Podcast appearances and mentions of katharine trendacosta

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

Today on the flagship podcast of removable power cords: 02:14 - The Verge's Alex Cranz, Jennifer Pattison Tuohy, Chris Welch, and Nilay Patel discuss the updated version of the Apple HomePod.  Apple's new HomePod plays it safe How to use the Apple HomePod's temperature and humidity sensors 43:23 - Katharine Trendacosta joins the show to discuss why and how faking your death has been a common practice in online communities.  A Fake Death in Romancelandia She created a fake Twitter persona — then she killed it with COVID-19 1:05:19 - Verge senior editor Sean Hollister gives an updated review of Valve's Steam Deck, which had a buggy start in 2022. The Steam Deck wasn't born ready, but it's ready now Learn more about your ad choices. Visit podcastchoices.com/adchoices

Katharine Trendacosta is Associate Director of Policy and Activism at the Electronic Frontier Foundation (EFF). Her areas of expertise are competition, broadband access, intellectual property, net neutrality, fair use, free speech online, and intermediary liability. She is the former managing editor of science fiction and science website io9, and spent many years writing about technology policy and pop culture for various publications. Katharine notably talks about the good and the bad of the DMCA and the issues surrounding upload filters. She reflects on why the SOPA-PIPA debate mattered and how the underlying issues still linger. Katharine recalls how fanfiction sparked her interest in copyright and shares her hopes to see more smaller platforms pop-up as alternative avenues for creators and users.

Just because Facebook did the right thing by booting Trump, doesn't mean it will stop monetizing hate. Katharine Trendacosta of the Electronic Frontier Foundation joins The Bitchuation Room to talk about breaking up big tech while preserving actual free speech, saving our privacy and why the right has no idea that Orwell was a socialist. Plus Biden's first week, Bernie's mittens, and Mitch McConnell begs Democrats let him keep the filibuster. Not up to you, sweetie! Francesca and guest comedian Mike Bridenstine dig into it all and play a game of “Finish this Tweet”.  Featuring:Mike Bridenstine, comedian (@brido) Katharine Trendacosta, Associate Director of Policy and Activism for The Electronic Frontier Foundation (@k_trendacosta) Francesca Fiorentini, host Join the Frantifa by supporting The Bitchuation Room's Patreon!Find The Bitchuation Room on Twitter (@thebitchuationpod), YouTube AND Twitch.Find Francesca on Twitter (@franifio) and Instagram (@franifio)Thanks to producer Rebecca Rufer, and post production team Kelly Carey & Dorsey Shaw. Music Credits: The Cannery by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/4485-the-canneryLicense: https://filmmusic.io/standard-license Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Just because Facebook did the right thing by booting Trump, doesn’t mean it will stop monetizing hate. Katharine Trendacosta of the Electronic Frontier Foundation joins The Bitchuation Room to talk about breaking up big tech while preserving actual free speech, saving our privacy and why the right has no idea that Orwell was a socialist. Plus Biden’s first week, Bernie’s mittens, and Mitch McConnell begs Democrats let him keep the filibuster. Not up to you, sweetie! Francesca and guest comedian Mike Bridenstine dig into it all and play a game of “Finish this Tweet”.    Featuring: Mike Bridenstine, comedian (@brido)   Katharine Trendacosta, Associate Director of Policy and Activism for The Electronic Frontier Foundation (@k_trendacosta)   Francesca Fiorentini, host   Join the Frantifa by supporting The Bitchuation Room's Patreon! Find The Bitchuation Room on Twitter (@thebitchuationpod), YouTube AND Twitch. Find Francesca on Twitter (@franifio) and Instagram (@franifio) Thanks to producer Rebecca Rufer, and post production team Kelly Carey & Dorsey Shaw.  Music Credits: The Cannery by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4485-the-cannery License: https://filmmusic.io/standard-license

