postage. So I only do it when I do a Kickstarter. I've just finished one recently, Bones of the Deep, and I'm going up to the printer, and I'm going to sign a couple of hundred copies and then they do the postage. That's the only way I'm willing to do it because of the pain of getting books to your house, signing them, getting them in the post. So how do you manage that practically? PD: Okay, so the inventory's there. I don't go and sign everything right away. I just keep the inventory. Once somebody buys the book, then I'll pull out the book, log it and all that good fun stuff, sign it, and then ship it out immediately. Here in my country, we get discounts at the United States Post Office because they're books. So they pass that shipping cost over to the reader too, so it's a little bit cheaper for shipping. I'll just take books once or twice a week over to the United States Postal Service and ship those books out. I don't sign them until I actually get that order. Jo: How many do you have in your house? It's the holding stock of all the backlist that is the problem. PD: Ooh, gotcha. All right. That's why I have a two-car garage. But here's the thing, I won't order 500 at a time. I'll order 20 at a time. Jo: Okay. Right. PD: When I see that inventory's getting low, I'll order another 20 at a time. Jo: And you get those from IngramSpark? PD: Correct. When the new one comes out, maybe at that time I'm just selling those, bringing those to conventions that I go to. Or maybe doing a sale on those books at that time to get rid of the inventory so it's not sitting around anymore. Jo: I think that's so important. Then like you mentioned, you do T-shirts or shirts. That is also really hard because of sizing. So is that all print on demand? PD: Yes. So I don't really hold the stock on the shirts. When I get an order, whatever the size is at that time, I go directly to the place and order it. I use a place called Sublimation Station that's here in Orlando. They do great all-over print T-shirts. They're fantastic. I just did one for The Sleepy Hollow Incident. So The Sleepy Hollow Incident is one long story, and it's broken up into four books. Each book has its own. The covers are fantastic. I use a lady named Cherie Foxley. She's a phenomenal cover designer. So the shirts are, like, book one is on the front of one shirt with book two on the back, and then the second shirt is book three on the cover and book four on the back. However, I can customise those. I just did a giveaway in my Facebook group and I let people know I could customise them, and she wanted book one and book four, so I just got that and sent it out to her. Now, if people go ahead and order that on the website, I can just order it right away from them, boom, and that place will get it shipped right then and there. Jo: Right, so they do the shipping. These are all sort of practical things that people need to answer because I feel like sometimes it's like, “Oh, yes, having a direct store is great,” but there's actually quite a lot of work that goes into it, isn't there? PD: There is. There's a lot of work. You're pretty much opening almost like your own brick-and-mortar store at that point. You just don't have walk-in traffic coming in—your traffic is all coming online. So there is a lot to it, but it's worth it. If you're a self-published author or even a small indie press, it's good to have. Because like I said, people love the signed copies. Jo: When you say it's worth it, is it worth it financially or just because you like to serve the customers in that way? PD: Both. Jo: Right. So it is financially worth it for you? PD: Yes. Jo: I was talking to a friend of mine and saying, are you valuing your time in terms of things like taking the books to the post office and stuff like that? Do you find it eats into your writing at all, or do you just manage it all separately? PD: No, I manage it separately. So I'm an early morning riser. I get up at 3:00 in the morning, and that's when I write my books or do editing or brainstorming. I'm about to write a new novella now called The Adam and Eve Story, which is actually based on a little-known CIA shelved book from the 1990s called The Adam and Eve Story as well. So I've been brainstorming that, and I was doing that this morning. I get up at 3:00 a.m. and I do my writing, and by the time the kids are up and by the time the wife is up, it's like 8:00 a.m. is rolling around and I'm pretty much done at that point. Then I have my days. Tuesday I'm completely working from home and I do my thing in the morning, and then the rest of the day is marketing, fulfilling orders, stuff like that. On the days when I'm going to do group facilitation, I'll of course still get up at 3:00 o'clock in the morning, and then I'll plan out the day. I've got an hour between this group and I can go ahead and do that, and I'm already there so it's not a problem. The post office is right around the corner. You kind of figure out all the logistics for yourself. There are some days, like on Monday, I don't facilitate groups until the afternoon, so I've got the whole morning to work on marketing and do other things, and fulfilment. Then of course Saturday's a big day for that too. Jo: Oh, that's good. I feel like people always need to know how to balance their time, but it sounds like you manage, because at 3:00 a.m., as you say, there's not much else to do other than write. You mentioned marketing, and you have a Substack, pdsalternativefiction.substack.com. Talk about that and serialising fiction and how Substack works. Because I feel like a load of people are jumping in but might not necessarily know how it works, especially for fiction. PD: Correct. It is becoming quite popular out there. I think the one before that was Patreon, and Patreon is pretty big for that too, kind of the same thing. I wanted to start something and just get the work out there. I was very interested when Amazon came out a few years ago with what was called Vella. They kind of started that. I was like, “This is kind of cool.” Couple chapters at a time. I'm writing the books anyway, so why don't we kick this off and see how it goes—a type of experiment. I had a lot of fun doing it. I started on October 4th, 2024. I've done four novels so far. One is still going, which is Volume 3 of my Dark Veil serie— that's a sci-fi series. I wrote three other novels. The Hypnotist, which is a thriller, heavy on the sci-fi and a tad of horror in there too. And then I wrote Girl on a Mission, which is my psychological thriller, and then Cat Fight, which is a horror novel—all within that time. I think I finished all three of those novels in January, and then the first week of February they were all pretty much done. Now what I'm doing is, I went paid recently on the Substack. It's like everything else that's out there—chip away, chip away. I fell into that hole where they say, “Hey, we can promote you and get people to sign up for your newsletter.” And I'll be honest with you, don't do it. It's not worth it. You spend money, and what happens is they're what I refer to as dead leads. They don't click. You wind up shuffling them off after three to six months, because they're just not clicking. Everybody gets a star rating, so you know—are they clicking, are they staying on, are they not? So I got rid of pretty much all of those people, and I'll never do that again. It's got to be done organically. That's why when you read my books, especially the new books, towards the end it'll say, “Sign up for my newsletter.” I do more with that newsletter too. If you're on the free tier, every month I do a monthly newsletter, which is just me talking about updates, things going on in the publishing industry, things going on with me. My daughter puts together a weekly Horror and Sci-Fi Chronicles newsletter, which gives what's going on in new releases in the industry—sci-fi, horror, books, movies, television. She does deep dives into industry tropes, historical tidbits, and a weekly quiz. I also do a monthly Terrors and Tales newsletter. I started this last year, and it was a quarterly newsletter. It's other authors who are new, upcoming, never been published before, looking to get published. It's a chance for them to be on the newsletter where they have a flash fiction story or poem or even a short story that I publish for them. It's called the Terrors and Tales newsletter. What happened is I would put out calls for submissions. And a place called Duotrope—I don't even know who these people are, but all of a sudden I got an email from them stating, “Hey, we found that you're looking for submissions, and we posted your link. We hope you don't mind.” I'm like, “No, of course I don't mind.” I got so many submissions from that one link. I'm like, “Okay.” Do I really want to deny people? I'm not like that. I want to help promote other authors. I know what it's like when you're new and upcoming, no matter what age you are, to say, “Hey, here's a platform for you to see your stuff in print.” Obviously, I read through them just to make sure they're up to a certain standard, but for the most part, if you submit, you're getting in there. With Duotrope, I'm like, I have enough here to put out one a month. So in May 2026, the first one goes out, and then I'll have one each month until December, and then who knows? In 2027 I might go back to quarterly. I might get enough submissions to just keep it going once a month. So that's the Terrors and Tales newsletter, and it usually comes out towards the end of the month—the last two weeks. I have nothing to do with it in terms of content. None of my stories are on there. None of my poems are on there. None of my flash fiction. It's all other authors, just for them to see their name in print, see their work in print, share it with their friends, and put something on their resume, and to encourage people to keep reading and keep the craft going. Jo: When you say in print, you don't mean in physical print? PD: Oh, I mean in the newsletter. I'm sorry. Jo: I think that's important, or you're going to get a lot more submissions, and you will need to do publishing contracts and all that kind of thing. I think that's the difficult thing with a Substack newsletter approach—it's difficult to know where to categorise it. Is it marketing? Is it publishing? It's all of these things, I suppose. A bit like this podcast, it's all kinds of things. In terms of Substack actually making money on its own or leading to book sales that make money, do you think it does serve that purpose? PD: I think I've gotten more book sales through it, and also ARC readers who are enjoying the books and giving reviews. As far as the paid tiers, that's kind of a little bit slow, and that's where I'm saying chip away at it. Keep it up there. Keep it going. Over time, you're going to build that type of audience where it's going to be like, “Hey, this is financially feasible for me to continue to do this.” That's the response that I'm getting out there. Jo: Yes. Before, you mentioned you were doing Facebook Lives and you're looking at TikTok, but— Is anything else working for you in book marketing? If people have a few books and they're like, “What is working for book marketing right now?”—what do you recommend? PD: Okay. For me, the thing that has made the most sense is making sure the reader knows the book is out there through some sort of social media. I've had really good success on TikTok since the beginning of this year especially. I started it about a year ago, year and a half ago, but then my father got sick and passed away, and it was a new venture and I put it off to the side. I really got the flavour going at the beginning of this year. February, March of this year. It seems to be going really well, and I've noticed an uptick in sales from just getting the videos out there and getting it in front of people's eyes. There's an event I'm going to in August called ShiverCon, which is a pretty big event. After that event, I'm going to look to see what type of inventory I have left over from the event, and I'm going to start doing TikTok Lives. I'm very comfortable being on camera. So I'm like, “Yeah, that seems like a good way to go.” I know there's a few other horror authors who are doing it and having good success with TikTok Lives as well. A guy named Jason Davis is doing really well with TikTok Lives, and a few other authors too. I'm like, “Yes, I could definitely do that.” I want to get up to a certain number of people, and I want these events. I'm going to one in July, and then ShiverCon in August. Once those are done, I'm going to have more time to do the TikTok Lives. As far as Facebook is concerned, what I've had really great success with on Facebook is being in the groups and meeting other authors. That's not always about my book per se, but whatever books I'm reading, I'm posting my reviews about those books in those groups and meeting readers. Then obviously, they always say the three-to-one rule. Post about three different books and then post about your own book, whether you're doing a sale or a new release or a re-release or whatever. I've found success through that just by interacting with readers. When they post a book, I'll comment, “Hey, I've read that book,” or, “Hey, that book looks really cool. I like the review.” Commenting on it so you start these relationships with people who are out there in these Facebook groups. I've recently started my own Facebook reader group. I kind of go with the same thing. Last night, we did a live reading for another author. I like other authors to be on there. I always like to think, what does the reader need? What do I want to see as a reader? I would love to hear live readings from authors. So I kind of learn about them, learn about the book, and get a live reading. To me, that's a good way to go. So I started that recently, and it seems to be going well. I've got a new folk horror coming out soon, and I put out a call for ARC readers and got a fantastic response from that. That kind of drives the sales anyway, because when you get those reviews, then people see it gives credibility to the book, and then other people see it, and then they're buying it too. So that comes from the groups. There's so many wheels to spin in this industry as an indie author when you're doing this, especially when you're doing 99% of it on your own. You've got to get out there. No one's going to know your book exists if you don't get out there and tell somebody about it. Jo: Brilliant. Well, tell us— Where can people find you and your books online? PD: All right. Perfect. So obviously I'm on Amazon like everyone. Most of my books are worldwide, so you'll find them in Barnes & Noble as well. And of course, if you want the signed copies or discount print books, I always lead people straight to my website, PDAlleva.com. Then, of course, if you go to my Substack, you'll get all the updates, and you'll get all the links to purchase or find out where they are on Amazon and Barnes & Noble and things like that too. Jo: Brilliant. Well, thanks so much for your time, Paul. That was great. PD: Thank you very much for having me. It was great chatting with you. The post Writing Cross-Genre, Selling Direct, And Serialising On SubStack With P.D. Alleva first appeared on The Creative Penn.

