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 Debata o zmianie konstytucji wchodzi w nową fazę, ale już budzi poważne spory. Dr Oskar Kida przekonuje, że obecna ustawa zasadnicza „zdezaktualizowała się” i generuje konflikty władzy, a jednocześnie ostrzega przed rozszerzaniem kompetencji przez Komisję Europejską. 

Kas inimese lugu on võimalik tema näost välja lugeda või ära rääkida?

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]

Dr Oskar Kida w Radiu Wnet przekonywał, że najnowsze orzeczenie TSUE jest niewygodne dla tych środowisk, które chciałyby zbiorowo kwestionować status tzw. neosędziów. Jak zaznaczył, nawet w logice przyjmowanej przez część prawników i polityków wyrok ten nie daje podstaw do prostego podważania nominacji.„TSUE wyraźnie orzekł, że sama tylko okoliczność, że danego sędziego powołano na wniosek Krajowej Rady Sądownictwa ukształtowanej po reformie, nie wystarczy do tego, ażeby stwierdzić, że ten sędzia nie jest bezstronny i niezawisły”– mówi Oskar Kida.Zdaniem eksperta kluczowe jest to, że Trybunał wskazał na konieczność indywidualnej oceny każdej sprawy, a nie automatycznego uznawania, że sam udział KRS po 2017 roku przekreśla status sędziego. Jak zaznaczył, w tym punkcie stanowisko Trybunału jest jednoznaczne.„To jest czarno na białym”– podkreślił Oskar Kida.

Konstytucjonalista przybliża sprawę nowych sędziów Trybunału Konstytucyjnego. Czy podczas wybierania przez Sejm nie doszło do nieprawidłowości konstytucyjnych?

Vanamehed vaikivad tänases saates Eesti Laulust ja püüavad ka olümpiale mitte ülearu palju auru kulutada. Küll aga räägime maailmapoliitikast ja meediapoliitikast, võtame vaatluse alla Postimehe aruande lugejatele ning vaatame, mis toimub tehnoloogiavallas, reklaamiturul ning avaliku arvamuse rindel. Õhus on elektrit ja see on täna eriti kallis.

Tartus Sadamateatris esietendus paari nädala eest Mari-Liis Lille dokumentaallavastus "Ütlemata", mis toob teatrilavale paljude eestlaste rääkimata jäänud lood: nii need, mis jäävadki igavesti rääkimata, kui ka need, kus keerulised, aga olulised vestlused saavad alustatud ja endasse kogutud raskus hajub.

 Ministerstwo Cyfryzacji podało, że w związku z wyrokiem Trybunału Sprawiedliwości Unii Europejskiej Polska nie musi wprowadzać małżeństw jednopłciowych do prawa krajowego, ale nie może odmówić uznania małżeństw zawartych legalnie w innym państwie UE.Jak dodano, obecnie opracowywany jest projekt rozporządzenia, które zmieni wzory dokumentów wydawanych z rejestru stanu cywilnego, tak aby umożliwić wdrożenie wyroku.Obecne wzory dokumentów używają określeń „kobieta” i „mężczyzna”, co uniemożliwia prawidłowe wpisanie małżeństw osób tej samej płci. Projektowane zmiany obejmują m.in. neutralne płciowo nazwy rubryk: „Pierwszy małżonek” i „Drugi małżonek”; aktualizację sekcji danych rodziców: np. „Ojciec pierwszego małżonka”, „Matka drugiego małżonka”– czytamy na stronach rządu.Sprawę komentował na antenie Radia Wnet konstytucjonalista dr Oksar Kida. Jego zdaniem już sam sposób procedowania budzi zasadnicze wątpliwości.Jak przypomniał, po ogłoszeniu wyroku TSUE premier Donald Tusk podkreślał, że orzeczenie nie narzuca Polsce obowiązku zmiany definicji małżeństwa, a rząd pracuje nad innymi instrumentami prawnymi, w tym nad ustawą o statusie osoby najbliższej.Dr Kida zwrócił uwagę, że wyrok TSUE był przez część środowisk politycznych interpretowany w sposób nadmiernie rozszerzający.Trybunał wcale nie orzekł, że państwa członkowskie mają bezwzględny obowiązek uznawania małżeństw jednopłciowych zawartych za granicą– podkreślił.Jak wyjaśniał, obowiązek transkrypcji aktu małżeństwa pojawia się dopiero wówczas, gdy w krajowym porządku prawnym nie istnieją żadne inne instrumenty, które regulowałyby status prawny takich osób.Gdyby istniała ustawa o statusie osoby najbliższej, żadnej transkrypcji by nie było– dodał.Konstytucjonalista zaznaczył przy tym, że sytuacja w polskim porządku prawnym pozostaje niezmienna.Mamy konstytucję, która jasno definiuje małżeństwo jako związek kobiety i mężczyzny, oraz Kodeks rodzinny i opiekuńczy, który powtarza tę definicję– mówił.„Urzędnik może przekroczyć uprawnienia”Dr Kida ostrzegał, że próba wprowadzenia zmian wyłącznie na poziomie rozporządzenia, bez zmiany ustaw i konstytucji, rodzi poważne konsekwencje prawne.Wyrok TSUE nie jest źródłem prawa i nie zmienia brzmienia konstytucji. Jeżeli urzędnik dokonałby takiej transkrypcji, mógłby przekroczyć swoje uprawnienia– stwierdził.Jak przypomniał, Trybunał Konstytucyjny już w momencie akcesji Polski do Unii Europejskiej wskazywał, że prawo unijne nie może regulować instytucji małżeństwa w sposób sprzeczny z Konstytucją RP.Odnosząc się do argumentów Lewicy i powoływania się na zasadę równości z art. 32 konstytucji, konstytucjonalista uznał je za błędne.Zasada równości nie oznacza, że każdy ma dokładnie to samo. Podmioty takie same traktuje się tak samo, a różne – różnie– tłumaczył.W jego ocenie szczególny status małżeństwa jako związku kobiety i mężczyzny został świadomie wpisany do konstytucji i nie może być traktowany jako przejaw dyskryminacji.Tak jak emeryci mają emerytury, a posłowie immunitet, tak ustrojodawca przewidział szczególną ochronę dla małżeństwa w rozumieniu art. 18 konstytucji– podsumował.

