Podcasts about John Mahoney

What happens when a future TV powerhouse makes a heartfelt indie film about friendship, dating, and chosen family? This week to end PRIDE month, Jackie and Danielle revisit The Broken Hearts Club (2000) and discover a movie packed with familiar faces, big ideas, and plenty to unpack.In this episode of No More Late Fees, the hosts dive into Greg Berlanti's directorial debut starring Timothy Olyphant, Zach Braff, Billy Porter, Dean Cain, Justin Theroux, Nia Long, and John Mahoney. Along the way, they discuss the film's portrayal of LGBTQ+ friendships, debate whether the story would have worked better as a television series, and explore why such a talented cast couldn't quite elevate every storyline.Jackie and Danielle break down the movie's ensemble of memorable characters, share behind-the-scenes trivia about its 13-day filming schedule and Sundance premiere, and examine how the film was received by critics at the time. They also discuss Greg Berlanti's impressive career trajectory, from Dawson's Creek and Everwood to the Arrowverse and beyond.Expect plenty of nostalgic tangents, character analysis, hot takes on the film's structure, observations about early 2000s Hollywood, and a few laughs as the hosts try to make sense of one of the most stacked indie casts of the era. Plus, they reveal their final Ratings Rewind scores and decide whether The Broken Hearts Club still holds up more than two decades later.If you enjoy nostalgic movie deep dives, be sure to subscribe, leave a review on Apple Podcasts or Spotify, and share your thoughts on The Broken Hearts Club. We'd love to hear whether this cult favorite worked for you.·Season 6 Episode 8—No More Late Fees ⁠https://nomorelatefeespodcast.com⁠909-601-NMLF (6653)—Follow Us on Social:Instagramhttps://www.instagram.com/nomorelatefees TikTokhttps://www.tiktok.com/@nomorelatefees Facebookhttps://www.facebook.com/nomorelatefeesYoutubehttps://www.youtube.com/@nomorelatefees Twitterhttps://x.com/NoMoreLateFees —CONQUERing⁠⁠myconquering.com⁠⁠10% Off Code: JACKIE10—DescriptCreator Plan 50% off 2 monthshttps://descript.cello.so/zp4OQqeIMdq

You must chill, because we're dedicating ourselves to Cameron Crowe's 1989 teen romcom Say Anything. Do you have any desire to sell anything, buy anything, or process anything as a career? Is the climactic boombox moment in this movie creepy and passive aggressive, or an expression of frustrated teenage rage? And why does John Cusack have the most oversharey and cringey fans? We'll have some answers for you once we touchdown in London. 

In memory of the great James Borrows we rebroadcasting this episode of "Dont Be Alone with Jay Kogen". We talk with James Burrows about his reign as Hollywood's greatest sitcom director, being the son of Abe Burrows, the genetics of comedy, his book "Directed by James Burrows", "Cheers", "Will & Grace", "The Mary Tyler Moore Show", "Taxi", "Friends", the scripts that make him want to direct, the ones that don't, his amazing memory, his humble beginnings, the decade it took him to learn how to direct, working with geniuses like James L. Brooks, Chuck Lorre, and Kohan & Mutchnick, and Andy Kaufman. And Jimmy explains how his two best friends are Al Michaels and Bruce Springsteen. BIO: James Burrows was one of television's most respected and honored creative talents. Over his distinguished career, Burrows was the recipient of eleven Emmys, five Directors Guild of America Awards, the 1996 American Comedy Awards' Creative Achievement Award, the Television Critics Association's Career Achievement Award, and in 2006 he was inducted into the Academy of Television Arts and Sciences' Hall of Fame and was honored by the US Comedy Arts Festival with their Career Tribute Award. He was the recipient of 22 nominations for the Directors Guild of America Award, thus bestowing him the honor of being the most nominated director in the history of television at the Guild. He was honored by the DGA with the Inaugural 2014 Lifetime Achievement Award in Television. In November of 2015 he directed his 1,000th episode, which was recognized by a TV Special on NBC in January of 2016. Burrows' success as the director of television pilots was legendary. He directed the first two episodes of the "Frasier" reboot's second season, and wrapped the pilot "Mid-Century Modern" for Fox, which went to series. In January of 2020, he received his fifth DGA Award for directing the Emmy Award-winning show "Live in Front of a Studio Audience #1: Norman Lear's All in the Family and The Jeffersons." He was also asked back to direct "Live in Front of a Studio Audience #3: Diff'rent Strokes and The Facts of Life" in December of 2021. In June of 2022, he published his autobiography, "Directed by James Burrows," which received considerable attention and praise from the industry. Burrows was probably best known as co-creator, executive producer and director of the critically acclaimed series "Cheers." The hit show, which aired for 11 seasons, is tied for the most nominated Comedy series in the Television Academy's history and is in third place for most Emmys received by a Comedy Series. Burrows also received numerous awards for his work on "Will & Grace," "Frasier," "Friends," "Wings," "Night Court," "Taxi," and "Dear John." For the first time in 25 years, he returned to the stage in the spring of 1998 to direct the highly acclaimed "The Man Who Came to Dinner" at the Steppenwolf Theatre in Chicago, starring John Mahoney. Burrows learned his trade from the very best, the legendary writer/director Abe Burrows, whose noted career included such classics as "Guys and Dolls," "How to Succeed in Business Without Really Trying," and "Cactus Flower." Born in Los Angeles and raised in New York, Burrows graduated from Oberlin College and continued his education at Yale, where he earned a Master of Fine Arts degree. Burrows relocated to Hollywood to work as a dialogue coach for "O.K. Crackerby!," a short-lived television series starring Burl Ives. When the show ended, he returned to New York and initially worked as a stage manager before directing several off-Broadway shows, such as "The Castro Complex," and stock productions of "The Odd Couple" and "Never Too Late." In 1974, Burrows moved back to the West Coast when he was invited to visit MTM Productions in Los Angeles and offered a job directing an episode of "The Mary Tyler Moore Show." Mr. Burrows and his wife, Debbie, resided in Los Angeles and between them they had four daughters. He passed away on June 19, 2026. He left an indelible mark on American television. He will be remembered and missed. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hike with a geek day. Entertainment from 1965I . West Virginia became 35th state, Alaska pipeline started pumping, last battle of American Revolution. Todays birthdays - Audie Murphy, Martin Landau, Olympia Dukakis, John Mahoney, Brian Wilson, Anne Murray, Lionel Richie, John Goodman, Nicole Kidman. Jack Kirby died.Intro - God did good - Dianna Corcoran   https://www.diannacorcoran.com/I'm Happy when I'm Hiking - Ralph Butler & Raymond WallaceI can't help myself - Four TopsBefore you go - Buck OwensBirthday - The BeatlesBirthdays - In da club - 50 Cent http://50cent.com/Frasier TV themeSurfin - Beach BoysSnowbird - Anne MurrayAll night long - Lionel RichieExit - Wild rag vodka night - Pat Waters https://www.patwaters.com/History & Factoids about today Playlist on SpotifyHistory & Factoids about today webpagecooolmedia.comcountryundergroundradio.comNational Days - May Puzzle BookGrace & Grit Christian Country Radio

