Podcasts about Klingon

Deep Space Nine goes where no crossover had gone before: directly into “The Trouble with Tribbles.” We revisit “Trials and Tribble-ations,” featuring Kirk hero worship, Dax flirting across time, Bashir nearly becoming his own grandfather, and Worf absolutely refusing to explain Klingon foreheads. ▶Call us at: 323-389-7223 ▶Check out the crew's bonus shows at http://suboptimalpods.com. ▶Subscribe to the audio podcast wherever you get your favorite podcasts: https://omny.fm/shows/startertrek ▶See omnystudio.com/listener for privacy information. ▶A Fine Alpinist Ranch Production - http://www.finealpinistranch.com ✔ SOCIAL MEDIA ✔ ▶Twitter - https://x.com/yoisthisracist ▶Instagram - https://www.instagram.com/yoisthisracist/Suboptimal Premium Pods! : https://suboptimalpods.com/See omnystudio.com/listener for privacy information.

As iOS updates roll out new icons and smarter Siri voices, today's students are relying on apps that make studying more interactive, collaborative, and personal than ever! See how a fresh lineup of iOS and iPadOS apps could completely reshape your back-to-school routine. Structured: Visual daily planner with focus and accessibility features GoodNotes vs. Notability: Digital note-taking and annotation Quizlet: Study aid, flashcard maker, and AI-powered practice tests Otter: Group project meetings and lecture transcription made easy Essayist: Academic writing and streamlined reference management Duolingo: Gamified language learning for students (and Klingon fans) Notes and organization skills as keys to academic success News: iOS 27 updates, Siri voices, search improvements, better battery life App Caps: Moonlitt and Sunlitt for moon and sun tracking, CGP Grey video picks Hosts: Mikah Sargent and Rosemary Orchard Contact iOS Today at iOSToday@twit.tv. Download or subscribe to iOS Today at https://twit.tv/shows/ios-today Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free audio and video feeds, a members-only Discord, and exclusive content. Join today: https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord.

As iOS updates roll out new icons and smarter Siri voices, today's students are relying on apps that make studying more interactive, collaborative, and personal than ever! See how a fresh lineup of iOS and iPadOS apps could completely reshape your back-to-school routine. Structured: Visual daily planner with focus and accessibility features GoodNotes vs. Notability: Digital note-taking and annotation Quizlet: Study aid, flashcard maker, and AI-powered practice tests Otter: Group project meetings and lecture transcription made easy Essayist: Academic writing and streamlined reference management Duolingo: Gamified language learning for students (and Klingon fans) Notes and organization skills as keys to academic success News: iOS 27 updates, Siri voices, search improvements, better battery life App Caps: Moonlitt and Sunlitt for moon and sun tracking, CGP Grey video picks Hosts: Mikah Sargent and Rosemary Orchard Contact iOS Today at iOSToday@twit.tv. Download or subscribe to iOS Today at https://twit.tv/shows/ios-today Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free audio and video feeds, a members-only Discord, and exclusive content. Join today: https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord.

As iOS updates roll out new icons and smarter Siri voices, today's students are relying on apps that make studying more interactive, collaborative, and personal than ever! See how a fresh lineup of iOS and iPadOS apps could completely reshape your back-to-school routine. Structured: Visual daily planner with focus and accessibility features GoodNotes vs. Notability: Digital note-taking and annotation Quizlet: Study aid, flashcard maker, and AI-powered practice tests Otter: Group project meetings and lecture transcription made easy Essayist: Academic writing and streamlined reference management Duolingo: Gamified language learning for students (and Klingon fans) Notes and organization skills as keys to academic success News: iOS 27 updates, Siri voices, search improvements, better battery life App Caps: Moonlitt and Sunlitt for moon and sun tracking, CGP Grey video picks Hosts: Mikah Sargent and Rosemary Orchard Contact iOS Today at iOSToday@twit.tv. Download or subscribe to iOS Today at https://twit.tv/shows/ios-today Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free audio and video feeds, a members-only Discord, and exclusive content. Join today: https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord.