This week, Katharine Trendacosta of the Electronic Frontier Foundation joins the show to talk about data rights, intellectual property, and digital free speech in Star Trek and our own world.. On the episode, we talk about the EFF's efforts to create a Star Trek future and not a Mirror Universe one, how the Federation protects the digital rights of its citizens, IP law of the future, the obsolescence of ownership in a digital future, why security experts are Luddites, the Aeneid and the Divine Comedy as fan fic, punching up on CBS, the biometric Bill of Rights, Dukat's Internet Off-Switch, and why LCARS *must* be open-source.Look at this podcast!Follow Katharine on Twitter and learn more about the EFF!https://twitter.com/k_trendacostahttp://www.eff.orgAccept your mission and sign up for Trek the Vote!http://trekthe.votehttps://twitter.com/trekthevotehttps://www.facebook.com/trekthevoteCommunicate with us on Facebook and Twitter and the Just Enough Trope Discord!http://www.facebook.com/eistpodhttp://www.twitter.com/eistpodhttps://discord.gg/APk2cCyJoin our crew on Patreon!http://www.patreon.com/eistpodSubscribe to the show on iTunes!https://itunes.apple.com/us/podcast/enterprising-individuals/id1113165661?mt=2

This week, Katharine Trendacosta of the Electronic Frontier Foundation joins the show to talk about data rights, intellectual property, and digital free speech in Star Trek and our own world.. On the episode, we talk about the EFF's efforts to create a Star Trek future and not a Mirror Universe one, how the Federation protects the digital rights of its citizens, IP law of the future, the obsolescence of ownership in a digital future, why security experts are Luddites, the Aeneid and the Divine Comedy as fan fic, punching up on CBS, the biometric Bill of Rights, Dukat's Internet Off-Switch, and why LCARS *must* be open-source.Look at this podcast!Follow Katharine on Twitter and learn more about the EFF!https://twitter.com/k_trendacostahttp://www.eff.orgAccept your mission and sign up for Trek the Vote!http://trekthe.votehttps://twitter.com/trekthevotehttps://www.facebook.com/trekthevoteCommunicate with us on Facebook and Twitter and the Just Enough Trope Discord!http://www.facebook.com/eistpodhttp://www.twitter.com/eistpodhttps://discord.gg/APk2cCyJoin our crew on Patreon!http://www.patreon.com/eistpodSubscribe to the show on iTunes!https://itunes.apple.com/us/podcast/enterprising-individuals/id1113165661?mt=2

“The real test of honor isn't how you die. It's how you live.” This week, we’re talking Justice League episodes 10 and 11: War World, Parts I and II Featuring: Gladiator… In spaaaaaaaace!!! Plus: Why does Chris hate La La Land?  Watch Justice League Season 1 on DC Universe: https://www.dcuniverse.com/videos/justice-league/64/season-1 (https://www.dcuniverse.com/videos/justice-league/64/season-1)  0:00 Intro / News 25:38 War World, Parts I and II 55:02 Bat Plugs  1:08:48 Cameron’s Question Corner / Notes From Friends 1:16:47 Outro  Bat Plugs Elvira's Movie Macabre on Peacock https://www.peacocktv.com/watch/asset/movies/elviras-movie-macabre/5183855192053077112 (https://www.peacocktv.com/watch/asset/movies/elviras-movie-macabre/5183855192053077112)  DuckTales on Disney+ https://www.disneyplus.com/series/ducktales/tc6CG7H7lhCE (https://www.disneyplus.com/series/ducktales/tc6CG7H7lhCE)  Streaming Is Laying Bare How Big ISPs, Big Tech, and Big Media Work Together Against Users by Katharine Trendacosta https://www.eff.org/deeplinks/2020/06/streaming-laying-bare-how-big-isps-big-tech-and-big-media-work-together-against (https://www.eff.org/deeplinks/2020/06/streaming-laying-bare-how-big-isps-big-tech-and-big-media-work-together-against)  Intro Music by Ardeshir Adhami Intro SFX by Grant Evans via Soundbible.com (http://soundbible.com)  Subscribe and review! https://linktr.ee/TimmTalk (http://bit.ly/TimmTalk) Follow the podcast on Twitter: https://twitter.com/timmtalkpod (https://twitter.com/timmtalkpod) IG: https://www.instagram.com/timmtalkpod (https://www.instagram.com/timmtalkpod) Facebook: https://www.facebook.com/timmtalkpod/ (https://www.facebook.com/timmtalkpod/)   Follow Cameron on Instagram: https://www.instagram.com/camdexter_adventures (https://www.instagram.com/camdexter_adventures)  Follow Chris on Instagram: https://twitter.com/Lordopher (https://twitter.com/Lordopher) Check out Chris’ other podcast, Gay it Forward, where he learns to be a better gay http://bit.ly/GIFPodIG (http://bit.ly/GIFPodIG)