Rahvusvahelisel Money Day'l (säästupäeval) toimus Kogumispäeviku grupiliikmete vestlusõhtu. Laval jagas oma kogemust MTÜ Emale Asutaja ja kahe lapse ema Ann Vool, kes kutsus vestlusõhtul üles rahaasjadest ja suhetest omavahel rääkima.

 Rok 2025 w wymiarze sprawiedliwości – zdaniem konstytucjonalisty dr. Oskara Kidy – kończy się dla rządu bilansem zdecydowanie negatywnym. Pytany w Radiu Wnet o polityczno-prawne podsumowanie pierwszego roku urzędowania ministra Waldemara Żurka, Kida nie pozostawiał wątpliwości: optymizm nie ma tu żadnych podstaw.Absolutnie nie może w dobrym nastroju kończyć tego roku– oceniał. Jak wyliczał, w ostatnich miesiącach doszło do serii spektakularnych porażek: od braku czerwonej noty Interpolu dla Marcina Romanowskiego, przez fiasko europejskich nakazów aresztowania, po decyzje sądów w sprawach dotyczących Zbigniewa Ziobry.To porażka za porażką i nic nie zapowiada, żeby to miało się skończyć– podsumował.Zdaniem Kidy problem ma charakter systemowy, bo działania prokuratury są postrzegane jako polityczne, a nie prawne.Te akty oskarżenia wyglądają jakby były wypisane na kolanie, na siłę– mówił, wskazując, że sądy coraz częściej reagują sceptycznie na wnioski prokuratorów. W jego ocenie rodzi to podejrzenie, że błędy nie są przypadkowe.Zaczyna nabierać kolorów teoria, że te błędy są popełniane po to, by sądy umarzały sprawy– komentował. W rozmowie pojawił się też wątek legalności prokuratury po zmianach personalnych dokonanych przez ministra sprawiedliwości. Kida przypominał, że kolejne orzeczenia – zarówno sądów powszechnych, jak i Sądu Najwyższego – kwestionują umocowanie obecnego kierownictwa.To już drugi spektakularny przykład, gdy przedstawiciele rzekomo prokuratora krajowego nie zostali dopuszczeni do udziału w postępowaniu– mówił. Jak dodał, konsekwencje tych działań mogą być bardzo poważne.Najbardziej korzystają na tym przestępcy, bo sąd będzie musiał nie uznać czynności przeprowadzonych przez nielegalnie umocowanego prokuratora– ocenił.Konstytucjonalista nie widzi też po stronie ministra Żurka spójnej wizji reform.Nie widać żadnego dalekosiężnego planu. To w dużej mierze kontynuacja pomysłów po ministrze Bodnarze – kopiuj-wklej– oceniał. Jego zdaniem kluczowym celem rządu jest wymiana personalna w Krajowej Radzie Sądownictwa i Trybunale Konstytucyjnym, co pozwoli politycznie ogłosić „powrót praworządności”, choć – jak podkreślał – stan prawny realnie się nie zmieni.Duża część rozmowy dotyczyła przyszłości Trybunału Konstytucyjnego. Kida odniósł się do pomysłów omijania prezydenta przy zaprzysiężeniu sędziów.Ślubowanie składa się wobec prezydenta – to nie jest ceremonia, tylko warunek objęcia urzędu– przypominał, wskazując na orzecznictwo TK. Scenariusze składania ślubowań przed notariuszem nazwał wprost „bzdurą”.Zapytany o możliwą próbę przejęcia fotela prezesa TK, Kida przyznał, że takie koncepcje krążą w przestrzeni publicznej, ale ich realizacja byłaby – jego zdaniem – nie do obrony merytorycznie.Dopóki nie zapadnie prawomocny wyrok niezawisłego sądu, prezes może pełnić swoją funkcję– podkreślał.Na koniec rozmowy konstytucjonalista zwrócił uwagę na najbardziej dotkliwy problem dla obywateli: przewlekłość postępowań.Przez dwa lata nie zaproponowano ani jednej ustawy, która realnie przyspieszałaby postępowania sądowe– mówił. Krytykował także oszczędności na pracownikach sądów:„Oszczędza się na ludziach, którzy odpowiadają za sprawność sądów. To nie przyspieszy postępowań – to przyniesie paraliż”./fa

Prokurator sam przyznał się do błędu; wobec tego faktu żadne zaklęcia ministra Żurka nie będą już miały znaczenia - mówi konstytucjonalista.