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]

Writer, film critic, and educator Walter Chaw has been writing and thinking about cinema since he was a teenager -- when he discovered how it could make him feel understood, and that saved his life. Now, he's a critic whose unapologetically personal takes on cinema makes some folks love his work, and really pisses some other folks off. Despite his artist's temperament and his expertise, Walter wants to stay in touch with the common man...just like BARTON FINK, from the Coen Brothers' classic 1991 anti-ode to the Studio System. Then, Jordan has one quick thing about some exciting June Squibb News. Listen Next:-June Squibb on 'Nebraska'-Sophie Nelisse on 'Inside Out 2'-Roxana Hadadi on 'Pump Up the Volume'   Feeling Seen is hosted by Jordan Crucchiola and is a production Maximum Fun.Need more Feeling Seen? Keep up with the show on Instagram and Bluesky.

Welcome to the Monday Night Talk podcast for January 19, 2026. The guest and topics for this podcast includes Paul Craney, Executive Director of the Massachusetts Fiscal Alliance talks about a controversial bill aimed at cutting how many miles you drive is one step closer to Governor Healey's desk — what it means for commuters, families, and freedom of the road. Chris Helms, Enterprise Reporter (pictured below) provides insight on Brockton's November recount, the failed push for another mayoral election, and early impressions of the new mayor and city council sworn in January 5. Bishop Tony Branch, 1st Vice President, Brockton NAACP joins the show as we honor Dr. Martin Luther King Jr.'s birthday, has the modern civil rights movement made real progress — or stalled? John Mahoney, a former Plymouth Select Board Member, share his thoughts on why Proposition 2½ is squeezing cities and towns across Massachusetts — and what happens next as budgets hit the breaking point. Monday Night Talk is proudly sponsored by Tiny & Sons Glass and Alcoholics Anonymous. Do you have a topic for a future show or info on an upcoming community event? Email us at mondaynighttalk@gmail.com If you're a fan of the show and enjoy our segments, you can either download your favorite segment from this site or subscribe to our podcasts through iTunes & Spotify today!  Monday Night Talk with Kevin Tocci, Copyright © 2026.

Classic beers Americans rarely order any longer. Jeff Eichinger provides tips on cellaring beers. Can this be done with wines? Pinor Noir wines with John Mahoney. Is Anheuser-Busch InBev in crisis mode? Our co-host Michelle Lam is back with public relations tips.

In this episode, John Mahoney, Chief Product Officer at Pristine Surgical, shares how single-use surgical technology is transforming operating room efficiency, reducing costs, and improving sustainability. He discusses how health systems can rethink workflows, drive staff productivity, and embrace innovation responsibly.This episode is sponsored by Pristine Surgical.

In this episode, John Mahoney, Chief Product Officer at Pristine Surgical, shares how single-use surgical technology is transforming operating room efficiency, reducing costs, and improving sustainability. He discusses how health systems can rethink workflows, drive staff productivity, and embrace innovation responsibly.This episode is sponsored by Pristine Surgical.

Primal Fear is a superb film. The novel, by William Diehl, is even better. This is a story to add to your short list of go-to stories to study for absolutely any aspect of the craft. Enjoy! - V. Get The Fundamentals of Storytelling today! Go to storynerd.ca/courses and use coupon code CANADA50, now through July 7, for 50% off. For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.

In this episode, Melanie is studying female characters and how women are presented in modern stories (her work in this episode is reeeeally interesting!), and I investigate something I learned from Steven Pressfield, which is that we shouldn't introduce anything new after Act 2. Get The Fundamentals of Storytelling today! Go to storynerd.ca/courses and use coupon code CANADA50, now through July 7, for 50% off. For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.

1st day of summer!  Entertainment from 2013.  West Virginia became 35th state, Alaska pipeline started pumping, last battle of American Revolution.  Todays birthdays - Audie Murphy, Martin Landau, Olympia Dukakis, John Mahoney, Brian Wilson, Anne Murray, Lionel Richie, John Goodman, Nicole Kidman.  Jack Kirby died.Intro - God did good - Dianna Corcoran   https://www.diannacorcoran.com/ I'm Happy when I'm Hiking - Ralph Butler & Raymond WallaceSummertime - Zachary WayneCan't hold us - Macklemore   Ryan LewisCruiise - Florida Georgia LineBirthday - The BeatlesBirthdays - In da club - 50 Cent     http://50cent.com/Frasier TV themeSurfin - Beach BoysSnowbird - Anne MurrayAll night long - Lionel RichieRoseanne TV themeExit - Wild rag vodka night - Pat Waters     https://www.patwaters.com/countryundergroundradio.comHistory & Factoids website

It's Episode 184 and we're digging into Antz (1998) — the underrated, weirdly deep DreamWorks movie that kicked off their animation legacy. Pat King joins us as we celebrate Steve's birthday month with a pick full of 90s nostalgia and bugged-out comfort. Is this movie for kids or existential adults? Let's find out.Please remember to like, comment, subscribe and click that notification bell for all our updates! It really helps us out!WE HAVE MERCH - https://www.redbubble.com/people/HDYSTMerch/shop?asc=u & http://tee.pub/lic/GdSYxr8bhtYStarring: Woody Allen, Dan Aykroyd, Anne Bancroft, Jane Curtin, Danny Glover, Gene Hackman, Jennifer Lopez, John Mahoney, Paul Mazursky, Grant Shaud, Sylvester Stallone, Sharon Stone & Christopher WalkenDirected By: Eric Darnell & Tim JohnsonSynopsis: Z the worker ant (Woody Allen) strives to reconcile his own individuality with the communal work-ethic of the ant colony. He falls in love with ant-Princess Bala (Sharon Stone), Z strives to make social inroads, and then must save the ant colony from the treacherous scheming of the evil General Mandible (Gene Hackman) that threaten to wipe out the entire worker population.Watch LIVE at: https://www.twitch.tv/heydidyouseethisone every Thursday at 8 PM ESTA PROUD MEMBER OF THE UNITED FEDERATION OF PODCASTSCheck us out online at: https://www.ufpodcasts.com/We use White Bat Audio – a user that creates DMCA free music for podcasters and YouTubers. Please follow at: https://www.youtube.com/@WhiteBatAudioAudio version of the show: Spotify - https://podcasters.spotify.com/pod/show/heydidyouseethisone Apple Podcasts - https://podcasts.apple.com/us/podcast/hey-did-you-see-this-one/id1712934175YouTube Audio Podcast: https://youtube.com/playlist?list=PLD6BOSx2RcKuP4TogMPKXRMCxqfh5k9IU&si=umIaVrghJdJEu2ARMain Intro and Outro Themes created by Josh Howard - remixes by Jacob Hiltz & Jake ThurgoodLogo created by Jeff Robinson#90sNostalgia #AnimatedMovies #DreamWorks #Antz #HeyDidYouSeeThisOne