SUBJECTIVEIn the second of our three Twilight related episodes, we discuss pregnancy tropes, tumors with teeth, and Deepa's favorite YouTube video. Sometimes pregnancy is not as simple as one egg and one sperm. Especially when that sperm is presumably made of rock. ...suspended in venom? If there's one thing we've figured out so far, it's that you shouldn't think too hard about the physiology behind the Cullen clan.Sidebar:Regarding the Pregnancy and Birth episodes, we wanted to apologize for the gendered language we used throughout our discussions. We know that nonbinary, genderqueer, and transgender people can also get pregnant and give birth. The way we talk about it is a relic of our training, and we're trying to do better. We're sorry if we hurt anyone through our carelessness. OBJECTIVEResources, Citations, and Mentions:TV Tropes - Mystical Pregnancy, accessed June 2020Feminist Frequency - #5 The Mystical Pregnancy (Tropes vs. Women) (YouTube link, July 2011)The Most Ridiculous Mystical Pregnancies in Fiction by Katharine Trendacosta, io9 October 2013Movieclips - Twilight: Breaking Dawn Part 1 (4/9) Movie CLIP - I'm Late (2011) HD (YouTube link, November 2012)Movieclips - Twilight: Breaking Dawn Part 1 (5/9) Movie CLIP - He's Thirsty (2011) HD (YouTube link, November 2012)Stephanie Meyer Breaking Dawn FAQ: Vampires and pregnancyRadiopaedia - Mature cystic ovarian teratoma, Dr. Naim Qaqish and Assoc Prof Frank Gaillard, et al. Accessed July 2020.Radiopaedia - Immature ovarian teratoma, Dr. Daniel J Bell and Dr Alexandra Stanislavsky, et al. Accessed July 2020.Sahin, Hilal et al. “Mature cystic teratoma of the ovary: a cutting edge overview on imaging features.” Insights into imaging vol. 8,2 (2017): 227-241.Wikipedia - Clinical vampirism, accessed July 2020Deepa's favorite YouTube video: how is prangent formed (YouTube)ASSESSMENTDeepa: 1 out of 10 hyperechoic embryonic sacs for Bella's Swan's pregnancy, 8 out of 10 sunken cheek temporal wasting Kristen Stewarts for the makeup and CG effectsJen: 0.5 out of 10 styrofoam cups filled with blood for Bella Swan's pregnancy, 10 out of 10 for winning pregnancy trope bingoPLANSubscribe to our medical ramblings on Apple Podcasts, Spotify, Stitcher, or wherever you get your podcasts! Rate, review, and tell your friends!Got a question or suggestion? Find us on Twitter @DocsWatchPod, or visit us at docswatchpod.com.Theme Music and SFX: Kevin MacLeod (CC BY) - RetroFuture Clean, Danse Macabre-Big Hit 2