Stuudios on külas koolipsühholoog, pereterapeut ja kolme lapse ema Karmen Maikalu. Arutame, miks rahateemad koolis ja peres pingeid tekitavad, kuidas selgitada lapsele rahapuudust ilma ärevust tekitamata ning miks raha ei tohiks olla armastuse ega süütunde kompensatsioon.Kui tunned, et vajad lapsega seotud muredes professionaalset tuge, siis tasub teada: tasuta koolipsühholoogide nõuandeliin tel 1226.Rahaasjade Teabekeskuse taskuraha uuring, millele taskuhäälingus viidati: https://blog.swedbank.ee/rahaasjade-teabekeskus/uuring-kui-palju-ja-mille-jaoks-saavad-lapsed-taskuraha Saatejuht: Grete Koho

Specjalista prawa konstytucyjnego dr Oskar Kida zauważa paradoksalne, sprzeczne reakcje przedstawicieli obozu rządowego na decyzję prezydenta Karola Nawrockiego o odmowie powołania 46 sędziów.

Jakich doczekaliśmy czasów, to jest straszne - mówi dr Oskar Kida, komentując możliwe skutki złożenia niekonstytucyjnej ustawy budżetowej. W grę wchodzi nawet skrócenie kadencji Sejmu.

Uchylanie wyroków z powodu tzw. neosędziów, jeżeli będzie występować częściej, doprowadzi w Polsce do kompletnej bezkarności przestępców - przestrzega konstytucjonalista. 

Tartus Eesti Kirjandusmuuseumis koguneb kord kuus mälestuste ja elulugude lugemisrühm, mida veavad kirjandusteadlased Tiina Ann Kirss ja Maarja Hollo.

Minister sprawiedliwości przedstawił projekt ustawy mający "uregulować" status tzw. neosędziów. Komentarz konstytucjonalisty. 

W "Prawodajni" dr Oskar Kida obala strategię MS PG Waldemara Żurka walki z tzw. neosędziami za pomocą orzeczenia Trybunału Sprawiedliwości sprzed ponad 40 lat.

Jeżeli zobaczymy sobie na zakres działania tej komisji, ta komisja ma wprost wpisaną kontrolę legalności tych czynności, a to oznacza, że zgodnie z tą uchwałą ma ona m.in. Weryfikować to, czy sądy orzekając, wydając zgodę na wykorzystanie Pegasusa, działały legalnie, czy były w pełni świadome, zasadność tych orzeczeń. To jest absolutne naruszenie trójpodziału władzy, ponieważ komisja śledcza na mocy samej konstytucji to jest narzędzie z Sejmu do kontroli nad władzą wykonawczą mówi dr Oskar Kida w rozmowie z Magdaleną Uchaniuk. Jak zaznacza, powyższe zastrzeżenia to tylko nieliczne aspekty działania "komisji ds. Pegasusa", które mogą budzić bardzo poważne wątpliwości natury formalno-prawnej. 

Kogumispäeviku podcast'is on külas rahatarkuse edendaja, koolitaja ja Pre-rich klubi eestvedaja Ilona Tint. Ilona jagab ausalt oma kogemust läbipõlemisest, räägib väikeste sammude jõust ja sellest, kuidas ta jõudis eesmärgini investeerida igas kuus 8000 eurot. Lisaks Saatejuht: Grete Koho

220: In dieser Podcastfolge sprechen Vanessa, Kida und ich über selbstschädigendes und selbstverletzendes Verhalten – was es bedeutet, welche Arten von Selbstverletzung es gibt und ab wann ein Verhalten problematisch wird.

TSUE przekroczył swoje kompetencje. Ten wyrok nie odbiera statusu sędziom, to absurd – mówi dr Oskar Kida. Dodaje, że pomysły ministra Żurka są antypolskie i antypaństwowe.W czwartek Trybunał Sprawiedliwości Unii Europejskiej orzekł, że polski sąd krajowy nie może pominąć faktu, iż Trybunał odmówił Izbie Kontroli Nadzwyczajnej i Spraw Publicznych polskiego Sądu Najwyższego statusu sądu, ponieważ izba ta nie spełnia ustanowionych w prawie Unii wymogów dotyczących niezawisłości, bezstronności i uprzedniego ustanowienia na mocy ustawy. Trybunał Sprawiedliwości Unii Europejskiej wydał wyrok, który – zdaniem ministra sprawiedliwości Adama Żurka – daje sędziom prawo do kwestionowania statusu swoich kolegów w Sądzie Najwyższym.To bzdura i przekłamanie– ocenia konstytucjonalista dr Oskar Kida.TSUE orzekając o ustroju wymiaru sprawiedliwości w Polsce przekroczył swoje kompetencje. To wyrok ultra vires, czyli poza zakresem uprawnień. Polska konstytucja jasno wskazuje, że status sędziego nie może być podważany– podkreśla.Chodzi o skład a nie IzbęJak zaznacza, TSUE wcale nie odebrał statusu całej Izbie Kontroli Nadzwyczajnej i Spraw Publicznych, lecz odnosił się do jednego konkretnego składu orzekającego, w wyjątkowej sprawie dotyczącej prawa Unii.To nie jest delegalizacja sędziów, a twierdzenia, że prezydent Karol Nawrocki nie jest prezydentem, są kompletnym absurdem– mówi Kida.Jego zdaniem część sędziów „aktywistów” użyje wyroku TSUE jako oręża politycznego.To oni wprowadzają chaos, a nie sam Trybunał. TSUE daje opcję, ale nigdy nie stwierdził, że wszyscy sędziowie powołani po 2018 r. nie są sędziami– zaznacza.Ignorować, to nie są kompetencje TSUEKida ostro krytykuje plany ministra Żurka: „Próba wygaszenia Izby Kontroli czy odtworzenia KRS uchwałą Sejmu to pomysły antypolskie i antypaństwowe. Na szczęście w samej koalicji nie ma do tego większości”Na pytanie, jak Polska powinna traktować takie wyroki, odpowiada krótko:Powinniśmy je ignorować. TSUE nie może ingerować w ustrój sądownictwa w Polsce. Sędziowie mają konstytucyjny zakaz podważania statusu innych sędziów– pokreśla.