Hosts Sonia Mansfield and Margo D. take the stand and dork out about 1996's PRIMAL FEAR, starring Richard Gere, Edward Norton, Laura Linney, John Mahoney, Alfre Woodard, Frances McDormand, and Andre Braugher. Also discussed: ADOLESCENCE, BELOW DECK DOWN UNDER, WHITE LOTUS, A BODY IN THE SNOW: THE TRIAL OF KAREN READ, and DEATH OF A UNICORN.Dork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsSpreakerSpotify YouTubehttp://dorkingoutshow.comhttps://www.threads.net/@dorkingoutshow https://bsky.app/profile/dorkingout.bsky.social https://www.instagram.com/dorkingoutshow https://www.facebook.com/dorkingoutshow

Send us a textThis week, Dayton and Amber welcome Jason Colvin of The Surely You Can't Be Serious podcast over to discuss one of Dayton's absolute favorite films. Cameron Crowe gives us a great modern romance, a character to aspire to, and friendships we need in his directorial debut, Say Anything...Twitter @dockingbay77podFacebook @dockingbay77podcastdockingbay77podcast@gmail.compatreon.com/dockingbay77podcasthttps://discord.gg/T8Nt3YB7

-Ione Skye played Diane Court, Lloyd Dobler's girlfriend in the 1988 Movie Say Anything' and she has a new book out called, "Say Everything"Ione talks:-Say Anything writer/director Cameron Crowe using Peter Gabriel's 'In Your Eyes' "He first wanted an Elvis Costello song, but Elvis Costello I guess he passed or something"-Her father was DONOVAN - the song “Mellow Yellow”-She dated Red Hot Chili Peppers  lead singer Anthony Kiedis-Married a Beastie Boy, divorced, and then slept with John Cusack-Working with actor John Mahoney  To subscribe to The Pete McMurray Show Podcast just click here

“[This movie] has the vibes of The Fugitive...” - Andrew On this week's episode, WAIT-WHUT-uary goes into legal thriller territory with a chat on the totally entertaining courtroom drama, Primal Fear! What an absolutely phenomenal cast, no? How hilarious is John Mahoney getting so psyched over all that Chinese food? Wouldn't we all have watched that Andre Braugher Goodman TV spin-off it feels like they're setting up? How great is it to have another movie where the great city of Chicago is a character? And how about that twist, huh? Can they make movies like this again, please? PLUS: Welcome to our new podcasters-only bar and dispensary, Pod Suds & Pod Buds™️! Primal Fear stars Richard Gere, Edward Norton, Laura Linney, John Mahoney, Alfre Woodard, Frances McDormand, Terry O'Quinn, Steven Bauer, Joe Spano, Tony Plana, and the late, great Andre Braugher as Tommy Goodman; directed by Gregory Hoblit. Tickets are on sale now for our three-night residency during the Oxford Comedy Festival! We'll be doing six shows over three nights from July 18 through 20, doing shows like WHM, W❤️M, The Nexus, The Gleep Glossary, and Animation Damnation! Tickets are going fast, so friends over there, snag your tix!  Throughout 2025, we'll be donating 100% of our earnings from our merch shop to the Center for Reproductive Rights. So head over and check out all these masterful designs and see what tickles your fancy! Shirts? Phone cases? Canvas prints? We got all that and more! Check it out and kick in for a good cause! Original cover art by Felipe Sobreiro.

This week, we can't help but fall victim to la bella luna as Feb2ary Is For Lovers continues with a classic rom-com about how it's impossible not to cheat if you're Italian. It's 1987's Moonstruck, directed by Norman Jewison, written by John Patrick Shanley, and starring Cher, Nicolas Cage, Vincent Gardenia, Olympia Dukakis, Danny Aiello, Julie Bovasso and John Mahoney. The story of a young woman who accidentally falls in love with her fiancé's brother, the movie exudes charm at every turn -- so much so that this little rom-com took home three Oscars in '88, for Cher and Dukakis's performances as well as Original Screenplay for Shanley's script that is funny without being rife with straight-up jokes. There are rich characters here, beset by curses and fatal strains of bad luck, who get laughs not by mugging or ripping one-line zingers but by believing in the seriousness of their tragedies so completely. This is character-driven comedy of the highest order, grounded by the Canadian coziness that Jewison can't help but leave all over the film. Plus: J Mo's got theatrical field reports on both Sonic The Hedgehog 3 and Companion. If you'd like to watch the film before listening along to our discussion, it is one of the more widely available films we have ever covered as Moonstruck is currently streaming in Canada on Amazon Prime, Crave, Starz, Criterion Channel, Tubi and Hoopla at the time of publication. Other works discussed in this episode include Abigail, The Sixth Sense, The Usual Suspects, Identity, Trap, Fargo, The Wedding Singer, Mission: Impossible - Dead Reckoning: Part One, Mission: Impossible - Fallout, Ocean's Eleven, L.A. Story, Paint, Napoleon Dynamite, ChiefsAholic: A Wolf in Chiefs Clothing, A.I.: Artificial Intelligence, The Fabelmans, Close Encounters of the Third Kind, Bicentennial Man, Bottoms and Punch-Drunk Love. Love Month continues next week with another VHS plucked from Hayley's collection as we'll be discussing 1996's Jerry Maguire with Tom Cruise and Renee Zellweger, and will do our best not to get side-tracked discussing the Mission: Impossible franchise but can't promise we won't. Jerry Maguire is currently streaming north of the border on Crave, Starz and for free (with ads) on the CTV app. And of course we're closing out February with a rom-com canon selection, 10 Things I Hate About You. Until then, we'll see you at the movies!!