As iOS updates roll out new icons and smarter Siri voices, today's students are relying on apps that make studying more interactive, collaborative, and personal than ever! See how a fresh lineup of iOS and iPadOS apps could completely reshape your back-to-school routine. Structured: Visual daily planner with focus and accessibility features GoodNotes vs. Notability: Digital note-taking and annotation Quizlet: Study aid, flashcard maker, and AI-powered practice tests Otter: Group project meetings and lecture transcription made easy Essayist: Academic writing and streamlined reference management Duolingo: Gamified language learning for students (and Klingon fans) Notes and organization skills as keys to academic success News: iOS 27 updates, Siri voices, search improvements, better battery life App Caps: Moonlitt and Sunlitt for moon and sun tracking, CGP Grey video picks Hosts: Mikah Sargent and Rosemary Orchard Contact iOS Today at iOSToday@twit.tv. Download or subscribe to iOS Today at https://twit.tv/shows/ios-today Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free audio and video feeds, a members-only Discord, and exclusive content. Join today: https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord.

For this week's Star Trek journey we've got a pair of episodes absolutely chock full of cardboard swords and ridiculous alien misunderstandings in the Klingon-heavy donnybrook Day of the Dove, and the generation ship disaster For the World Is Hollow and I Have Touched the Sky!CHAPTERS:(00:00:00) - The Nextlander Watchcast Episode 188: Star Trek: Day of the Dove and For the World Is Hollow and I Have Touched the Sky(00:00:21) - Intro.(00:06:31) - Kicking things off with Day of the Dove.(00:13:27) - Who made and starred in this episode.(00:20:29) - The Klingons crash the away party, and we discuss the nature of this alien.(00:31:25) - Chekov's sudden revenge boner, and a Klingon donnybrook breaks out.(00:36:27) - Feeding the hate to feed on the hate.(00:46:50) - Convincing the Klingons.(00:50:00) - Transporting into engineering and wrapping this one up as quick as we can.(00:58:28) - Break!(00:58:46) - We're back, and it's time for an episode with a very long title.(01:02:20) - Who made this, and who was in this.(01:06:49) - Getting into the episode proper, and not believing Bones is actually going to die.(01:12:30) - The people, and their phenomenally stupid outfits.(01:20:15) - Bones gets to be the loverboy for once.(01:27:48) - Giving everyone headaches and then solving a big adventure game puzzle.(01:40:50) - Final thoughts.(01:44:21) - Housekeeping for next week, and outro.