Vestlussaates "Vaba sõna" räägivad EKRE poliitikud, Riigikogu liikmed Anti ja Evelin Poolamets seekord sellest, kuidas Joller ja tema abilised tervise - ja inimõiguste teemalist konverentsi ründavad, EKRE valimisprogrammist ja loosungist ning valitsuskoalitsiooni rapsimistes maksudega loetud päevad enne valimisi.

214: Was tun, wenn man in einer Beziehung lebt, aber aktuell keine Lust auf Sexualität verspürt? Besonders dann, wenn sexualisierte Gewalt in der eigenen Biografie eine Rolle spielt? In dieser Folge sprechen Mai und Familie Atalanta über eine Hörerinnenfrage, die genau dieses Spannungsfeld beschreibt: Was passiert in mir, wenn mein Partner überlegt, zu einer Prostituierten zu gehen – während ich selbst gerade beginne, meinen eigenen Missbrauch aufzuarbeiten?

Konstytucjonalista dr Oskar Kida uważa, że zarzuty polityków koalicji wobec Ruchu Obrony Granic wynikają najczęściej z ingnorancji prawnej. Sam prawnik czynnie wspiera ROG.

Pierwsza Prezes Sądu Najwyższego prof. Małgorzata Manowska odmówiła delegacji z Prokuratury Generalnej udostępnienia akt dotyczących rozpoznawanych przez SN protestów wyborczych. 

Minister Bodnar opowiada bzdury, sugerując, że marszałek Hołownia ma prawo nie odebrać przysięgi od Karola Nawrockiego - mówi konstytucjonalista. 

This week @adafruit we're looking at full color 3D printed figurines using AI generated tools. Prototyping a Raspberry Pi Camera project inspired by the Piranha plant from SMB. Quick look at our motorized camera slider project. A few makes from the community this week. Our timelapse video features a musical fidget by Kida. Raspberry Pi 5 2GB https://www.adafruit.com/product/6007 Pimoroni HyperPixel Touch Screen https://www.adafruit.com/product/3578 Pi Camera Module 3 https://www.adafruit.com/product/5657 TMC2209 Driver https://www.adafruit.com/product/6121 KBRP2040 Board https://www.adafruit.com/product/5302 Timelapse Tuesday Mario Musical Fidget By kida https://makerworld.com/en/models/1134416-musical-fidget-video-game-edition https://youtu.be/TS5nlbLLKAE Community Makes https://www.printables.com/make/2561808?comment_id=2561808 https://www.printables.com/model/1268182-severance-inspired-wyoming-satellite-ai-assistant

This week @adafruit we're looking at full color 3D printed figurines using AI generated tools. Prototyping a Raspberry Pi Camera project inspired by the Piranha plant from SMB. Quick look at our motorized camera slider project. A few makes from the community this week. Our timelapse video features a musical fidget by Kida. Raspberry Pi 5 2GB https://www.adafruit.com/product/6007 Pimoroni HyperPixel Touch Screen https://www.adafruit.com/product/3578 Pi Camera Module 3 https://www.adafruit.com/product/5657 TMC2209 Driver https://www.adafruit.com/product/6121 KBRP2040 Board https://www.adafruit.com/product/5302 Timelapse Tuesday Mario Musical Fidget By kida https://makerworld.com/en/models/1134416-musical-fidget-video-game-edition https://youtu.be/TS5nlbLLKAE Community Makes https://www.printables.com/make/2561808?comment_id=2561808 https://www.printables.com/model/1268182-severance-inspired-wyoming-satellite-ai-assistant

Konstytucjonalista zgadza się, że intencją TSUE i ETPCz było napiętnowanie "neosędziów", wskazuje jednak, że z punktu widzenia prawa trybunały nigdy nie zakwestionowały ich statusu.

Sprawa okoliczności śmierci Barbary Skrzypek jest absolutnie skandaliczna w sensie prawnym. Prokurator Ewa Wrzosek  nie powinna być dopuszczona do przesłuchania p. Barbary - mówi konstytucjonalista.

The Keystone Indoor Drill Association (KIDA) is one of the oldest organizations of its kind in the country, serving the region since its inception in 1981. The organization sponsors competitive events for Indoor Color Guard, Percussion, Dance, and Winds. “Back in the day, we used to also have a competition with majorettes and drill teams. We don't have any of those anymore, but we're, you know. very, very strong with our members for Color Guard and Indoor Drumline, “said Matt Carraher, President of KIDA. There are similarities and differences between marching bands and indoor drills that includes percussion and ensembles. “So, the easiest way to say it is if you take a marching band and you take away everything except the drums and then mix it together with Cirque du Soleil and then put it in a gym, that's what indoor drumline is. So, it's not just playing the drums or drumline the movie from 20 years ago. It's not just that. We call it pageantry because it's there's choreography, there's dancers, there's props, there's crazy costuming, there's big sound systems, there's lighting, there's all kinds of things that go into it.” KIDA has over 100 participating schools and independent organizations from Pennsylvania, Maryland, Virginia, and West Virginia. “You know, our big goal and... as an organization is just to make sure that we're fostering the environment of growth for these students and creating a great experience for them. And that's really our goal is we want our events to be a great experience for these students to have a performance outlet and have something that they really look forward to, the audience really looks forward to, and they can do some really cool things.” Listen to the podcast to hear the entire conversation. Support WITF: https://www.witf.org/support/give-now/See omnystudio.com/listener for privacy information.