We talk with James Burroughs about his reign as hollywood's greatest sitcom director, being the son of the Abe Burrows In the genetics of comedy, his book “directed by James Burrows”, “Cheers”, “Will & Grace”, “Mary Tyler Moore”, “Taxi”, “Friends”, the scripps that make him want to direct, the ones that don't, his amazing memory, his humble beginnings, the decade it took him to learn how to direct, working with geniuses like James L. Brooks, Chuck Lori, and Kohan & Mutchnick, Andy Kaufman. And Jimmy explains how his two best friends are Al Michaels and Bruce Springsteen.Bio: James Burrows is one of television's most respected and honored creative talents. Over his distinguished career, Burrows has been the recipient of ten Emmys, five Directors Guild of America Awards, the 1996 American Comedy Awards' Creative Achievement Award, and in 2014 the Television Critics Association's Career Achievement Award in 2006 he was inducted into the Academy of Television Arts and Science's Hall of Fame and was honored by the US Comedy Arts Festival with their Career Tribute award. He has been the recipient of 22 nominations for the Director's Guild of America Award, thus bestowing him the honor of being the most nominated director in the history of television at the Guild. He was recently honored by the DGA with the Inaugural 2014 Lifetime Achievement Award in Television. In November of 2015 he directed his 1000 th episode which was recognized by a TV Special on NBC in January of 2016. Burrows' success as the director of television pilots is legendary. He just finished the first two episodes of Frasier re-boot season 2, and has wrapped up the pilot “Mid Century Modern” for Fox. He will be at the helm of “Mid Century Modern” this Fall as the show goes to series. The current primetime television schedule features one show “Neighborhood,”- whose pilot episode Burrows directed and one streaming show, the “Frasier Re-boot” which will begin airing Season 2 on Paramount + in mid-September 2024. In January of 2020, he received his fifth DGA Award for directing the Emmy award winning show “Live in Front of a Studio Audience #1: Norman Lear's All in the Family and The Jeffersons.” He was also asked back to direct “Live in Front of a Studio Audience #3: Different Strokes and The Facts of Life” in December of 2021. In June of2022, he embarked into a new market when he published his autobiography, “Directed by James Burrows.” It has received quite a bit of attention and praise from the industry. Burrows is probably best known as co-creator, executive producer and director of the critically acclaimed series, “Cheers.” The hit show, which aired for 11 seasons, is tied for the most nominated Comedy series in the Television Academy's history and is in third place for most Emmys received by a Comedy Series. Burrows has also received numerous awards for his work on “Will & Grace,” “Frasier,” “Friends,” “Wings,” “Night Court,” “Taxi,” and “Dear John.” For the first time in 25 years, he returned to the stage in the spring of 1998 to direct the highly acclaimed “Man Who Came to Dinner” at the Steppenwolf Theatre in Chicago, starring John Mahoney. Burrows learned his trade from the very best, the legendary writer/director Abe Burrows, whose noted career included such classics as “Guys and Dolls,” “How to Succeed in Business Without Really Trying” and “Cactus Flower.” Born in Los Angeles and raised in New York, Burrows graduated from Oberlin College and continued his education at Yale, where he earned a master's degree in fine arts. Burrows relocated to Hollywood to work as a dialogue coach for “O.K. Crackerby!,” a short-lived television series starring Burl Ives. When the show ended, he returned to New York and initially worked as a stage manager before directing several off-Broadway shows, such as “The Castro Complex,” and stock productions of “The Odd Couple” and “Never Too Late.” In 1974, Burrows moved back to the West Coast when he was invited to visit MTM Productions in Los Angeles and offered a job directing an episode of “The Mary Tyler Moore Show.” Mr. Burrows and his wife, Debbie, reside in Los Angeles and between them they have a quartet of daughters.

Jamie and Tony break down this very intense (and Ward heavy) episode of Agents of SHIELD, Season 2! They're joined by the hilarious SHIELD fan, John Mahoney. Follow the podcast and engage with us on socials @LITTOHPod. Our amazing logo was created by Stephanie - @EclecticMuses on socials & our theme music is by Ryan Miera of Yellow Pills - @YellowPillsMusic on Insta

This week Jamie and Tony learn even more about Agent Ward against their will. They're joined by the hilarious John Mahoney. Follow the podcast and engage with us on socials @LITTOHPod. Our amazing logo was created by Stephanie - @EclecticMuses on socials & our theme music is by Ryan Miera of Yellow Pills - @YellowPillsMusic on Insta

Directed by Brad Bird (in his directorial debut), The Iron Giant is the animated science fiction film based on the 1968 novel The Iron Man by Ted Hughes. Luke and Nathan revisit this 1999 classic which stars the voices of Jennifer Aniston, Harry Connick Jr., Vin Diesel, James Gammon, Cloris Leachman, John Mahoney, Eli Marienthal, Christopher McDonald, and M. Emmet Walsh. A giant alien robot (Vin Diesel) crash-lands near the small town of Rockwell, Maine, in 1957. Exploring the area, a local 9-year-old boy, Hogarth, discovers the robot, and soon forms an unlikely friendship with him. When a paranoid government agent, Kent Mansley, becomes determined to destroy the robot, Hogarth and beatnik Dean McCoppin (Harry Connick Jr.) must do what they can to save the misunderstood machine.

This week, Will and Steve are joined by none other than Tony-nominated Tom McGowan, star of Broadway and the big screen, to discuss his indelible role as KACL's beloved station manager, Kenny Daly. Tom talks cast and crew, behind the scenes with John Mahoney, and why the show means so much to him. 