[youtube https://www.youtube.com/watch?v=MzfeuTUXblc] Intro Welcome to Kevin and Brian’s Horror Bulletin podcast recorded live from the vampire’s crypt, where each week, we cover the latest horror news, shorts, a classic Universal horror, and two creature-feature reviews. This week, after the news, we’ll cover the Universal Studios movie “The Invisible Man” from 1933, the contemporary classic “The Tunnel” from 2011, discussion of the short film, “The iMom”, and “Late Phases” from 2014 which is now titled “Night of the Wolf” or “Night of the Lone Wolf”. Turn up the volume and lean in close. Here we go... News Features An artist going by the name “kreimkouk” has posted a video of what may be the most amazing Lego horror sculpture ever. Displayed in a seven-and-a-half-minute YouTube video, the work appears to be a large house decked out for Halloween. Then it opens wide, displaying two halves of rooms featuring scenes and characters from a plethora of horror movies including Gremlins, The Shining, Beetlejuice, The Nun, The Exorcist, and many others. The link is in the show notes, and you really should check it out. https://www.youtube.com/watch?v=G1A5JS6e1gA&lc=Ugx3fGI42KbKuoiidyN4AaABAg A preview for “Crawl” has just been released. What’s worse than being in a major hurricane in Florida? Being trapped in an area that’s flooding. And what’s worse than that? Monstrous alligators that take an interest in getting to you no matter what it takes. July 12th of this year, we’ll all get to join Haley in her fight to survive. Check out the trailer for yourself. It looks like it’s going to be a good one! https://www.youtube.com/watch?v=H6MLJG0RdDE If you’re in or going to be in Los Angeles between now and June 16th, you may want to check out “I Like Horror” at the Desmond. The 25,000-square-foot interactive horror exhibit features pop-art interpretations that allow visitors to wander the hedgerows at the Overlook hotel, wallow in a giant Chinese takeout container of maggots from “The Lost Boys, creep through Freddy Krueger's boiler room, and many other scenes. "I'm a huge fan of all of these films," experiential artist Maximillian, who devised the pop-up horror house, tells Newsweek. "Some would be considered straight-up horror, some maybe not so much. But they all have scary elements. They all have an overarching dark universe. And I really wanted to touch the different horror fandoms." If you can’t make it to LA, the artist says he’d like to take it on the road, so you may get a chance in the future. https://www.newsweek.com/i-scary-movies-installation-1402649 If you’re a fan of horror based on real places and maybe-real events, you may want to check out "Amityville: Mt. Misery Road" Coming on DVD May 7th. Said to be the most haunted road in America, Mt. Misery Road in Long Island NY, comes alive in this thriller. Charlie and Buzi (both the main characters and the creators of the film) travel to the mysterious road, which is haunted by legendary stories of creatures such as Mothman and Hellhound and ghosts from an old, abandoned asylum. The couple fight to keep it together through one thing after another, but the forces of evil are strong. Check out the PR Newswire article for more details. https://www.prnewswire.com/news-releases/a-new-horror-film-amityville-mt-misery-road-coming-on-dvd-may-7th-300843680.html Vox has quite an article titled “Inside the haunted doll markets of eBay and Etsy”. Haunted doll sellers and collectors say buyers should beware. Because possessed and haunted dolls aren’t just the realm of movies like Annabelle and Chucky. They’re real. “Etsy and eBay list thousands of dolls purportedly inhabited by everything from evil witches to judgmental spirits that might call you fat to young children and fairy spirits. Most haunted dolls sell for around $50 plus shipping, but the most highly prized ones are priced well into the four figures. There’s a formula, too, for how they’re sold: Each listing contains a detailed overview of the spirit’s life story, details of said spirit’s death, and a description of their personality. Dolls are labeled “active” or “highly active” if paranormal phenomena are said to occur frequently in their vicinity. Some are advertised as being able to move objects, make noises, or communicate via telepathy or Ouija board, while others are meant to act as creative muses, play matchmaker by revealing potential lovers in dreams, or emit positive energy.” You really should read the article to learn the stringent testing process that some dealers use to assure that the dolls are genuine. Skeptical? A believer? Well, decide for yourself. https://www.vox.com/the-goods/2019/5/3/18525659/haunted-doll-buy-ebay-etsy-annabelle-childs-play Universal Studios Classic: “The Invisible Man” (1933) A scientist finds a way of becoming invisible, but in doing so, he becomes murderously insane. Amazon Link Contemporary Classic: “The Tunnel” (2011) An investigation into a government cover-up leads to a network of abandoned train tunnels deep beneath the heart of Sydney. As a journalist and her crew hunt for the story it quickly becomes clear the story is hunting them. Amazon Link Horror Short: (YouTube) “The iMom” Ariel Martin's "The iMom" explores the future of A.I. and asks who is to blame when technology turns on us. Be careful when watching, as Katharine Trendacosta from i09 warns that “iMom will haunt your dreams.” YouTube Link Feature Presentation: “Late Phases” aka “Night of the Wolf” or “Night of the Lone Wolf” (2014) When deadly beasts attack from the forest, it is up to a grizzled veteran to uncover what the residents of a secluded retirement community are hiding. Amazon Link Closing Well, the sun must be coming up. The vampires are starting to shuffle back in for the day, and we need to get going so they can get their sleep. Thanks for joining us. Stop in during the week at www.horrorbulletin.com for news and horror updates, to comment on this podcast, or to contact us. Check out our Twitter feed at @HorrorBulletin http://twitter.com/HorrorBulletin and our website at http://www.horrorbulletin.com And our Patreon page http://www.patreon.com/horrorbulletin I’m Kevin. And I’m Brian. We’ll see you next time! Theme Music by Kevin MacLeod of Incompetech.com