Morgan aka CosbunnyCosplay joins me to talk all about Cosplay and the fandoms that she represents through her work. We start off by exploring how and why Morgan got interested in Cosplay. Morgan takes us through her beginnings with her first character she cosplayed as, to the skills she had at the time. As she gets more interested and involved with cosplay, Morgan shares the different skills and abilities she picks up and learns about. Everything from sewing and armor, to prop making, and magnets. We talk about what drives her decision to cosplay certain characters, and do deeper dives on characters like Kida from Atlantis: The Lost Empire, Appa from Avatar: The Last Airbender, and one of her signature characters she's known for, Queen Akasha from Queen of the Damned. Rounding things out, Morgan gives some good advice on how to get started in Cosplay, and talks about being a member of the Cosplay Dropouts - a POC NorCal cosplay collective. You can find Morgan at: https://www.instagram.com/cosbunnycosplay/ https://beacons.ai/cosbunnycosplay https://www.tiktok.com/@cosbunnycosplay https://www.youtube.com/@Cosbunnycosplay You can find the Cosplay Dropouts at: https://www.instagram.com/cosplaydropouts/

Sloboda, strpljenje, mera, ali i povremeno jedno popodne za mamu, da razloži sve obaveze, planove i aktivnosti, možda su dobar recept za uspešno roditeljstvo, priča Ana Radonjić, naša poznata pevačica i tekstopisac, poznatija kao Zode Kida, koja inspiraciju i snagu, kako kaže, već godinama pronalazi u svojim ćerkicama Istri i Lavi. Roditeljstvo uglavnom dođe nenajavljeno, onda kad nismo spremni, a čini nam se da nikad nije baš pravo vreme. Međutim, ima izuzetaka. Gošća nove Mamazjanije upravo govori o tome, da je postala majka u periodu kada je to zaista i želela. „Jesam rodila decu malo kasnije, ali čini mi se, da se to dogodilo ranije, ne bi bilo isto. Ne bih umela da uživam u njima, u svakom trenutku, da cenim to što imamo, da se majčinstvo nije dogodilo baš u to vreme. Ono mi je dalo neverovatnu snagu, a u vreme korone, kad se Lava rodila i kad smo bili zatvoreni, shvatila sam koliko mi daju i inspiracije za rad“, sa osmehom priča Zoe. Kreativno vreme sa decom, uz crtanje, pevanje, pa čak i snimanje spotova, u ovom slučaju, dragoceno je, jer brzo prođe. „Najviše volim da ih cmačem i grlim, to radim po ceo dan, sad dok su još male. Čitala sam negde koliko zagrljaj znači deci, a u našoj kući to je normalno. Trudimo se da budemo zajedno što više, jer mislim da je vreme sa mamom i tatom, nešto što će u budućnosti najviše nedostajati deci, ono da samo budu zajedno, bez ikakvih telefona, televizije i ostalog“, kaže naša gošća. Priznaje da često vidi sebe u svojoj deci, ali i da današnjim generacijama nedostaje jednostavnost, skromnost, a pre svega dosada. „One su energične, vole da su napolju, da se svuda pentraju i dajemo im tu slobodu. Ipak, generalno deci danas dosta toga nedostaje, nekih stvari koje su nama bile uobičajene. Treba malo da im bude dosadno, jer iz dosade se rađa kreativnost, a njima igrice, igraonice, samo izazivaju agresiju. Toga im nije nikad dosta, a ne zadovoljava ih i uništava maštu“, objašnjava Zoe. Svoje ćerkice uči da budu samostalne, da se snalaze i kad mama i tata nisu tu, a istovremeno ih obasipa ljubavlju i pažnjom. „Umem da budem stroga, ali to je samo zato što smatram da su deci potrebni zdravi okviri. Na nama je da ih postavljamo, na neki način ograničavamo, a kako rastu, probijaju te granice. Mi ćemo im onda biti malo dosadni u nekom periodu, neće dozvoljavati ni da ih toliko cmačem“, nasmejano priča Zoe. Da bi mame danas ostale normalne, da ne pregore, neophodno je da sa nekim dele poslove u kući i oko dece. Zoe i njen suprug su pravi primer. „Kad imam uveče snimanja, obaveze oko posla, on im daje večeru ili ih ujutru vodi u školu, vrtić, što mi mnogo znači. Skidam kapu svim samohranim mamama i tatama, jer to je jako teško sve izvesti sam, a njima ipak nekako uspeva“, naglašava Zoe.