Roy McGrath is a Chicago based tenor saxophonist and multi-woodwind instrumentalist, composer and bandleader. Born and raised in San Juan, Puerto Rico and educated in Boston, New Orleans and Chicago, Roy brings to bear these diverse influences in his playing and composing. In addition to leading and recording his own ensembles, he is a member of several others as an in-demand player, recording artist, and producer. He has led four international tours to Mexico, Singapore, Myanmar, South Korea and China. As a composer and arranger, Roy is firmly in the jazz tradition, but his Caribbean heritage is an ever-present mind set, leading to wholly original works that are a true expression of who he is.  Menjunje features folkloric rhythms of Puerto Rico such as Bomba (Sica, Yuba, Cuembe), Plena, Seis Araucano, as well as Cuban Guaguanco, Bolero, Chachacha, and Son. For this particular project he flew in musicians from Puerto Rico: Drummer Efrain Martinez (Viento de Agua, Cultura Profetica, La PVC, and many more) and Eduardo Zayas (Charlie Sepulveda,  Mahya Veray, Bobby Valentin). As well as musicians from the Chicago area, Constantine Alexander on trumpet, Kitt Lyles on Bass, Javier Quintana-Ocasio and Victor “Junito” Gonzalez on Percussion, and Jose Carrasquillo on Cuatro. This project is a product of working in conjunction with the Segundo Ruiz Belvis Cultural Center, the Puerto Rico Arts Alliance, the Walder Foundation, and the Department of Cultural Affairs and Special Events of Chicago.  In 2022 Menjunje played festivals around Chicago and surrounding areas: Chicago Jazz Festival, Chicago Latin Jazz Festival, Glenwood Arts Festival, CU Jazz Festival, Mayfest, Mole de Mayo Festival. Also in 2022 Roy plays on supporting the release of Giovany Revelle's self-titled album, which Roy co-produced, wrote horn arrangements, string arrangements, and coached the rhythm section. In 2017 Roy released his Latin Grammy nominated prior album, “Remembranzas”, a new batch of original compositions that incorporate folkloric Bomba rhythms and other Puerto Rican elements in a jazz framework. Originally, in 2015 the project was called the Julia al Son de Jazz project and was commissioned by Chicago's Segundo Ruiz Belvis Cultural Center, where he worked as director of the youth Afro-Caribbean Jazz Ensemble for five years. The project used the writings of revered Puerto Rican poet Julia de Burgos as a springboard for new compositions that included spoken word recitations of her poetry. Its debut was followed by successive performances throughout Chicago including three dates for the Chicago Park District's Night Out in the Parks summer concert series in 2016.  In 2017 Roy also led two special big band tribute projects: one honoring legendary Puerto Rican composer Rafael Hernández, with his son, Chali Hernandez singing, and a local All-Stars tribute to Dizzy Gillespie's United Nations Orchestra that played the Chicago Latin Jazz Fest. Roy sang in school choirs before picking up the saxophone at age 16. After attending the Berklee College of Music Summer Workshop, he earned a full scholarship to attend Berklee's five-week Summer Performance Program. Back in Puerto Rico, he honed his improvisational skills performing with jazz pianist and Beach Boys alumnus Carli Muñoz. Upon high school graduation, Roy was awarded a scholarship to Loyola University in New Orleans, where he studied under Tony Dagradi (saxophonist for Astral Project) and composer/arranger John Mahoney. He graduated in 2009 with BM in Jazz Performance. After graduation, Roy extended his time in New Orleans, performing in clubs, concert halls and the streets with a variety of musicians. He made three appearances at the New Orleans Jazz and Heritage Festival and one appearance at the New Orleans French Quarter Fest. The next stop on his musical journey was Northwestern University in Chicago, where he graduated with a master's degree in Music, studying under Victor Goines, saxophonist for Jazz at Lincoln Center and Director of Jazz Studies at Northwestern University. Graduating in 2014, McGrath decided to put down roots in Chicago because of both its historic role in the development of jazz and the presence of a large and vibrant Jazz & Latin music community in which he could continue to pursue his vision. He returned to Northwestern's Pick-Staiger Concert Hall in 2016 to perform with Victor Goines and Branford Marsalis in Goines' orchestral composition the “Crescent City Suite”. Roy released his debut CD as a leader, Martha, in 2014 with a quartet formed of fellow Northwestern grads Gustavo Cortiñas, Kitt Lyles and Joaquin Garcia, all bandleaders in their own right, and returned the favor by joining their ensembles: Snapshot (Cortiñas), Real Talk Collective (Lyles) and Rhythm Convergence (Garcia). The Roy McGrath Quartet was featured in the Jazz Institute of Chicago's NextGEN concert series in 2015. Later that year, the Chicago Department of Cultural Affairs and Special Events (DCASE) awarded McGrath a grant to take the quartet on a month-long tour of Mexico. Also in 2015, The Roy McGrath Latin Jazz Quintet performed at the Chicago Latin Jazz Festival. 2016 also saw McGrath joining alto saxophonist Miguel Zenón and traditional music ensemble Bomba con Buya for Folclórico: An Exploration of Jazz and Afro-Puerto Rican Music at the Segundo Ruiz Belvis Cultural Center. As an educator Roy has taught masterclasses on improvisation at Dulwich College International in Shanghai, Suzhou, and Beijing, on four different touring occasions. Roy has taught in his home of Puerto Rico at the Universidad del Turabo and in Mexico City as well.

The first episode of our season on the awesome movie year of 1969 features the highest-grossing film at the box office, George Roy Hill's Butch Cassidy and the Sundance Kid. Directed by George Roy Hill from a screenplay by William Goldman and starring Paul Newman, Robert Redford and Katharine Ross, Butch Cassidy and the Sundance Kid is based loosely on the true story of the notorious Wild West outlaws.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/butch-cassidy-and-the-sundance-kid-1969), Pauline Kael in The New Yorker, and John Mahoney in The Hollywood Reporter (https://www.hollywoodreporter.com/news/general-news/butch-cassidy-sundance-kid-review-1969-movie-743856/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1969 installment, featuring our pick for a notable debut from a major filmmaker, Michael Ritchie's Downhill Racer.

Tread Perilously starts the summer Total Request Live with the debut episode of the forgotten ABC TV series The Charmings.  Waking up after a 1000-year sleeping curse, Snow White Charming, her husband Eric, and their sons find themselves in 1980s Los Angeles. They attempt to re-establish some sort of life with a home, new neighbors, and a new school for the boys. But when Snow's stepmother, Lillian White, suggests they'll never fit in and a note from the school's psychologist puts the family on blast, will Snow and Eric accept that they must lie to make modern life work? Erik, of course, watched The Charmings when it aired. Justin wonders, "why is this?" The pair try to determine all the things the pilot is missing. They also try to figure out who would've been the "budget John Mahoney" at the time. A digression about The Birdcage happens immediately. The endless abyss outside Castle Grayskull becomes incredibly important. The problems with the show's premise are explored -- including a solution to its biggest conceptual fault -- a few casting changes are proposed, and Erik shocks Justin by revealing the presence of First Hobie as one of the Charming sons. Also, a nostalgic feeling for the soft-spoken man selling speakers by the highway emerges.

John Cusack held up a boombox and the rest was history. Yes, the Cameron Crowe romcom holds a place in the hearts of many a Gen Xer. Lloyd Dobbler and Diane Court faced peer pressure, a keg party, and (oh, yeah) an IRS investigation into Diane's father, played by John Mahoney.  Audiences in 1989 were left swooning as the two flew off into an English sunset. But, decades later, was the movie a trip worth taking? Was the casting of a relatively unknown Ione Skye brilliant or baffling? What will Lloyd do if the kickboxing career doesn't work out? And is the boombox stuff stalker-ish by today's standards? The Old Roommates have written 63 comments about this movie, and they're going to share every single one of them tonight – all through a middle-aged lens. Listen to this.Old Roommates can be reached via email at oldroommatespod@gmail.com. Follow Old Roommates on Instagram and YouTube @OldRoommates for bonus content and please give us a rating or review!#CameronCrowe #JohnCusask #IoneSkye #LiliTaylor