We're spending just one day out there! Join Grant of Game Master Monday and descend into the musical madness an social commentary of The Hunchback of Notre Dame (1996) with the pod! Where to find Grant:https://linktr.ee/gamemastermondayTwitch: https://www.twitch.tv/gamemastermondayBluesky: @gamemastermonday.bsky.socialInstagram: @gamemastermondayContact the Podmoviestruckpod@gmail.comwww.moviestruck.transistor.fmPatreon: https://www.patreon.com/moviestruckDiscord: https://discord.gg/cT2vm3KdeSBlueSky: @moviestruck.bsky.socialTheme by Prod. DomSoundcloudThank you to our $10 Patrons!Kaeldrannas, Maddy New, Adam Bagnall, Christian Jolliff, UwU, Zas, Ken M, Jim8333, Jacob Hunt, Azraq Shinji, Case Aiken, AnOptimist, Lairde Ray, the Norwegian one, Travis Poe, William Warren, Stag Hart (Deer Deer), Rusty_Fork, Mura Purcell, insomnite, Nathan Dunlap. ★ Support this podcast on Patreon ★

With a new lead on where Simon the Snake could be hiding, the tiny adventurers risk everything to protect their fellow fey. Underfoot is a rules-light, 3 stat roll-under system where you play as a fey trying to navigate the topsy-turvy world you call home, designed by Ella Carter (https://www.ellacarter.art/underfoot, IG: @ellac.arterart).---News, artwork, and more at ⁠⁠PowerWordCrit.com⁠⁠Rate us on ⁠⁠Spotify⁠⁠ and ⁠⁠Apple Podcasts⁠⁠Contact us on ⁠⁠Facebook⁠⁠, X/Twitter, or atPowerWordCrit@gmail.com---Theme music “Beetle March” from Ovani Sound. "Bicycle" by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0http://creativecommons.org/licenses/by/4.0/ "For Originz" by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0http://creativecommons.org/licenses/by/4.0/ "Nonstop" by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0http://creativecommons.org/licenses/by/4.0/ "Pippin the Hunchback" by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0http://creativecommons.org/licenses/by/4.0/ "Willow and the Light" by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0http://creativecommons.org/licenses/by/4.0/

From Video Production to Center Stage: The Inspiring Journey of Jacob ButlerOn this episode of On the Aisle with Tom Alvarez, actor, singer, videographer, and editor Jacob Butler shares his remarkable path from a shy, anxious teenager in Northern Kentucky to one of Central Indiana's most respected musical theater performers.Jacob reflects on the profound impact of losing his father at age 17, how storytelling through film helped him navigate grief, and why a spontaneous audition for Into the Woods at Ball State University changed the course of his life. Despite having no formal theater training, his powerful voice, dedication to learning, and passion for storytelling led to standout performances in productions such as The Hunchback of Notre Dame, Joseph and the Amazing Technicolor Dreamcoat, Titanic, Kinky Boots, Phantom, and many others.The conversation explores:How grief and personal challenges shaped Jacob's artistic journey The transition from video production to professional theater The importance of mentorship and lifelong learning Why collaboration is essential in both theater and filmmaking The balance between humility, self-promotion, and building a career in the arts The unique culture of Indianapolis theater and the family atmosphere at Beef & Boards and Actors Theatre of Indiana Why live theater remains irreplaceable in an age of AI and digital entertainment Jacob also shares advice for young artists: take risks, trust your instincts, find supportive people, and keep moving forward—even when the path ahead isn't clear.Whether you're a theater lover, aspiring performer, filmmaker, or someone navigating life's unexpected turns, Jacob's story is a powerful reminder that growth often begins when we step outside our comfort zone.Subscribe for more conversations with the artists, performers, and creative leaders who enrich our communities through the performing arts.#OnTheAisle #TomAlvarez #JacobButler #MusicalTheater #IndianapolisTheater #PerformingArts #Storytelling #BeefAndBoards #ActorsTheatreOfIndiana #Broadway #TheaterLife #ArtsPodcast #LiveTheater #CreativeJourney #ArtistSpotlightSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Brandon & Boomer discuss the Turksploitation sci-fi parody Ömer the Tourist in Star Trek (1973) https://swampflix.com/ 00:00 Welcome 02:37 Maisie Was a Lady (1941) 06:47 Ringside Maisie (1941) 10:56 Maisie Gets Her Man (1942) 15:32 Dr. Jekyll and Mr. Hyde (1920) 18:58 The Hunchback of Notre Dame (1923) 20:15 The Man Who Laughs (1928) 25:11 Die Nibelungen (1924) 35:15 All Monsters Attack (1969) 38:53 Happiness (1998) 46:13 Chungking Express (1994) 50:05 Obsession (2026) 1:00:45 Blue Film (2026) 1:06:16 How to Make a Killing (2026) 1:11:10 Scream 7 (2026) 1:16:44 Pretty Ugly - The Story of the Lunachicks (2026) 1:21:26 I Love Boosters (2026) 1:35:00 Is God Is (2026) 1:39:28 Backrooms (2026) 2:01:45 Ömer the Tourist in Star Trek (1973)