We know you just want to curl up by the fire and bask in pop culture of yesteryear this holiday season. But too bad. We're here with special guest Katharine Trendacosta to interrogate the meaning of nostalgia in science fiction. We discuss remakes, reboots, rebranding, historical references, and traumatic memories--and how all of these are shaping the future of the genre. Plus Disney. We have many thoughts on Disney. As always, you can find show notes, references, and transcripts on www.ouropinionsarecorrect.com/shownotes

California is on the cusp of restoring net neutrality. The Electronic Frontier Foundation’s Katharine Trendacosta explains how this will happens, and what the implications are for the rest of the nation. Then Jennifer, Eric and Paul run down our slate of live podcast recordings coming up at this year’s Grassroots Radio Conference in Portland, OR […] The post Podcast #157 – Restoring Net Neutrality, One State at a Time appeared first on Radio Survivor.

California is on the cusp of restoring net neutrality. The Electronic Frontier Foundation’s Katharine Trendacosta explains how this will happens, and what the implications are for the rest of the nation. Then Jennifer, Eric and Paul run down our slate of live podcast recordings coming up at this year’s Grassroots Radio Conference in Portland, OR […] The post Podcast #157 – Restoring Net Neutrality, One State at a Time appeared first on Radio Survivor.

Episode 7: Why Net Neutrality Matters for Nonprofits Despite substantial public opposition, Obama-era regulations securing Net Neutrality – a principle that essentially bars Internet Service Providers (ISPs) from playing favorites with different websites – were rolled back by the FCC on June 11, 2018. These changes could pave the way for a new, highly manipulated user experience: movements, media reports, resources, and more that ISPs – or their investors – don’t like, or that don’t make them any money, could end up on the other side of a slow connection. What could this mean for nonprofits – and for the communities they serve? Katharine Trendacosta, Policy Analyst at the Electronic Frontier Foundation, and Larra Clark, Deputy Director for both the Public Library Association (PLA) and the American Library Association’s (ALA) Office of Information Technology Policy, join the hosts.

Episode 0 Welcome to There’s No Place Like Terra. A new Stargate podcast with your hosts, Nixie and Grace. We introduce ourselves a bit and talk about an article we found on io9 titled Stargate Didn’t Become a Great Universe Until It Was on Television, by Katharine Trendacosta. What will happen to the Stargate Universe if the rumored new Stargate films come to fruition. http://io9.com/stargate-didnt-become-a-great-universe-until-it-was-on-1721946910 Come back and see us again next week when we look at the pilot episode, Children of the Gods. Join the conversation about next week's episode on twitter @terrapodcast or by email: theresnoplaceliketerra@gmail.com but remember include 'SPOILERS' in the subject line if you talk about future episodes so we can keep Grace spoiler free.