The independent film landscape has changed drastically in throughout the years, creating new opportunities, as well as new challenges for indie filmmakers. In this episode, Big Apple Film Festival Podcast host JONATHAN LIPP (BAFF Founder/Director) chats with filmmaker/actor/producer Michael McGlone on how the industry has changed in the last thirty years, opportunities available today for aspiring filmmakers, as well as enlightening perspectives for emerging filmmakers, artists and entrepreneurs. MICHAEL MCGLONE attended the Tisch School of the Arts at NYU, wherefrom, a year later, in his words he "self-graduated." Not long after, through an ad in the paper Backstage, he landed the role that would mark the beginning of his career as an actor. That role was the beloved Patrick McMullen, the excessively moral and excessively conflicted youngest brother in the Sundance Festival Grand Jury Prize Winning film The Brothers McMullen, the directorial debut of filmmaker Edward Burns. Following this success, McGlone would go on to star in She's the One alongside Jennifer Aniston, Cameron Diaz, Edward Burns, Amanda Peet and John Mahoney. This was followed by numerous critically acclaimed roles in films such as The Bones Collector co-starring with Denzel Washington and Angelina Jolie, HBO's Subway Stories, Hardball co-starring with Keanu Reeves and many more. As prolific in television, McGlone's numerous recurring roles include the fan favorite Detective Szymanski on Person of Interest, Bobby McKeen in Starz' dramatic series Crash, NCIS Hawaii and SpikeTV's The Kill Point. In a return to the screen with Eddie Burns you can also see him in their third feature film together, The Fitzgerald Family Christmas, in which McGlone plays the fiery Quinn Fitzgerald... Also a writer, director, producer, musician and performer McGlone's life is often full with work on simultaneous projects. Whether his award winning Kenny The Gun, his various poetry and novels, stand-up comedy or Music, McGlone has always pursued the most abundant expression of his multi-talents.

RMR 0270: Special Guest, Quinn Que, joins your hosts Lizzy Haynes and Russell Guest for the Retro Movie Roundtable as they revisit The Iron Giant (1999) [PG] Genre: Animation, Action, Adventure, Science Fiction Starring: Jennifer Aniston, Harry Connick Jr., Vin Diesel, James Gammon, Cloris Leachman, Christopher McDonald, John Mahoney, Eli Marienthal, M. Emmet Walsh   Director: Brad Bird Recorded on 2024-05-29

John, Sarah, and Hallie discuss queer romcom, "The Broken Hearts Club," starring John Mahoney, Timothy Olyphant, Dean Cain, Zach Braff, Justin Theroux, Andrew Keegan, Jennifer Coolidge, Nia Long, and Billy Porter.  We had a lot of fun recasting this one! Sources for this episode Stack, Timothy. ““The Broken Hearts Club”: Inside the Making of the 2000 Gay Rom-Com.” EW.com, 13 Feb. 2019, ew.com/movies/2019/02/13/broken-hearts-club-oral-history/ “Broken Hearts Club : Production Notes.” Cinema.com, 2024, cinema.com/articles/378/broken-hearts-club-production-notes.phtml Reddish, David. “Happy 20th: How Greg Berlanti's “the Broken Hearts Club” Changed the Course of Queer Cinema.” Queerty, 21 Oct. 2020, www.queerty.com/happy-20th-greg-berlantis-broken-hearts-club-changed-course-queer-cinema-20201021 Our theme music is "Rue Severine" by Blue Dot Sessions.

We're celebrating Golden Voice narrators all this week, and today we're thrilled to honor Kate Reading as a 2024 Golden Voice. Listen to Jo Reed and AudioFile's Robin Whitten discussing Kate's many talents in the narrator booth, what favorite audiobooks of hers they recommend exploring, and what makes her a Golden Voice. Essential listening: A MEMORY OF LIGHT by Robert Jordan, Brandon Sanderson, read by Michael Kramer, Kate Reading DEATH AND THE MAIDEN by Ariel Dorfman, read by John Kapelos, John Mahoney, Carolyn Seymour, Kristoffer Tabori THE ART OF THEFT by Sherry Thomas, read by Kate Reading THE SOUVENIR MUSEUM by Elizabeth McCracken, read by Kate Reading RHYTHM OF WAR by Brandon Sanderson, read by Michael Kramer, Kate Reading Visit AudioFile's website for more on Kate Reading, and for a full list of AudioFile's Golden Voice narrators. Support for AudioFile's Behind the Mic comes from HarperCollins Focus, and HarperCollins Christian Publishing, publishers of some of your favorite audiobooks and authors, including Reba McEntire, Zachary Levi, Kathie Lee Gifford, Max Lucado, Willie Nelson, and so many more! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Will and Steve return to regular programming with the Season 7 Freudian-cabin-opener, Mamma Mia. They discuss Rita Wilson, mosquitos, and the wonderful John Mahoney. 

Where does Frasier's snobbery originate from? Why does he revert to his ‘child state' when around his father? And... the hidden story behind Frasier being a Freudian analyst and Niles (his brother) being a Jungian analyst. Plus, Ben and Nemone's minds are blown when they realise a crazy coincidence with Frasier and Tony Soprano. We want to hear from you!!! Please drop the team an email with your questions and theories (which may be part of the show): shrinkthebox@sonymusic.com NEXT CLIENTS ON THE COUCH. Find out how to view here Cersei, Game of Thrones (Season 1) Tommy Shelby, Peaky Blinders (Season 1) Larry David, Curb Your Enthusiasm (Season 7) Sydney, The Bear (Season 2) Michael, Office (USA. Season 1) CREDITS We used clips from Season 1 of Frasier Starring: Kelsey Grammar as Dr Fraiser Crane, David Hyde Pierce as Niles Crane, John Mahoney as Martin Crane, Peri Gilpin as Roz Doyle and Jane Leeves as Daphne Moon. Created and written by: David Angell, Peter Casey, David Lee and Brad Hall. Directed by: James Burrows, David Lee, Andy Ackerman and Rick Beren. Produced by: Grub Street Productions, Paramount Network Television, Paramount Television (in association with) Grammnet Productions and National Broadcasting Company (NBC) Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Learn more about your ad choices. Visit podcastchoices.com/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices

Edgar and Barry Award finalist Mike Lawson resumes his beloved Joe DeMarco series with a pulse-pounding thriller starring the Washington DC “troubleshooter” as he tries to pin down a Boston billionaire soaring at the top of the world in KINGPIN (Atlantic Monthly Press). As evidenced by his ever growing Boston empire, Carson Newman doesn't usually get his hands dirty. Joe DeMarco, on the other hand, is paid to do that, and by the former Speaker of the House, John Mahoney. Brian Lewis, an intense workaholic interning for Mahoney, has been found dead in his apartment, purportedly from a drug overdose. But Brian never showed signs of drug use prior to his death, and he coincidentally seemed to be on the cusp of releasing a report identifying a group of politicians who had taken bribes to help dismantle a recent bill. Brian's mother is convinced that her son was murdered because of what he'd learned. While DeMarco reaches a similar conclusion, all evidence only points to the sheer impossibility of a murder ever having happened: a locked door to a thirdfloor apartment with locked windows and no fire escape ladder, and no defensive wounds on Brian's body. In a city full of shadowy agreements and duplicitous deals, DeMarco will soon learn that to get to the bottom of Brian's death, he'll have to look at people perched at the very top of the world. MIKE LAWSON is a former senior civilian executive for the US Navy. He is the Edgar Award nominated author of more than fifteen novels starring Joe DeMarco and three novels with his protagonist Kay Hamilton. For more info on the book click HERE