Today I am joined by Jaz Vianey, and we are talking about three animated versions of The Hunchback of Notre Dame! None of which are Disney, and this isn't even half of the animated versions out there...Follow Jaz Online!Instagram: https://www.instagram.com/animationdreamerThreads: https://www.threads.com/@animationdreamerLetterboxd: https://letterboxd.com/jazvianeyTikTok: https://www.tiktok.com/@jazvianeyI Heart Animation - Episode 252For links to my latest episodes, all my podcasts, and other social media, check out my Link Tree! ⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/jonjnorth⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For bonus episodes, extended episodes, and more, sign up for my Patreon! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/jonjnorth⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

It's a Harnois Sibling Spectacular - we're covering The Capture by Kathryn Lasky with none other than our brother, Patrick! Book 1 of the Guardians of Ga'Hoole series is a brutal look at fascist owl overlords and the revolutionaries quietly defying them. Young Soren and Gylfie experience perils, found family and the terrors of moon blinking after being ripped away from their parents. We delight in The Owliness of It All and the ways this book permits young readers to question the authorities in their lives while celebrating their coming of age. In the words of Twilight: "I am big -- right you are! But I am delicate and beautiful. I can float! I can skim.” If that's not enough to convince you to listen, I don't know what will!Please visit https://www.dragonbabiespodcast.com/ for a character gallery aka a whole lotta owl pics.MUSIC - Pippin the Hunchback and Thatched Villagers by Kevin MacLeod (incompetech.com) - Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Let's dust off the archives and celebrate some of the guests we've had on the Rippling Pages. This is a re-release of a previous episode with Polly Barton. Over the years, we've been proud to feature emergent writers on the Rippling Pages and speak to them in the early stages of their careers. One of those writers is Polly Barton, who's just released her debut novel, WHAT AM I, A DEER? with Fitzcarraldo Editions. I spoke to Polly five years ago about her Fitzcarraldo Essay Prize winning, FIFTY SOUNDS.  Polly is a writer and translator from Japanese. Translations include Butter by Asako Yuzuki, Hunchback by Saul Ichikawa, and Where the Where the Wild Ladies Are by Akko Matsuda. Her essay, Porn: An Oral History was also published by Fitzcarraldo Editons.  In our conversation, we picked out knotty debates about language, her time in Japan, and what it means to love and love in language Enjoy! If you fancy hearing another Fitzcarraldo essayist, why not buy tickets for my event with Alice Hattrick at Leeds Lit Fest: https://www.leedslitfest.co.uk/events/alice-hattrick-fancy-work/ Get exclusive subscriber benefits from the Rippling Pages.  https://patreon.com/RipplingPagesPod?utm_medi Check out the Rippling Pages Bookshop and buy all the books featured on the Rippling Pages: https://uk.bookshop.org/shop/ripplingpagespod Interested in hosting your own podcast? Follow this link and find out how: https://www.podbean.com/ripplingpages  Chapters 3.00 - What are the Fifty Sounds 5.40 - what is the philosophy behind the bok 10.00 - Wittgenstein 14.30 - Embarrasment, error and comedy 16.15 - Binaries 20.15 - Outsiders and immersion 21.45 - Language games 24.14 - Structuring the book 28.00 - Japan as a man 31.45 - Loving language and people Reference Points Ludwig Wittgenstein

Triumphant griffin scream!! We're back with Derk's brood 8 years after the events of Dark Lord of Derkholm, and it's his daughter Elda's time to shine. She's enrolled at the Wizards' University alongside fellow oddball first years Felim, Olga, Lukin, Ruskin and Claudia, and they're realizing there's not much learning to be had there. When the inept chairman Corkoran, obsessed with flying to the moon and uninterested in all else, betrays their secret enrollment, the university is beset by assassins and concerned relatives. We discuss the lure of a magical pit, terrible admins, Giant Woman / Tiny Man romance, and why DWJ absolutely owns a Fantasy Romp. Join us!Thanks to our many listeners who keep the DWJ request fires stoked.MUSIC - Pippin the Hunchback and Thatched Villagers by Kevin MacLeod (incompetech.com) - Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

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]

In lieu of a standard episode disclaimer, I will simply say: I spent the whole book expecting the “Owl Service” to be some kind of organized operation, perhaps to threaten outsiders or deliver pellets into enemies' quarters. Only now, upon reflection, do I realize that it is a description of the set of plates. I am a fool and the owls are beyond me. They should be flowers, anyway.This book defies description and we laughed, cried and wondered in reading it for the first time. Thank you, as always, for introducing us to magnificent books that we missed in our childhoods! This one's for our listeners.SIGNIFICANT pronunciation disclaimer. It would be painful to come off as disrespectful of the Welsh language and its folkore when we are actually pronunciation-challenged and (unfortunately) too American. Please know that we love learning more about the Mabinogion and can only improve from here!EPISODE MEDIAThis was a very visual episode! Visit https://www.dragonbabiespodcast.com/ to see everything we reference.MUSIC - Pippin the Hunchback and Thatched Villagers by Kevin MacLeod (incompetech.com) - Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

THE HUNCHBACK OF NOTRE DAME is one of the most popular musicals to never have a Broadway run, but its epic story of Quasimodo and his bell tower home had reached legend status long before the Disney produced stage musical premiered in Germany. Here to chat about the film, the novel it's based on, and the story of how they found their way to the stage is someone who knows a thing or two about epic musicals. This week, actor Rodd Cyrus brings not only his experience with HUNCHBACK, but also the hit revival of RAGTIME and, maybe most importantly, an impressive knowledge of Disney straight-to-home video sequels. Get ready, Disney fans. You're gonna love this one. Follow Rodd on Instagram at @roddcyrus and see him as Harry Houdini in Ragtime : Lincoln Center Theater. If you enjoyed this episode, check out one of our most popular episodes: BEAUTY AND THE BEAST with Kim Huber If you're not already with us at ⁠⁠⁠⁠PATREON!⁠⁠⁠⁠ enjoying the contests, essays, and bonus episodes, what are you waiting for?! Be sure to follow and share our content on ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ and ⁠⁠⁠⁠TikTok⁠⁠⁠⁠ and subscribe to the show wherever you listen to podcasts! Looking to give back? We have designs at our ⁠⁠⁠⁠TeePublic Store⁠⁠⁠⁠, and the profits we receive are donated to ⁠⁠⁠⁠Broadway Cares/Equity Fights AIDS⁠⁠⁠⁠. Above all, thank you for being part of this wonderful podcasting community! Learn more about your ad choices. Visit megaphone.fm/adchoices

New episode out now! We watched all four episodes of the medieval mystery miniseries Shardlake. We discuss the character of Matthew Shardlake and how we were intrigued with his journey, enjoyed that his investigation challenged his faith in the institution he works for, and liked how he realized that the definitions of “truth” and “justice” change depending on who was talking. We thought the show had momentum in part due to the two totally separate threads of investigation, checked out a little at all the underlying politics, marveled at how so much of the investigation is sourcing bureaucratic records and waiting for letters, and got very frustrated with men in power in both the church and government. Katy drops some knowledge about spymaster John Dee, Carrie channels her inner NPR, Maddy shares suppository facts, and Mack teaches us about sword and knife culture. We also talk (a lot) about various Lord of the Rings references, learn about an imaginary competition Mack is in, debate how good the first 20 seconds of being tortured by rack would feel, and do not like Henry VIII. Listen to hear more about The Hunchback of Notre Dame, animal sounds, the Tower of London, Tumblrinas, swordfighting, Ea-nāṣir, and the shadow of Anne Boleyn. And is this the oldest-set mystery we will cover? So far, yes! Enjoy!TW: Sexual assault, religious hypocrisy, torture, misogyny, medieval views on disability SHOW NOTES:Disability Horizons article “Arthur Hughes on being an actor on stage and screen with an upper-limb difference”Chain-mail glove examples at MFA Boston here, here, and hereCurrent knife rules in the UKThe Original 007? University of Cambridge article about John Dee