Our guest is ⁠Mira Kida, a Chicago-based recruiter and design collaborator. In this episode, Mira speaks with host ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Christian Solorzano⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ about her background growing up in her family's art supplies business — and how that led to an appreciation for creativity/design. Today, she's a recruiter and shares advice on how designers can craft a compelling story and portfolio that can get them to do work that aligns with their values and vision. We discuss the state of the design industry and the importance of adapting to a changing world with resiliency, discipline, and authenticity. Music by the band ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Eighties Slang⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

01 L'Algérino x Soolking - Romeo 02 Lynda - Passe ton chemin 03 Guy2Bezbar - Monaco 04 Keblack x Franglish - Boucan 05 Jungeli - Petit génie 06 Gims x Dystinct- Spider 07 Dafina Zeqiri & DYSTINCT - Dumlla Dumlla 08 Carbone - Imagine 09 Sevdazila - Alibi (with Pabllo Vittar & Yseult) 10 TiiwTiiw - Paranoia (ft Mister You) 11 Hbib Himoun - Daga Daga 12 Kore x RimK x Cheb Abbes - Ana Wana 13 Aymane Serhani x Mourad Majjoud - Zahwani 14 Theodort - Wayeh 12A 15 FloyyMenor x Cris MJ - Gata Only 16 ElGrandeToto x Hamza - Dellali 17 Tawsen & Ayoub Anbaoui - Dawini 18 TiiwTiiw - Yana 19 Boza x Elena Rose - Orion 20 Kida x Oualid - Habibi 21 Oualid x Norel - Di Mochkila 22 Boubekeur - Adefak laqraya 23 Mohamed Allaoua - A Tteddu 24 Nouaman Belaiachi - Bla Bla 25 Karima Gouit - Ihwawin 26 Cheb Bello - Sayi bala3na lbab 27 Dj Moulay x Cheba Warda - Fi Koulchi Talbouni 28 Cheb Djawed - Wahran vibes

Contributor: Ricky Dhaliwal, MD Educational Pearls: Takotsubo cardiomyopathy, also known as "broken heart syndrome,” is a temporary heart condition that can mimic the symptoms of a heart attack, including troponin elevations and mimic STEMI on ECG. The exact cause is not fully understood, but it is often triggered by severe emotional or physical stress. The stress can lead to a surge of catecholamines which affects the heart (multivessel spasm/paralysed myocardium). The name "Takotsubo" comes from the Japanese term for a type of octopus trap, as the left ventricle takes on a distinctive shape resembling this trap during systole. The LV is dilated and part of the wall becomes akenetic. These changes can be seen on ultrasound. The population most at risk for Takotsubo are post-menopausal women. Coronary angiography is one of the only ways to differentiate Takotsubo from other acute coronary syndromes. Most people with Takotsubo cardiomyopathy recover fully. References Amin, H. Z., Amin, L. Z., & Pradipta, A. (2020). Takotsubo Cardiomyopathy: A Brief Review. Journal of medicine and life, 13(1), 3–7. https://doi.org/10.25122/jml-2018-0067 Bossone, E., Savarese, G., Ferrara, F., Citro, R., Mosca, S., Musella, F., Limongelli, G., Manfredini, R., Cittadini, A., & Perrone Filardi, P. (2013). Takotsubo cardiomyopathy: overview. Heart failure clinics, 9(2), 249–x. https://doi.org/10.1016/j.hfc.2012.12.015 Dawson D. K. (2018). Acute stress-induced (takotsubo) cardiomyopathy. Heart (British Cardiac Society), 104(2), 96–102. https://doi.org/10.1136/heartjnl-2017-311579 Kida, K., Akashi, Y. J., Fazio, G., & Novo, S. (2010). Takotsubo cardiomyopathy. Current pharmaceutical design, 16(26), 2910–2917. https://doi.org/10.2174/138161210793176509 Summarized by Jeffrey Olson MS2 | Edited by Jorge Chalit, OMSII

Kida ist Schauspieler und Regisseur. Als 2017 die Serie “4 Blocks” rauskam, bekam Kida in seiner Rolle als Clan-Chef Toni Hamady einen totalen Karriereboost. Bis dahin stand er schon lange vor der Kamera und war ein beliebter Schauspieler, aber die Rolle als Toni eröffnete ihm ganz neue Welten. Vor einem guten halben Jahr zog Kida sich aus der Öffentlichkeit zurück, um sich innerer Arbeit und einer Therapie zu widmen – weil er, wie er sagte, nicht mehr der Mensch sei, der er sein möchte. Gerüchte um Ausraster am Set kursierten und auch Kida sprach öffentlich darüber, dass er sich nicht immer im Griff gehabt habe. Ich habe mit ihm sein erstes Interview seit dieser Auszeit geführt und wollte von ihm wissen, welche Erkenntnisse er in den letzten Monaten erlangt hat, was genau ihn zu der Auszeit bewegt hat und wie es ihm gerade geht. Wir haben über Narzissmus und Größenwahn gesprochen, über Menschlichkeit, Erfolg und die psychologischen Auswirkungen von zu viel Erfolg. Es geht um Kidas Kindheit, wir sprechen über sein Leben vor und nach „Toni Hamady“, über die Therapie und über seine Pläne für die Zukunft. Es ist ein außergewöhnliches Gespräch und ich habe viel darüber erfahren, warum Kida so besonders tickt, wie er tickt. WERBEPARTNER & RABATTE: https://linktr.ee/hotelmatze MEIN GAST: https://www.instagram.com/khodrkida/ DINGE: Buch: “Power, Die 48 Gesetze der Macht” - https://thalia.de/shop/home/artikeldetails/A1026981250 Buch: "Zusammen sind wir Könige." - https://thalia.de/shop/home/artikeldetails/A1050530152 4 Blocks (Trailer): https://youtube.com/watch?v=OUP-Ino8oGc Asbest: https://ardmediathek.de/serie/asbest/staffel-1/Y3JpZDovL2Rhc2Vyc3RlLmRlL2FzYmVzdA/1 Doku von Beirut nach Berlin: https://ardmediathek.de/sendung/kida-von-beirut-nach-berlin/Y3JpZDovL3N3ci5kZS9zZGIvc3RJZC8xNTI1 Neue Serie Testo: https://daserste.de/unterhaltung/serie/testo/videos/staffel-01/trailer-testo-100.html MITARBEIT: Redaktion: Lena Rocholl Mix & Schnitt: Maximilian Frisch MEIN ZEUG: Mein neues Buch: https://bit.ly/3cDyQ18 Die Hotel Matze Suite bei Apple: https://apple.co/3DTfsFb Die Hotel Matze Suite bei Spotify: https://bit.ly/3J7OLjJ Wunschgäste bitte in die Kommentare: https://apple.co/2RgJVH6 Mein Newsletter: https://matzehielscher.substack.com/ TikTok: https://tiktok.com/@matzehielscher Instagram: https://instagram.com/matzehielscher LinkedIn: https://linkedin.com/in/matzehielscher/ YouTube: https://bit.ly/2MXRILN Twitter: https://twitter.com/hotelmatze1 Mein erstes Buch: https://bit.ly/39FtHQy Mein Fragenset: https://beherzt.net/matze