Dust off your boomboxes, we're headed back to 1989 with Say Anything, staring John Cusack, Ione Skye and John Mahoney. "Noble underachiever" Lloyd enters into a "friends with potential" relationship with brainy and beautiful Diane the summer after they graduate from high school. Will their fledgling situationship survive interference from family, legal trouble, an international move, Lloyd's complete lack of direction, Diane's feelings of having wasted her childhood, and a five-and-a-half-minute Peter Gabriel Song?  Tune in today to find out!Email us at MadeMePodcast@gmail.comFind us on:Facebook: www.facebook.com/MadeMePodcastInstagram: https://www.instagram.com/myhusbandmademedoit/ Podcast artwork by Anna Eggleton of Treehouse Lettering & Design: https://www.treehouseletteringanddesign.com/

Harlym Carter had the odds stacked against her. She's a baby who was born without eyes and who had half her brain removed.    AND   Kelsey Grammer tears up on The Kelly Clarkson Show as he got into talking about John Mahoney, his late costar from the show, Frasier.   To see videos and photos referenced in this episode, visit GodUpdates!   https://www.godupdates.com/harlym-carter-born-without-eyes-condition/ https://www.godupdates.com/kelsey-grammer-tears-up-remembering-john-mahoney/   Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

Graduating class of 89's valedictorian, Diane Court "whoa" (Ione Skye) has worked so hard on her future she hasn't had time to enjoy her present. Enter Lloyd Dobler (John Cusack), emotionally mature, kickboxing military brat who decides to just call her up and ask her out. Diane wins a fellowship and is set to leave for England and Lloyd just wants to spend as much time with her as possible, but her father (John Mahoney) warns her against distraction even as his life is falling apart. A pen, a boom box, and a years long IRS investigation later; Lloyd and Diane wait for the ding in Say Anything - this time on Doom Generation. Support this podcast at patreon.com/doomgeneration

Now hear this here is the true cradle of modern air cargo thinking from some airline people long gone and nearly forgotten.Once upon a time there were two giant all cargo airlines operating  from the USA to points internationally.From Los Angeles to the Pacific & Asia was Flying Tigers and from New York Across the Atlantic to Europe,Africa,the Middle East and India was Seaboard World Airlines.This is about  Seaboard World Airlines and specifically some excellent people that learned air cargo from its people.On October 1, 1980 Seaboard World Airlines was absorbed by The Flying Tiger Line, Inc., and on December 16, 1988 The Flying Tiger Line, Inc., was absorbed by the Federal Express Corporation.I was thinking about people in our business recently watching Fred Smith on TV talking air cargo.Once upon a time there was John Mahoney at Seaboard talking air cargo. That was 50 years ago. Interesting that the last big time air cargo type, Smith out on the hustings commanding the widest audience of any airline executive in world history (he certainly  has also been on top the longest) can look back to a time when big ideas of how to air cargo came from a company he ended up buying. Here we share some Seaboard thinking and also several direct quotes from Mahoney that in 2024 although the talk is aged as we move along 50 years later at jet speed, still makes perfectly good sense. --- Support this podcast: https://podcasters.spotify.com/pod/show/geoffrey-arend/support

Today, my guest is John Mahoney. John is the founder of The Law Offices of John Mahoney, and they focus exclusively on federal employment law, which is a subject area near and dear to my heart being from the Washington, DC area - although, as John quite clearly points out, federal employment laws pertain not only all over the country, but indeed internationally with federal employees being stationed all around the world. It's a fascinating discussion with him about his virtual practice in the federal employment law space and how he was influenced by his father's experience in the industrial area of Worcester, MA. It's an interesting conversation that he and I have, a little bit more in the substantive area of the law than we normally do on this program, but I hope you enjoy listening to John and learning a little bit about how he built a virtual practice in the federal employment law space.In this episode, Neil and John discuss:How John first got interested and involved in employment law. The history of the labor movement, and why labor laws are so important and were created in the first place. Running a virtual law practice with remote employees. Virtual growth practice, law, and sustainability. Key Takeaways:Federal law is not limited geographically - there are federal employees all around the globe. By building a virtual practice, you can attract attorneys from wherever the government is. Many people today take for granted the work that was done by early labor lawyers, unions, and others in the labor movement. Many of the benefits we experience today are because of these individuals. There are ways to build culture and comradery with your team in a virtual environment. Starting with the right people can help. Understanding what your capacity is for yourself and each of your attorneys can help you to have a better understanding of when you need to hire. "These whistleblower retaliation or complaint or grievance retaliation are considered prohibited personnel practices, federal employees cannot be terminated for any of those reasons. And that has stood from 1889 to 2023." — John MahoneyGet in touch with John Mahoney:Website: https://www.attorneymahoney.com/ Phone: 202-350-3881Twitter: https://twitter.com/attorneymahoney Facebook: https://www.facebook.com/JPMLawyer LinkedIn: https://www.linkedin.com/company/john-p.-mahoney-esq.-attorney-at-law YouTube: https://www.youtube.com/channel/UCJFuKuPeMRndDEYxZ7lKdGw Thank you to our sponsors!Ruby Receptionist - Virtual receptionist & live call services that will help you grow your office (and save money), one call at a time - to learn more, go to https://get.ruby.com/TLE or call 844.311.7829The Net Profit CFO - Ryan Kimler works with attorneys who want to enjoy higher net profits without working longer or harder. With just 9 Simple Numbers, Ryan will help you drive more profit to your bottom line-and he won't confuse you with

"You are who you choose to be."Jeff and Scott are joined by Dayton Johnson of the Docking Bay 77 Podcast to discuss what they collectively believe is one of the greatest, most underrated animated films ever, Brad Bird's The Iron Giant; starring the voice talents of Jennifer Anniston, Harry Connick Jr., Christopher McDonald, John Mahoney, and Vin Diesel as the loveable Giant.For plenty of exclusive episodes and content, check out A Film By... on Patreon! with a FREE 7-day trial!Check out www.afilmbypodcast.com/ for more information.Email us at afilmbypodcast@gmail.com with your questions, comments, and requests.Find us on X Twitter, Instagram, and Facebook @afilmbypodcast.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4933588/advertisement