Grab your blood cakes and head to Mother Malkin's pit! We're reading Revenge of the Witch by Joseph Delaney. As the seventh son of a seventh son, Tom is destined to become the Spook's apprentice (at least according to his mom). He learns to trap boggarts under steel (just don't get your fingers stuck!!) and imprison witches in barred pits - and makes friends like Alice, a girl with suspiciously pointy shoes, along the way. Grim, gross and fascinating, this is an apprenticeship like no other and we have so much to discuss. We are all witches, but are we good witches or bad witches? The Spook recommends putting us into pits just as a precaution. Join us!MUSIC - Pippin the Hunchback and Thatched Villagers by Kevin MacLeod (incompetech.com) - Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Esta semana en ExpresArte

Happy Fancast Friday! It's been a while since we've been able to say that, but we're back in the fancast game. And today we're fancasting a movie that's turning 30 years old this year, The Hunchback of Notre Dame! Was this movie too dark for Disney's demographic? Is Frollo the horniest Disney villain? Were you also a little shocked when you realized this movie is old enough to have inexplicable back pain? Come join our festival of fools and fancast […]

In this episode of The Music in Me, I'm sharing ten of my favorite underrated Disney songs from some of my favorite Disney movies. These may not be the biggest or most talked-about Disney hits, but they are the songs that truly mean the most to me. From the joyful energy of “Hawaiian Roller Coaster Ride” to the emotional depth of “The Next Right Thing” and “God Help the Outcasts,” I'm diving into the songs that build the story, reveal the heart of the characters, and stay with us long after the credits roll. I even talk about getting to see “He Lives in You” and “One Jump Ahead” performed live on Broadway in New York, which made me love those songs even more. These are the hidden Disney gems that deserve so much more love — and I can't wait to share why they matter so much to me.SONGS MENTIONED...Hawaiian Roller Coaster Ride from Lilo & StitchFrozen Heart from FrozenThe Next Right Thing from Frozen IIThe Gospel Truth 1/ Main Title from HerculesGod Help the Outcasts from The Hunchback of Notre DameHe Lives in You from The Lion King 2: Simba's PrideSon of Man from TarzanEvermore from Beauty and the Beast (Live Action)When We're Human from The Princess and the FrogOne Jump Ahead and the Reprise from AladdinWhat did you think of this episode? Support the showKeep listening, keep grooving, and let the music in you continue to shine. Thank you, and see you soon!CONTACT TERI:Instagram: https://www.instagram.com/terirosborg/Facebook: https://www.facebook.com/teri.rosborgYouTube: The Music in MeTikTok: https://www.tiktok.com/@terirosborgPodcast Facebook Page: The Music in Me Podcast Facebook pageTHEME SONG BY: Hayley GremardINTRODUCTION BY: Gavin Bruno

Gina Lollobrigida was one of the biggest stars of European cinema in the 1950s and 1960s. Often described as "the most beautiful woman in the world", her films included Beat the Devil, the Hunchback of Notre Dame and Crossed Swords. She was fawned over by Howard Hughes, one of the world's richest men, and co-starred alongside the likes of Humphrey Bogart, Frank Sinatra, Rock Hudson and Errol Flynn. But later in life, she reinvented herself as an artist and photographer. In 1974, she secured an exclusive photo shoot and interview with Cuban leader Fidel Castro, during which he gave her his watch as a gift. Ben Henderson tells her story using BBC archive.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from the death of Adolf Hitler, the first spacewalk and the making of the movie Jaws, to celebrity tortoise Lonesome George, the Kobe earthquake and the invention of superglue. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: Eva Peron – Argentina's Evita; President Ronald Reagan and his famous ‘tear down this wall' speech; Thomas Keneally on why he wrote Schindler's List; and Jacques Derrida, France's ‘rock star' philosopher. You can learn all about fascinating and surprising stories, such as the civil rights swimming protest; the disastrous D-Day rehearsal; and the death of one of the world's oldest languages.(Photo: Gina Lollobrigida in 2008. Credit: Marco Di Lauro/Getty Images)

EPISODE 126 -  “THE WESTMORE DYNASTY: MAKE-UP TO THE STARS AND BEYOND” - 2/09/2026  Hollywood loves dynasties—acting families, directing families, producing families—but one of the most powerful dynasties in film history didn't appear on screen at all. And it's one of the rare family dynasties that began in silent films and continues working in film and TV to this very day: THE WESTMORE FAMILY.   The Westmores were the architects of illusion and the sculptors of stardom. From the pioneering vision of GEORGE WESTMORE who laid the foundations of cinematic makeup, to the extraordinary careers of his six sons, this family transformed faces into movie stars and shifted the culture of how women thought of and accepted the use of makeup in every day life.  Their techniques, philosophies, and innovations continue to influence how we see characters on screen today—often without even realizing it.  Join us as we spend time with The Westmore Dynasty: Hollywood's ‘First Family' of makeup. SHOW NOTES:  Sources: Makeup Man: From Rocky to Star Trek The Amazing Creations of Hollywood's Michael Westmore (2017), by Michael Westmore and Jake Page; The Westmores of Hollywood (1976), by Frank Westmore and Murial Davidson; “Putting on a Face for Hollywood,” April 12, 1991, by Carie J. Delmar, Los Angeles Times; “Low-Down on Hollywood Make-up:  Five Brothers and Their Father, Ex-Clevelanders All, Have Film Stars Beating a Path to Their Door,” April 7, 1940, by Inez Wallace, Cleveland Plain Dealer; www.westmoreland.com Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; Movies Mentioned: In the Sultan's Power (1909); The Three Musketeers (1921); The Sheik (1921); The Sea Beast (1926); The King of Kings (1927); It (1927); Dr. Jekyll and Mr. Hyde (1931); Cimarron (1931); Scarface (1932); Lady by Choice (1934); Mutiny on the Bounty (1935); Anthony Adverse (1936); Rhythm on the Range (1936); The Life of Emile Zola (1937); Elephant Boy (1937); Jezebel (1938); The Adventures of Robin Hood (1938); Professor Beware (1938); Gone with the Wind (1939); Intermezzo (1939); The Hunchback of Notre Dame (1939); The Private Lives of Elizabeth and Essex (1939); Rebecca (1940); The Strawberry Blonde (1941); Mr. Peabody and the Mermaid (1948); Creature from the Black Lagoon (1954); The Ten Commandments (1956); The Mountain (1956); My Geisha (1962); Two for the Seesaw (1962); Irma la Douce (1963); Sweet Charity (1969); Two Mules for Sister Sara (1970); There Was a Crooked Man (1970); Soylent Green (1973); The Towering Inferno (1974); Rocky (1976); Being There (1979); Raging Bull (1980); Mask (1985); --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you hear the siren song of synergy?That means we've got a brand new Star Trek show on the horizon and Miles and Charlie want in. With Star Trek: Starfleet Academy on the horizon, our brave lads are going to squeeze back into their school uniforms and try to remember how school works as they approach three episodes of Star Trek which deal with students at SFA. In ‘The First Duty,' Wesley ‘THE BOY' Crusher gets in with a guy who looks nothing like Tom Paris and is really too invested in being with the cool kids for someone who helped saved the galaxy at least three times. Then, Jake and Nog end up on a ship with a bunch of cadets forced to grow up too fast in ‘The Valiant' and Nog drinks the kool-aid of a wanna be Kurtz just out of short trousers. Then we head into the 32nd Century as Tilly and Adira have to debate what's worse, dealing with energy absorbing creatures on an ice-planet or dealing with a bunch of angsty kids with emotional baggage? Oh, and Michael Burnham helps save the Federation. Again. Don't forget to do your homework!EPISODES DISCUSSED: ‘The First Duty' (6:50), ‘The Valiant' (35:42) and ‘All is Possible' (01:01:08)TALKING POINTS: Grange Hill, the novels of John Darnielle, Mario Galaxy, Frollo from Disney's Hunchback never gets invited to Villain hangouts, Wesley Crusher never pulled, Nick Locarno vs. Tom Paris, the two types of Starfleet Academy students, the absence of Wesley's Mum, ‘The First Duty' being the inverse of the typical Wesley Crusher plot, Worf's son Alex isn't allowed on the bridge, Nog and Worf are incredibly very similar characters, Miles gets to talk about both one of his favourite anime Mobile Suit Gundam AND his favourite novel Slaughterhouse 5, the illusion of glory in war, bye-bye Tilly, damn covid-lockdown-inspired emotional baggage, our honest feelings about the upcoming Starfleet Academy show, Michael Burnham has to do something every episode, why is David Cronenberg NOT the villain?PEDANTS CORNER: Charlie has started playing Mario 2: The Lost Levels, the Genesis music video Miles can't remember is ‘I Can't Dance' by Genesis.