Kida speak with Santa's favorite 5th cousin...GarrantaSee omnystudio.com/listener for privacy information.

After the Disney 100 miniseries, it's time to get back on the path of the Wilderness Years as film journalist Ben Travis and animation academic Sam Summers plunge into the mysterious depths of 2001's Atlantis: The Lost Empire. And this time, they're joined by very special guest Irenosen Okojie – author, and founder of the Black To The Future festival – to get to grips with an all-out science-fiction action-adventure movie, the first of its kind in the Walt Disney Animation Studios catalogue. Together, our intrepid trio talk the Greek origins of the Atlantis myths, the instant appeal of Michael J. Fox, the impact of comic book artist Mike Mignola, and whether or not Kida is a Disney Princess. Expect lots of Indiana Jones references, discussions of the film's colonial themes, and heartbreak over the betrayal of Mole. Et tu, Mole? Next up: Lilo & Stitch. Finally! Disniversity is brought to you by Ben Travis (@benstravis) and Sam Summers (@samsummers0), with art by Olly Gibbs and music by Nafets. Follow us on Twitter and Instagram at @disniversity. This podcast is not affiliated with Disney. — Welcome to Disniversity, the podcast crash course through the history of Disney's animated classics, with film journalist Ben Travis and animation academic Dr. Sam Summers. Each week, we'll be moving forward in time through the legendary Walt Disney Animation Studios catalogue, watching every feature film in chronological order – from Snow White to Strange World. Watch along with us, and listen as we explore each film's historical context, advances in animation and lasting legacy, and talk about how they stand up today.

How old is too young for a phone? Is gaming harmful to our kids? How much technology is too much. We talk with Dr. Jay Berk, a licensed psychologist and an expert in working with children and families. He is the author of two books: “A Parent's Quick Guide to Electronic Addiction” and “Codeswitching: Social Skills in the Screen-Age”.In this episode, we cover:Parents from time immemorial have worried about the impact of the “new technology” and this goes back to our great great great grandparents worrying about the influence of novels to parents of the 50's worry about too much time on the phone, to parents of the 80s worrying about too much TV, and on to the present where we worry about screen time, texting, and gaming. We parents are digital “immigrants” while our kids are digital natives. How does this dynamic present challenges?How to keep up with what our kids are doing?What are the general best practices for elementary aged kids using digital technology?What age should kids be given a phone?What are reasonable rules for phone use?      How do things change as our kids each around age 11 or 12 and on into their teen yearsHow important is the use of digital media to socialize for this generation?When should parents worry?Is the child getting enough sleep?Are they eating well?Are they getting enough exercise?Are they doing well in school?Do they have real life friends?If so, they are probably just fine.What are the signs that our kids may be too involved with digital technology or gamingHow much screen time is too much for tweens? For teens?Do different types of technology have different risks and benefits? Internet? Gaming? Porn?What are some reasonable rules for families to set in regards to technology, screen time, and gaming?  How to get buy-in from our tweens and teens?App-tell kidA challenge particular to families adopting or fostering older children or teens is that often our kids come to us with having had little supervision or rules about internet use? How can we establish healthy habits when the rules are new to them?Resources: A Parent's Quick Guide to Electronic Addiction by Dr. Jay BerkCenter for Parent and Teen Communication: A Fact-Not-Fear Approach to Parenting In the Digital Age https://www.youtube.com/watch?v=-aNtRhYfA3kCreating a Family's Navigating the Internet with Adopted or Foster Tweens and Teens https://creatingafamily.org/adoption-category/adoption-blog/navigating-the-internet-with-adopted-or-foster-tweens-and-teens/This podcast is produced by www.CreatingaFamily.org. We are a national non-profit with the mission to strengthen and inspire adoptive, foster & kinship parents and the professionals who support them. Support the showPlease leave us a rating or review RateThisPodcast.com/creatingafamily