It's finally here! TV writer Alrinthea Carter joins Anita to discuss episodes 1 and 2 of the Frasier revival. Good news: it's not the worst! They share their thoughts on new characters, missing John Mahoney, whether or not Frasier should get a cat, and SO much more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to an all-new Films for the Void, episode #63! In this episode, Eric and Landon decide who they choose to be in discussing Brad Bird's 1999 film THE IRON GIANT, as well as discuss Sofia Coppola's Lost in Translation to celebrate its 20th anniversary - all on the latest episode of Films for the Void!TIME STAMPS00:03:07 Lost in Translation00:16:27 The Iron Giant01:12:56 Eric's Recommendation for Next EpisodeTWITTER: @films_void$3/MONTH PATREON: patreon.com/films_voidLANDON'S TWITTER @igotdefevermanLANDON'S INSTAGRAM @duhfeverLANDON'S LETTERBOXD @landondefeverERIC'S TWITTER @ericwiththehairERIC'S INSTAGRAM @ericwiththebeardERIC'S LETTERBOXD @ericwiththehair

It's Die Hard in a serial killer thriller! Or is it Die Hard in a murder mystery? Or Die Hard in a family drama? Or Die Hard in the great American play?! To make sense of all this, Phil and Liam are joined by special guest Sean Fennessey, the host of The Big Picture and a regular guest on The Rewatchables.   The plot of Striking Distance speaks to its surprising level of complexity. After he testifies against his own partner for use of excessive force, Pittsburgh homicide detective Thomas Hardy (Bruce Willis) is exiled from the tight-knit police department and ends up working for the River Rescue division, where he becomes embroiled in a hunt for a serial killer who is dumping bodies in the water. As he launches his own unofficial investigation into the crimes with new partner Jo Christman (Sarah Jessica Parker), Hardy comes to suspect that the killer may be the very same man who murdered his police captain father years earlier. As the son of a cop himself, Sean has a particular insight on the film's subject matter, which captures a very specific cultural milieu in co-writer/director Rowdy Herrington's home town of Pittsburgh. They also discuss Sean's feelings about Die Hard, his thoughts on Bruce Willis' complicated career, and his fascinating real-life encounter with Dennis Farina, who plays (Willis' Uncle) Nick DeTillo, in what might be the movie's standout performance, even amongst a stellar supporting cast that includes Tom Sizemore, John Mahoney, Brion James, Andre Braugher, Tom Atkins and Robert Pastorelli. There's also in-depth analysis of the film's possible influences – from iconic 1970s filmmakers like Alan J. Pakula and Sidney Lumet, to great American playwrights like Arthur Miller and Eugene O'Neill – and to the films and TV shows that it may have subsequently influenced – such as CopLand, We Own The Night, Pride & Glory and The Wire. Are the guys giving this largely forgotten film too much credit? Possibly…but that's up to you to decide! The ‘Die Hard Oscars' provide some typically strong candidates for awards recognition, before Sean and Liam compete in the ‘Double Jeopardy' trivia quiz! STRIKING DISTANCE trailer https://www.youtube.com/watch?v=5PbX4LXD6Es At the time of release, STRIKING DISTANCE is available to rent or buy through Amazon Prime Video, Apple/iTunes, YouTube, Vudu, DirectTV and all the usual platforms. Support this podcast at — https://redcircle.com/die-hard-on-a-blank/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Jesse Hawken, host of Junk Filter Podcast, returns to the show to discuss 'Primal Fear'. The film is a taut piece of middlebrow entertainment which offers maximum reward as a cable classic. We discuss the film's two standout performances - one from aging handsome guy Richard Gere as a hotshot attorney looking for his next big break, the other from then-newcomer Edward Norton who took audiences by storm and wound up on the short list of actors nominate for an Academy Award for their very first film performance. Then, we talk the movie's famous twist ending, and the way that it betrays an uncomfortably reactionary streak that resonated with audiences in mid-90s America. Finally, we have some words about the death of the midbudget cable classic, and look at the current state of the industry vis-a-vis the tandem strike efforts from the WGA and SAG-AFTRA. Listen & Subscribe to Junk Filter Podcast and support the show on Patreon. Follow Jesse Hawken on Twitter. Follow Junk Filter Podcast on TwitterGet access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

In today's digital age, with sophisticated cyber threats becoming increasingly prevalent, ensuring network security has become more critical than ever. One solution that has emerged as a beacon of hope is the concept of 'Zero Trust Network' or a radical shift from traditional network security measures, Zero Trust Network advocates for a 'never trust, always verify' approach, offering a more comprehensive way to combat cybersecurity threats. Zero Trust Network is a security model that eradicates the conventional binary notion of 'trusted' internal networks versus 'untrusted' external networks. This model operates under the principle that threats can occur anywhere, and thus, no user or system should be implicitly trusted. Instead, every request is thoroughly verified, authenticated, and validated before granting access, regardless of where it originates from within or outside the network. Explaining more about this is John Mahoney, CEO and Co-Founder of Moby, LLC.

Agents Scott and Cam, along with guest operative Henry R. Schlesinger, journalist and author of Honey Trapped: Sex, Betrayal, and Weaponized Love, help Sean Connery track down a top-secret manuscript with the 1990 John Le Carré adaptation The Russia House.   Directed by Fred Schepisi. Starring Sean Connery, Michelle Pfeiffer, Roy Scheider, James Fox, John Mahoney, Michael Kitchen, J.T. Walsh, Ken Russell, David Threlfall and Klaus Maria Brandauer. All of Henry's books, including Honey Trapped and the Spy Sites series, are available on Amazon. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Purchase the latest exclusive SpyHards merch at Redbubble. Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

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

Audubon's new tool, The Explorer, is a groundbreaking interactive map tracking bird migrations for 450 different species worldwide. “Groundbreaking” isn't hyperbole. There's never been anything like it, and the amount of data compiled onto one site is an enormous collaborative accomplishment. This week Postlight's Nathan Henry and Shawn Kelly chat with Melanie A. Smith and John Mahoney from Audubon about creating The Explorer and getting people involved in birding and conservation. Links: explorer.audubon.orgwww.movebank.orgwww.blueraster.comwww.esri.com

Nick talks with Managing Editor of the food website 'The Takeout' about managing giant Thanksgiving get-togethers, eating the classic "Green Stuff" for the holidays, proper behavior in a grocery store, and they also do a taste test: Haribo Gummis vs. Albanese Gummis...and much more. Then Esmeralda Leon and Nick talk about the very successful Nick D Podcast LIVE show at Zanies and how it will now be a MONTHLY event starting in January 2023, they do a new Megaphone Message and end up talking about the great John Mahoney, and more. [EP90]