Do you hear the siren song of synergy? That means we've got a brand new Star Trek show on the horizon and Miles and Charlie want in. With Star Trek: Starfleet Academy on the horizon, our brave lads are going to squeeze back into their school uniforms and try to remember how school works as they approach three episodes of Star Trek which deal with students at SFA. In The First Duty, Wesley “THE BOY” Crusher gets in with a guy who looks nothing like Tom Paris and is really too invested in being with the cool kids for someone who helped saved the galaxy at least three times. Then, Jake and Nog end up on a ship with a bunch of cadets forced to grow up too fast in The Valiant and Nog drinks the kool-aid of a wanna be Kurtz just out of short trousers. Then we head into the 32nd Century as Tilly and Adira have to debate what's worse, dealing with energy absorbing creatures on an ice-planet or dealing with a bunch of angsty kids with emotional baggage? Oh, and Michael Burnham helps save the Federation. Again. Don't forget to do your homework! EPISODES DISCUSSED: The First Duty (6:50), The Valiant (35:42) and All is Possible (01:01:08) TALKING POINTS: Grange Hill, the novels of John Darnielle, Mario Galaxy, Frollo from Disney's Hunchback never gets invited to Villain hangouts, Wesley Crusher never pulled, Nick Locarno vs. Tom Paris, the two types of Starfleet Academy students, the absence of Wesley's Mum, ‘The First Duty' being the inverse of the typical Wesley Crusher plot, Worf's son Alex isn't allowed on the bridge, Nog and Worf are incredibly very similar characters, Miles gets to talk about both one of his favourite anime Mobile Suit Gundam AND his favourite novel Slaughterhouse 5, the illusion of glory in war, bye-bye Tilly, damn covid-lockdown-inspired emotional baggage, our honest feelings about the upcoming Starfleet Academy show, Michael Burnham has to do something every episode, why is David Cronenberg NOT the villain? PEDANTS CORNER: Charlie has started playing Mario 2: The Lost Levels, the Genesis music video Miles can't remember is ‘I Can't Dance' by Genesis. [ Additional Show Notes ] Music by Alfred Etheridge-Nunn. Read Miles's blog or Charlie's blog. [ Support this show on Ko-fi ] Subscribe to this Podcast: Apple PodcastsSpotifyAndroidRSSThe post 89. Starfleet Academy Prelude – So Much Child Death first appeared on Nerd & Tie Network.

Listener Kristin has some thoughts on "TECH NECK."

We take our first step outside the Abhorsen trilogy to learn more about Terciel and Elinor, aka Papa and Mama Sabriel! Beautifully streamlined storytelling adds series background - the basics of Charter magic at Wyverly, historical Ancelstierre/Old Kingdom relations, an exceptional gender-swapped playwright named Charlotte Breakspear - while bringing Tercial and Elinor together and giving their lives true purpose. A perfect prequel!Our other Old Kingdom episodes:Sabriel / Sabriel ReduxLiraelAbhorsenMusic - Pippin the Hunchback and Thatched Villagers by Kevin MacLeod (incompetech.com) - Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

 In tiny community of Mariposa, an excursion on the Mariposa Belle steamboat is the hottest ticket in town. What could go wrong? Stephen Leacock, today on The Classic Tales Podcast.   Welcome to this VINTAGE episode of The Classic Tales Podcast. Thank you for listening.     Let's talk about ads. Now, most podcasts offer a subscription where you can pay $10 or so a month, and you get to listen to their show with no ads, and get a few bonus episodes. Here's the thing – this largely goes to benefit the podcast platforms. The actual creators don't get much.   So, I created a better plan. For $9.99 per month, you get unlimited downloadable and streamable access to the entire Classic Tales Library. I've been building this for 18 years. This gives you access to longer books that wouldn't work in the podcast format. Books like Nicholas Nickleby, Moby Dick, or The Hunchback of Notre Dame. Only about a quarter of the books in the library were released through the podcast. So you can instantly download and listen to whatever you want, all the time. This is the Audiobook Library Card.    Go to audiobooklibrarycard.com or follow the link in the show notes, and download and listen all you want.   Go to audiobooklibrarycard.com or follow the link in the show notes.     And now, The Marine Excursion of the Knights of Pythias, by Stephen Leacock      Follow this link to get The Audiobook Library Card for $9.99/month       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

We've been celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, for our final "classic episode" of 2025, we're revisiting our 2020 conversation with "All I Want for Christmas" co-writer Walter Afanasieff. Happy holidays and thanks for a great year of looking back together as we continue to look toward the future!ABOUT WALTER AFANASIEFFThirteen-time Grammy nominee and two-time winner Walter Afanasieff is best known for his collaborative songwriting and production partnership with Mariah Carey that yielded hit singles such as “Can't Let Go,” “Dreamlover,” “Hero,” “Without You,” “Anytime You Need a Friend,” “Butterfly,” “My All,” and “One Sweet Day,” a duet with Boyz II Men that was named ASCAP Song of the Year. It hit #1 in December of 1995 and stayed there for sixteen weeks—a record that remained unbroken for more than two decades. Their “All I Want for Christmas is You” was released in 1994 and has since become a holiday standard. It hit #1 on Billboard's pop chart for the first time in 2019, giving Walter and Mariah the world record for the longest period of time between a song's original release and its arrival at the top of the chart.  In addition to his success with Carey, Afanasieff carved out a formidable reputation as a go-to producer of hit movie songs. After co-writing and co-producing the Gladys Knight single “License to Kill” from the James Bond film of the same name, he went on to produce “Beauty and the Beast,” “A Whole New World” from Aladdin, “Even If My Heart Would Break” from The Bodyguard, and “My Heart Will Go On” from Titanic, which became the best-selling single in the world for 1998. Additionally he produced “Some Day” from The Hunchback of Notre Dame and the Academy Award nominated “Go the Distance” from Hercules.Other hits from the Walter Afanasieff songbook include “Can You Stop the Rain,” a #1 R&B single for Peabo Bryson that earned a Grammy nomination for Best R&B Song, “Missing You Now,” a #1 Adult Contemporary hit for Michael Bolton, “If You Go Away,” a Top 20 single for New Kids on the Block, Savage Garden's #1 pop single “I Knew I Loved You,” and Ricky Martin's massive global hit “She Bangs.”The long list of additional artists Walter has written and produced music for includes Michael Jackson, Lionel Richie, Luther Vandross, Destiny's Child, Kenny G, Andrea Bocelli, Johnny Mathis, Kenny Loggins, Barbra Streisand, Christina Aguilera, Marc Anthony, Babyface, and Josh Groban.   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Särbo, sambo, frånskild varannan vecka, generationsboende, stjärnfamiljsboende. Nutidens familjeformer ser ut på nya sätt — så hur ska vi egentligen bo för att må bra? Lina och Björn utforskar boendets psykologi och hittar många intressanta lärdomar om natur, gemenskap och det privata utrymmet i dagens avsnitt som är ett samarbete med Atrium Ljungberg.Klipp:07:09 How I Met Your Mother (2005) - S03E0711:44 The Hunchback of Notre Dame22:06 How the Grinch Stole Christmas35:59 Nalle Puh42:09 Addams Family ValuesRedigering: Peter Malmqvist. Hosted on Acast. See acast.com/privacy for more information.