Musa Kida's leadership has been marred by his failure to acknowledge and rectify past mistakes in handling players' salaries. Instead of addressing the issue, Kida has taken a punitive approach by punishing the women's national team players for speaking out about their unpaid wages via social media. Nigerian basketball, once a beacon of hope in Africa, has suffered a downward spiral due to poor leadership decisions and administrative conflicts. The current President of the Nigerian Basketball Federation (NBBF), Musa Kida, has not only failed to address the past mistakes but has also refused to listen to the voices of the players, further contributing to the decline of the sport. Nigerian basketball has been on a rollercoaster ride in recent years, with both successes and failures. The women's national team, D'Tigress, has been a shining light, winning three straight African Championships and maintaining an undefeated streak since 2015. Despite these achievements, the players have faced a daunting challenge in receiving their rightful salaries from the past.Please Like and Subscribe to support the channel.#NaijaBallers  #NBBFRevival #NigerianBasketball #DunkNationNG#NaijaHoops #BallerAlertNG #NBBFChampions #NigeriaBasketball#NBBFGrassroots #RiseOfNaijaHoops #NBBFTalentSpotlight #NaijaBallin#NBBFFutureStars #NaijaBasketballFamily #NBBFGrowthPlan#NBBFStrongerTogether #NaijaBasketballHeroes#NBBFWomenInSports #NBBFAthleteDevelopment#NaijaBasketballJourney#ShareTheLove #LikeAndSubscribe#SupportCreators #SubscribeNow #SpreadTheWord#ShowSomeLove #HitTheSubscribeButtonThanks For Listening and Follow us on Facebook, Youtube and Twitterhttps://www.youtube.com/channel/UCZ6htWo_bRim0tbQl-A5ckwhttps://www.facebook.com/RealTalkwithKingsleyhttps://twitter.com/KOgwudire

In addition to addressing immediate concerns, the NBBF needs to resolve the ongoing factional crisis and establish a clear leadership structure. The federation should promote transparency and accountability within its ranks, allowing for fair and democratic decision-making processes. This will ensure that the interests of Nigerian basketball as a whole are prioritized over personal agendas and power struggles.Moreover, the NBBF should invest in the development of grassroots basketball and the improvement of infrastructure across the country. The talent pool in Nigeria is vast, but without adequate resources and support, many promising players may go unnoticed or underdeveloped. By investing in training facilities, coaching programs, and talent identification initiatives, the NBBF can nurture young players and provide them with opportunities to excel at the national and international levels.First and foremost, please make sure to hit that subscribe button. By subscribing, you'll never miss an episode, and you'll be notified as soon as new content is released. It's a simple action that goes a long way in supporting our podcast.In addition to subscribing, we would truly appreciate it if you could take a moment to leave us a review or rating on the podcast. Your feedback helps us improve and gives others an idea of what to expect when they discover "Real Talk with Kingsley Ogwudire." We value your opinions and are grateful for any constructive feedback you can provide.Lastly, don't forget to share our podcast with your friends, family, and colleagues who you believe would benefit from our conversations. Word of mouth is a powerful tool, and your recommendations can help us reach a wider audience and touch more lives.We are deeply grateful for your support and engagement with "Real Talk with Kingsley Ogwudire." Together, we can continue to foster meaningful discussions, share diverse perspectives, and make a positive impact in our communities.Thank you once again for being a part of our journey. Stay tuned for more thought-provoking episodes, incredible guests, and engaging conversations. Remember, it's "Real Talk" time!#NaijaBallers#NigerianBasketball#NaijaHoops#NBBFChampions#NigeriaBasketball#RiseOfNaijaHoops#NaijaBasketballFamily#NBBFGrowthPlan#NBBFStrongerTogether#NaijaBasketballHeroes#NBBFWomenInSports#ShareTheLove#LikeAndSubscribe#SupportCreators#SubscribeNow#SpreadTheWord#ShowSomeLove#HitTheSubscribeButtonThanks For Listening and Follow us on Facebook, Youtube and Twitterhttps://www.youtube.com/channel/UCZ6htWo_bRim0tbQl-A5ckwhttps://www.facebook.com/RealTalkwithKingsleyhttps://twitter.com/KOgwudire

Nipple Face, The Lawnchair Pose, and Kida from Atlantis.Dat Ass!  Okay, now that I got that out of the way… Sarah talks all about her Honduran heritage, being a marine, and what she did all day instead of attending seminars at XBIZ Miami (here's a hint, it rhymes with shuckin').  She also becomes the 1st guest to twerk on the show and the whole episode ends with Casting Couch Mad Libs!Support Sarah Lace!iamsarahlace.comSupport Sexie Show!Your rank in the Marine Corps won't be affected.patreon.com/sexieshowCashApp: $SexieShow

So, is it soda? Or is it pop? The great debate over carbonated beverages has come and we need to know what you think! We also talk therapy, reorganizing our spaces, throwing out our backs (not by doing anything fun) and so much more. Come hang out with us!

The Israeli government is probably falling apart. Ghaida Zoabi of the Meretz party dropped out of the coalition which tipped the scales leaving 59 MKs in the coalition and 61 in the opposition.  The Likud party plans to bring a bill to dissolve the Knesset to a vote on Wednesday. Israel is increasing its offshore natural-gas output as part of an effort to reach a deal with Europe in order to supply it with alternatives to Russian energy. PM Bennett visited the family of a fallen counterterrorism officer in the town of Kida in Binyamin.

ATLANTIS: THE LOST EMPIRE (2001) - This week we discuss another cult Disney film all about the lost city of Atlantis. And while we have a great time talking about the animation, soundscape, and production of this film - the real excitement comes when we start discussing a possible Live Action remake. We want it, and we want it now!