Show Notes This week, bafflement abounds as we discuss the 1996 film The Hunchback of Notre Dame. We watched it, I dare say we enjoyed it a lot, we still are not sure how or why this movie exists. Beautiful animation, fantastic music, great voice acting (mostly) and yet, why is this? Is it a kid's movie? No. Does Disney think it is? Yes? But I don't think there is another G rated movie with the antagonist smelling a woman and then trying to murder her for giving him pants feelings. WHAT IS THIS? Recommendations: The Pillars of the Earth by Ken Follett (book) The Hunchback of Notre Dame, a 1923 silent film starring Lon Chaney as Quasimodo The Hunchback of Notre Dame, a 1939 sound film starring Charles Laughton as Quasimodo and Maureen O'Hara as Esmeralda The Hunchback of Notre Dame, a 1956 French film starring Anthony Quinn as Quasimodo and Gina Lollobrigida as Esmeralda Next up: Hercules (1997)

Count Dracula's Great Love (1973), Horror Rises from the Tomb (1973), Panic Beats (1983) We're finally back to discuss the wonderful cinematic world of Paul Naschy! Back in episode 21, we covered three different entries in Naschy's werewolf films. So this time out, we are covering three of his NON-werewolf titles. It's important to remind fans that while he was known for his Waldemar Daninsky werewolf films, he made plenty of other films, incorporating a bunch of different kind of monsters. And if you are familiar with more of his work, then what better time to revisit some of them, right? Making over a hundred titles in his career spanning decades, Paul Naschy loved the horror genre and made the kind of films he wanted to, giving fans a wide variety of well-known beasties, as well as ones we'd never seen before. While some might say they vary in quality, Naschy's passion never did, and he always put his heart and soul into each one of them.  Films mentioned in this episode: Beast and the Magic Sword (1983), Count Dracula (1970), Count Dracula's Great Love (1973), Count Yorga (1970), Curse of the Devil (1973), Dracula (1974), Dr. Jekyll vs the Werewolf (1972), Frankenstein's Bloody Terror (1968), Frankenstein Meets the Wolf Man (1943), The Frenchman's Garden (1978), The Hanging Woman (1973), Horror Rises from the Tomb (1973), Howl of the Devil (1988), Hunchback of the Morgue (1973), The Mummy's Revenge (1975), The Night of the Executioner (1999), Night of the Werewolf (1981), Nightmare Castle (1965), Panic Beats (1983), People Who Own the Dark (1976), Santo vs Doctor Death (1973), She Killed in Ecstasy (1971), Snowbeast (1977), Vampyros Lesbos (1971), Vengeance of the Zombies (1973), The Wolf Man (1941)

Chris and Gerry step back into merry old Pariee as they revisit The Hunchback of Notre Dame (1939), one of the most iconic and emotionally powerful films of Hollywood's Golden Age. In this video, we break down Charles Laughton's unforgettable performance as Quasimodo, explore the film's groundbreaking makeup and set design, and discuss how this adaptation of Victor Hugo's novel shaped the future of classic cinema.  We'll look at the film's themes of compassion, justice, and superstion vs. reality. Whether you're a longtime fan of classic Hollywood or discovering this masterpiece for the first time, this review offers fresh insight into why the 1939 Hunchback of Notre Dame still resonates today.

Show Notes It's not Disney… YET. We watched Pixar's maiden feature film Toy Story, the first full CGI animated film in history and boy does most of it hold up. We talk about the smart decisions made by the filmmakers to set them up for success, our favorite toys, and the difficulty of drawing the human face in any medium.  Recommendations: Guillermo Del Toro's Frankenstein on Netflix and its accompanying documentary Next up: The Hunchback of Notre Dame (1996) Email us at latecomers@gmail.com Our Facebook group is here for those who consent: https://www.facebook.com/groups/1754020081574479/ **

We continue Tomi Adeyemi's Legacy of Orïsha series! Children of Virtue and Vengeance sees protagonists Zélie and Amari at odds as they attempt to overthrow the monarchy led by Amari's mother and brother Inan (who is, surprise, still alive). Except the nobility has magic now - and they're really violent about it! Leading a group of rebel maji, Zélie works to bring balance back to Orïsha as Amari flounders (and massacres???).Coming off the high of the first book, we were disappointed by the pacing, character choices and general magical confusion of the sequel. Join us as we break it all down!Other episodes mentioned -Children of Blood and Bone by Tomi AdeyemiAkata Witch by Nnedi OkoraforMUSIC - Pippin the Hunchback and Thatched Villagers by Kevin MacLeod (incompetech.com) - Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Send us a textBe careful what you wish for. You just might get it. After Jack rescues an Old Man in distress, Jack finds he now has the ability to instantly manifest anything he wishes. Sounds great? Well, it's not so simple.Gary B. Lamb directs a cast that includes Michael Fletcher as Jack, Caitlin Bell as Laura, Annette Homewood as Sally, and Dennis Gersten as the Old Man.Gary B. Lamb is the playwright. He trained at L.A. City College Theatre Academy, University of California at Irvine, and Carnegie Mellon University. He wrote the book and lyrics for a musical version of The Hunchback of Notre Dame, the book for the musical Fion the Fair, the lyrics for Chicago Christmas Carol, and an adaptation of I'm Just Wild About Harry. He has acted in and directed many plays for Open-Door Playhouse.Support the showFounded by playwright and filmmaker Bernadette Armstrong, Open-Door Playhouse is a Theater Podcast- like the radio dramas of the 1940s and 1950s. The Playhouse launched on September 15, 2020. At the time, Open-Door Playhouse provided Playwrights, Actors and Directors a creative outlet during the shutdown. Since its inception. Open-Door Playhouse has presented Short and One-Act plays from Playwrights across the country and internationally. In 2021 Open-Door Playhouse received a Communicator Award for Content for the Play Custody and in 2023 the play What's Prison Like was nominated for a Webby Award in the Crime & Justice Category.Plays are produced by Bernadette Armstrong, Sound Engineer is David Peters, sound effects are provided by Audio Jungle, and music from Karaoke Version. All plays are recorded at The Oak House Studio in Altadena, CA. There's no paywall at the Open-Door Playhouse site, so you could listen to everything for free. Open-Door Playhouse is a 501c3 non-profit organization, and if you would like to support performances of works by new and emerging playwrights, your donation will be gratefully accepted. Your tax-deductible donations help keep our plays on the Podcast Stage. We strive to bring our listeners thoughtful and surprising one-act plays and ten-minute shorts that showcase insightful and new perspectives of the world we share with others. To listen or to donate (or both), go to https://opend...

BOBBY IS IN THE MATRIX. We continue the Pendragon series with this journey into the mind, and the ensuing fever dream of a computer virus come to life. We have a wide-ranging conversation touching on AI psychosis, Bobby's inability to self-censor, copaganda, and whatever gloid is. This is a wild one so get into your Lifeflight tube and don't forget your nutrition / excretion skin pads!!EPISODE MEDIAOur other Pendragon episodes (we will not rest until we've covered the one about the cat people):The Merchant of DeathThe Lost City of FaarThe Never WarEddy Burback's ChatGPT videoMUSIC - Pippin the Hunchback and Thatched Villagers by Kevin MacLeod (incompetech.com) - Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

This month on Busy Kids Love Music, we're celebrating the magic of musical theater — and the brand-new movie Wicked: For Good! In this episode, I introduce young listeners to Stephen Schwartz, the brilliant composer and lyricist behind some of Broadway and Disney's most beloved songs. From his early studies at Juilliard and Carnegie Mellon to writing timeless shows like Godspell, Pippin, and Children of Eden, Stephen Schwartz has spent his career creating music that inspires and uplifts. Of course, his most famous work — Wicked — reimagines the story of Oz through unforgettable songs like "Defying Gravity," "Popular," and "For Good." As you listen, you'll learn what it means to be both a composer and a lyricist, explore Schwartz's journey to Broadway, and discover how his music brings characters' emotions to life.

Released smack dab in the middle of the Disney Renaissance, The Hunchback of Notre Dame was overshadowed critically and financially by much of the studio's other output. Senior Character Artist at Naughty Dog, Colleen Larson, discusses; the darker aspects of the film, influences from previous adaptations, and the beautiful animation of the film.For more info, head to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠underratedmoviepodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://patreon.com/UnderratedMoviePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://instagram.com/underratedmoviepodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@underratedmoviepodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCAbpTHWyBle7yKJv4-gR_g⁠⁠⁠

This week on Toon'd In!, Jim Cummings welcomes the legendary and endlessly creative Don Hahn! As the producer behind some of Disney's most beloved classics — Beauty and the Beast, The Lion King, and The Hunchback of Notre Dame — Don has helped shape the very heart of modern animation, and now he's here to share the magic behind the magic.In this fascinating and inspiring episode, Don takes us inside the golden age of Disney Renaissance storytelling, offering a rare peek behind the curtain at how some of the most iconic films ever made came to life. From the challenges of pioneering new animation techniques to the emotional storytelling that made audiences around the world laugh, cry, and believe in fairy tales again — it's a masterclass in creativity and collaboration.Jim and Don dive deep into the art of storytelling, the evolution of animation, and the people and passion that bring timeless tales to the screen. With heartfelt memories, behind-the-scenes gems, and a few laughs along the way, this episode celebrates the magic that happens when imagination meets artistry.

Happy Halloween!  Byrd, Lux, Tom and Kevin get together to discuss Rankin-Bass' stop motion Halloween feature, Mad Monster Party.  Dr. Frankenstein (voiced by Boris Karloff) is about to retire and invites the classic monsters to his castle for a party where he will announce his successor.  Among the guests are the Frankenstein Monster and his bride, Dracula, Dr. Jekyll and Mr. Hyde, the Wolf Man, the Gillman, the Hunchback, the Invisible Man, the Mummy, and "It," a legally distinct stand-in for King Kong.  This cult favorite was directed by Jules Bass and animated by the legendary Tadahito Mochinaga.  We discuss the Rankin Bass holiday specials, enduring an annoying Phyllis Diller performance, the career of animator Tadahito Mochigana, whether the film could be considered anime and/or tokusatsu, and more!  Relax and enjoy the conversation.

2:57 - The News 4:51 - Jerks of the Week 10:30 - The Shawshank Redemption 14:57 - Leon the Professional 19:28 - Yours Cruelly (Cassandra Peterson's memwah) 22:00 - Ed Wood 24:51 - Before Sunrise 25:39 - A Goofy Movie & Not Just a Goof 27:37 - Bad Boys 28:32 - Friday 28:52 - Braveheart 29:31 - Pocahontas 34:49 - Se7en 39:05 - Nixon 44:43 - Perfect Blue 47:56 - Don't Be a Menace to South Central While Drinking Your Juice in the Hood 51:23 - Muppet Treasure Island 53:49 - Mystery Science Theater 3000: The Movie 1:00:25 - The Hunchback of Notre Dame (1996) 1:06:42 - Megan 2.0 1:13:49 - From the World of John Wick: Ballerina 1:18:19 - Deadstream 1:19:19 - Dog Soldiers 1:20:21 - Found Footage: The Making of the Patterson Project 1:24:01 - Scream (2022) 1:51:34 - Scream 6

Dave Hatmaker joins Sean and Andy in Episode 307 for a wide-ranging conversation about working in theme parks, helping test and develop new audio products, and some hard-hitting practical tips and tricks for mixing corporate events.Dave has mixed astronauts to vice presidents, and almost everything in between. He's also been a sound designer for the Walt Disney Company, helping to create many memorable in-park entertainment shows, spectaculars and guest experiences, including Beauty and the Beast (before going to Broadway), Spirit of Pocahontas, and Hunchback of Notre Dame: Festival of Fools.In addition, he's worked with various international audio companies as a research and development team member (most recently Yamaha) creating new technologies, and he was awarded an international patent in 2021 for a new creative new use of audio technology. And, he's been a featured panelist and moderator at international audio and music industry trade shows, including NAMM, AES, MusikMesse, ProLight & Sound, InfoComm, SCSBOA, and Jazz Educators, in addition to being a guest on several podcasts for MxU and AVIXA.Dave holds a Bachelor of Arts degree from California State University, Long Beach, with an emphasis in percussion performance. He has created and delivered audio seminars to high school and college bands, music educators and sound technicians.His goal in the audio business? ”Every day he wants to make life a bit better for musicians by having better, easier, smarter, better sounding products! And to make them FUN to use!!Episode Links:Dave Hatmaker.comDave Hatmaker On LinkedInEpisode 307 TranscriptConnect with the community on the Signal To Noise Facebook Group and Discord Server. Both are spaces for listeners to create to generate conversations around the people and topics covered in the podcast — we want your questions and comments!Also please check out and support The Roadie Clinic, Their mission is simple. “We exist to empower & heal roadies and their families by providing resources & services tailored to the struggles of the touring lifestyle.”The Signal To Noise Podcast on ProSoundWeb is co-hosted by pro audio veterans Andy Leviss and Sean Walker.Want to be a part of the show? If you have a quick tip to share, or a question for the hosts, past or future guests, or listeners at home, we'd love to include it in a future episode. You can send it to us one of two ways:1) If you want to send it in as text and have us read it, or record your own short audio file, send it to signal2noise@prosoundweb.com with the subject “Tips” or “Questions”2) If you want a quick easy way to do a short (90s or less) audio recording, go to https://www.speakpipe.com/S2N and leave us a voicemail there.

EPISODE 110 -  “LON CHANEY SR, and LON CHANEY JR” - 10/25 LON CHANEY, known as the 'Man of a Thousand Faces,' amazed audiences in the silent era with his unforgettable performances in The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). He was a master of transformation, using makeup, physicality, and raw emotion to create these classic characters no one had ever seen before. His son, LON CHANEY, JR., had the difficult job of following in his father's footsteps. But he made his own mark, especially as The Wolf Man (1941), a role that turned him into one of Universal's great horror stars. Join us as we discuss this remarkable father-and-son duo, their careers, their lives, and how the Chaney name became synonymous with both monsters and movie magic. SHOW NOTES:  Sources: “Not the Girl Next Door” (2008), by Charlotte Chandler;   “Lon Chaney: The Man Behind the Thousand Faces” (1993), by Michael F. Blake; www.lonchaney.com; PBS.org/WNET/AmericanMasters; Lon Chaney: A Thousand Faces, Documentary (2022); Lon Chaney, Jr.: Son of a Thousand Faces, Documentary, A&E Biography (1995); “Secrets from Lon Chaney's Oklahoma Odyssey,” November 14, 1982, by Sam Anderson, The Oklahoman; “9 Transformative Facts About Lon Chaney Sr.,” November 6, 2019, by Jane Rose, Mental Floss; Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; Movies Mentioned: The Hunchback of Notre Dame (1923); The Phantom of the Opera (1925); The Wolf Man (1941); By the Sun's Rays (1914); The Wicked Darling (1919); The Miracle Man (1919); The Penalty (1920); He Who Gets Slapped (1924); The Unholy Three (1925); The Blackbird (1926); The Road to Mandalay (1926); Tell It to the Marines (1926); Mr. Wu (1927); The Unknown (1927);  London After Midnight (1927); The Big City (1928); Laugh, Clown, Laugh (1928);  While the City Sleeps (1928);  West of Zanzibar (1928); Where East is East (1929);  Thunder (1929); Girl Crazy (1932); Undersea Kingdom (1936); Of Mice and Men (1939); One Billion BC (1940); Billy the Kid (1941); Riders of Death Valley (1941); Badlands of Dakota (1941); Too Many Blondes (1941); San Antonio Rose (1941); Man Made Monster (1941); Frankenstein (1932); The Mummy (1932); The Ghost of Frankenstein (1942); The Mummy's Tomb (1942); Frankenstein Meets The Wolf Man (1943); Son of Dracula (1943); House of Frankenstein (1944); Abbott and CostelloMeet Frankenstein (1948); High Noon (1952); Bride of the Gorilla (1951); The Black Castle (1952); Indestructible Man (1956); The Alligator (1959); The Bushwhacker (1952); The Silver Star (1955); The Haunted Palace (1963); Dracula vs. Frankenstein (1971); --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Step into a nostalgic journey as we rank the best 1996 movies filled with laughs, drama, and unforgettable moments!

Artists, Jennifer Coates, David Humphrey and Catherine Haggarty and are back for Part 3 of our series on Drawing. This time we switched things up and each artist brought both an artwork from art history and a related work of their own to discuss. Get ready to hear some vivid "ekphrasis" on our drawing picks (new vocab word unlocked-thanks, David!).Jennifer brought “The Castle with the Angel” 1863 by Victor Hugo and her own mixed media on yupo drawing “Heads in the Brambles” 2025David brought Odilon Redon's "Self Portrait" 1880 and his own painted drawing "Before the Couch” 2023Catherine brought Catherine Murphy's “Rose's Coloring Book” 2011 and her own wax crayon work "Bus Drawing" 2024Amy brought Paul Klee's "Ugly Angel" 1939 and her own graphite drawing "Reversal (Ingres)" 2024Other artworks mentioned: The Sketchbooks of John Constable, Eugene Delacroix and JMW Turner, Catherine Murphy "In the Grass" 2011, Kerry James Marshall "Untitled" 2009, Paul Klee "Untitled (Last Still Life)" 1940, "Still Ugly Angel" 1940, "Vigilant Angel" 1939, "Bell Angel" 1939, "Doubting Angel" 1939, "Angel in a Crisis II" 1939 , "Mis- Angel " 1939, "Angelus Novus" 1920, "Angel of Care on a Steep Road" 1931 Books mentioned: "Hunchback of Notre Dame" and "Les Miserables" by Victor Hugo, "The Angels of Paul Klee" by Boris Friedewald, "Exploring Masterpieces : a Fact-Filled Coloring Book" 1990Artists mentioned: Victor Hugo, Odilon Redon, Catherine Murphy, Paul Klee, John Constable, Eugene Delacroix, JMW Turner, Kerry James Marshall, Josephine Halvorson, Jasper Johns (his Mind/Mirror retrospective at Whitney Museum), Judy Glantzman, Franz Marc, Jean Auguste Dominique Ingres, Jane Fine, James Esber, Erica Svec, Zachary WollardMore about the speakers:Jennifer Coates: ⁠⁠⁠web⁠⁠⁠ and ⁠⁠⁠IG⁠⁠⁠David Humprhrey: ⁠⁠web⁠⁠ and ⁠⁠IG⁠⁠Catherine Haggarty: ⁠⁠web⁠⁠ and ⁠⁠IG⁠Amy Talluto: web and IGUpcoming exhibitions:Jennifer and David have work at 1Gap Gallery in "2>1" Curated by Michael Holden thru Jan 5, 2026 (Brooklyn)Amy has work in:"Eyes in the Sky" (solo) at theNextWaveGallery at SHOWROOM at Guerra Paint & Pigments curated by Nicole Castaldo thru Oct 31, 2025 (Maspeth-Queens)"Often I am Permitted to Return to a Meadow" at Active Space curated by Patrick Bower and Robert Zurer of Immaterial Projects Nov 7 - Nov 22, 2025 (Bushwick-Brooklyn)"A Gnawing Thought " at Utopia Gallery curated by Mandolyn Wilson Rosen Dec 6 -Jan 24, 2026 (Kingston, NY)"Relic" at Platform Project Space curated by Alyssa Fanning, Michael Lee and Patrick Neal Jan 30-Feb 5, 2026 (Dumbo-Brooklyn)Congrats to Catherine and Andrew Prayzner on their beautiful baby girl, Juliette Margaret!Thank you for listening!All music by Soundstripe----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks Website: ⁠⁠https://www.peptalksforartists.com/⁠⁠Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠⁠Amy's website: ⁠⁠https://www.amytalluto.com/⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

Dwarves, gargantuan evil and much too tiny tunnels - we're covering The Weirdstone of Brisingamen, by Alan Garner! Cheshire visitors Susan and Colin have come to stay with farmers Gowther and Bess and tromp around Alderley Edge. Said tromping unearths a centuries-long battle between good and evil - all connected to the mysterious teardrop gem in Susan's family heirloom bracelet. Tolkien inspiration is on full display but Garner creates a world utterly his own, replete with a heady brew of Norse, Welsh, Celtic and Arthurian mythology plus a little Lovecraftian unspeakable horror. Join us!MUSIC - Pippin the Hunchback and Thatched Villagers by Kevin MacLeod (incompetech.com) - Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Pall Hall joins to discuss the 1996 Disney movie, The Hunchback of Notre Dame, Gothic Architecture, Medieval Times, Victor Hugo and obscure esoteric orders.Become a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

The Hunchback of Notre Dame (1923 ) - THE 31 DAYS OF DREAD - 2025

John Amaechi is a former NBA forward/center who became a chartered scientist, professor of leadership at Exeter Business School, and New York Times bestselling author. His newest book, It's Not Magic: The Ordinary Skills of Exceptional Leaders, argues that leadership isn't bestowed or innate, it's earned through deliberate skill development. Tyler and John discuss whether business culture is defined by the worst behavior tolerated, what rituals leadership requires, the quality of leadership in college basketball and consulting, why Doc Rivers started some practices at midnight, his childhood identification with the Hunchback of Notre Dame and retreat into science fiction, whether Yoda was actually a terrible leader, why he turned down $17 million from the Lakers, how mental blocks destroyed his shooting and how he overcame them, what he learned from Jerry Sloan's cruelty versus Karl Malone's commitment, what percentage of NBA players truly love the game, the experience of being gay in the NBA and why so few male athletes come out, when London peaked, why he loved Scottsdale but had to leave, the physical toll of professional play, the career prospects for 2nd tier players, what distinguishes him from other psychologists, why personality testing is "absolute bollocks," what he plans to do next, and more. Read a full transcript enhanced with helpful links, or watch the full video on the new dedicated Conversations with Tyler channel. Recorded September 15th, 2025. Other ways to connect Follow us on X and Instagram Follow Tyler on X Follow John on X Sign up for our newsletter Join our Discord Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here.

Penny & Midge discuss the gargoyle, from its architectural purpose to its popularity in 1990s animation. What makes a gargoyle a gargoyle? Why did Disney try to make a Hunchback of Notre Dame movie for children?? Join the conversation on the Ghouls Night In discord! Follow the ghouls on Instagram at @ghoulsnightinpod Shop for Ghouls Night In merch, including our new DON'T PERCEIVE MY CORPSE collection Cover art by Alex Zimdars

The second book in the Oz series, The Land of Oz begins introducing us to its stranger inhabitants and endless opportunities for adventure. Protagonist Tip escapes his cruel captor Mombi and brings a pumpkin man and a sawhorse to life as he journeys in search of purpose. We encounter our old friends the Scarecrow and Nick Chopper, the Tin Woodman as Tip helps them thwart General Jinjur and her girl army, and finally set the rightful Queen of Oz upon the throne. We discuss homunculi and their internal lives, the endless misery of a road trip with the Wogglebug, and Tip's failings as a new dad. Join us!MUSIC - Pippin the Hunchback and Thatched Villagers by Kevin MacLeod (incompetech.com) - Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Live Nation is tightening its grip on Salt Lake City. Is it a bellwether for the new Sports & Entertainment District downtown? Host Ali Vallarta, producer Ivana Martinez and CEO of Planned Parenthood Association of Utah Shireen Ghrobani dive into it. Plus, Utah ranks worst for women, a party to reduce food waste, and what Trisha Paytas and West Valley Arts have in common.  Vote for City Cast Salt Lake for best podcast in the Best of Utah!  Resources and references: SEG to build new 6,000-seat venue in new Downtown entertainment district [Building Salt Lake] We continue to be ranked as the worst state for women's equality – 11 years running [Utah News Dispatch] Check out West Valley City's Hunchback of Notre Dame WasteLess Solutions Second Chance Dance (promo code: citycast for $20 off) Become a member of City Cast Salt Lake today! It's the best way to support our work and help make sure we are around for years to come. Get all the details and sign up at membership.citycast.fm. Subscribe to Hey Salt Lake, our daily morning newsletter. You can also find us on Instagram @CityCastSLC.  Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: (801) 203-0137 Looking to advertise on City Cast Salt Lake? Check out our options for podcast and newsletter ads. Learn more about the sponsors of this episode:  Stewardship Utah Visit Walla Walla Harmons Utah State Fair

Story at-a-glance Kyphosis (rounded upper back) signals spine failure from muscle weakness, poor posture or fragile bones; it increases risks of falls, breathing problems and early death Height loss exceeding 3 centimeters often indicates silent spinal fractures; these allow your spine to buckle forward even without noticeable pain Postural kyphosis from poor habits is fixable, while structural kyphosis from osteoporosis and vertebral fractures is harder to correct and more dangerous Strengthening your back muscles by lifting your chest while lying face down provides lasting benefits, including reducing broken bones even years after you stop doing these exercises Avoid forward-bending exercises like sit-ups if you're concerned about kyphosis; instead focus on extension-based movements, proper posture both day and night, and Foundation Training