In episode 502 of The Reformed Brotherhood, Tony and Jesse begin what promises to be a multi-part deep dive into the Parable of the Good Samaritan — one of the most culturally embedded and theologically rich stories Jesus ever told. But before a single character hits the Jericho road, the hosts ground listeners in something easily overlooked: the charged context in which this parable is told. A lawyer — trained, confident, adversarial — steps forward not to learn but to test. What follows is a masterclass in how Jesus turns the law back on those who wield it as a weapon. This episode covers Luke 10:21–36, explores the covenant of works and covenant of grace, the noetic effects of sin, and why the Good Samaritan is far more than a lesson in being a helpful neighbor. Buckle up. Key Takeaways The lawyer's question is self-contradictory from the start. Asking "what must I do to inherit eternal life?" smuggles a works-righteousness assumption into the very grammar of the question. Inheritance by definition is received, not earned. Jesus does not give the lawyer a new paradigm — He reorients him to the true one. The covenant of grace is not a New Testament innovation. It runs through every Old Testament covenant administration. The lawyer should have already known this. "Do this and you will live" is not a Pelagian concession. Christ is holding out the law's own terms — perfect, total, unrelenting obedience — not to suggest it is achievable, but to expose its impossibility and drive the lawyer (and us) to the only alternative: mercy. "Desiring to justify himself" is more complex than it first appears. Tony argues that the desire to fulfill the covenant of works is not inherently wicked — it is the misguided belief that one can which is the problem. This distinction creates room for reading Christ's response as genuinely merciful instruction, not merely rebuke. The noetic effects of sin mean accurate theology can be deployed in service of self. The lawyer knows the right answers and still uses them to avoid repentance. Correct doctrine alone does not save. The fundamental human problem is not ignorance — it is the will's bondage and the heart's self-love. The parable is primarily Christological, not merely ethical. Jesus is the Good Samaritan. The story is not first about mercy ministry; it is about who binds up our wounds when we are left for dead on the road, unable to save ourselves. The priest and the Levite are not exonerated by their ritual obligations. Considerable ink has been spilled trying to justify their passing by on grounds of Levitical purity concerns. The parable refuses that exit. Everyone in the story — and everyone listening — already knows what the right thing to do was. Key Concepts The Covenant of Works Is Not a Black Box One of the more quietly important arguments Tony makes in this episode is that the covenant of works was never meant to be mysterious or inaccessible. When Jesus responds to the lawyer's question by asking, "What is written in the law? How do you read it?" — He does so with a visible assumption: there is a clear, knowable answer, and the lawyer should be able to give it. And he does. Love God completely, love your neighbor as yourself. The covenant of works was always coherent and comprehensible. The problem has never been that its demands were obscure. The problem is that no one — save the Mediator — has ever kept them. Jesus is not introducing a new ethical framework. He is forcing the lawyer to confront a standard he has always known and has never met. The Lawyer as a Warning to Reformed Christians Jesse closes the episode's first movement with a pointed and personal application that cuts across theological self-satisfaction. The lawyer is not a caricature of ignorance — he is a portrait of someone with accurate, affirmed theological knowledge who instinctively deploys it in the service of self-justification the moment he senses conviction. Jesse names this directly as a danger particularly acute in Reformed circles, where doctrinal precision can become a subtle mechanism of self-defense rather than an occasion for repentance. The Reformation's great recovery of grace must not become a new form of the very disease it diagnosed. Knowing the right words about total depravity, the covenant of grace, and the mediator does not exempt anyone from the need to actually be humbled by them. Theology is not armor against repentance — it is, rightly received, the road toward it. Context Is Not Just Setup — It Is Part of the Lesson Tony and Jesse both emphasize that Luke 10:21–24 is not merely throat-clearing before the real content begins. The theological statement embedded there — that the Father has hidden these things from the wise and revealed them to little children, that no one knows the Son except the Father or the Father except the Son and those to whom the Son chooses to reveal Him — is the hermeneutical key to everything that follows. The lawyer approaches Jesus as one rabbi testing another. But Luke has already told his readers that this is not a conversation between equals debating interpretive options. It is the Lawgiver being questioned by someone who does not recognize Him. The parable that follows is not just an answer to a legal question. It is a revelation — the kind that only happens when the Son chooses to give it. Memorable Quotes You do not want to pit the law against the one who has given the law, the one whose character is represented in the law — because you're always going to get owned, and you'll get owned before you realize you've just gotten owned on multiple levels. - Jesse Schwamb Jesus is trying to sort of reorient them back to the true paradigm of grace that is present under all of the Old Covenant administrations. It's not so much a matter of developing a new framework and imposing it on this guy. It's really trying to say, 'Listen — think about this for a second. Think about the fact that, yes, you know you have to love the Lord your God with your whole heart, your whole soul, your whole strength, your whole mind, and you have to love your neighbor as yourself. You've answered correctly. If you can do those things, you will live.' — with the subtext: and of course you cannot possibly do those things. - Tony Arsenal The fundamental human problem is not primarily ignorance, but the will's bondage and the heart's self-love. It's a problem no amount of correct discipline or doctrine alone can fix apart from some kind of regenerating grace — which is exactly what Jesus is going to illustrate for us in the mercy he's about to display in this parable. - Jesse Schwamb Full Transcript Tony Arsenal: [00:00:00] This parable is not primarily about us figuring out how to do mercy ministry. Like, that's important. It's probably an outcome of this. It's probably something for us to think about. But really, this is actually Christ saying, like, "Hold on a second here, dude." Like, "Let's just think about this." Do you need someone who is going to tell you to pick yourself up off your bootstraps and cross to the other side of the street and leave you to your own devices? Or do you need someone who's gonna throw you on their donkey, who's gonna bind up your wounds, who's gonna pay the innkeeper, and is gonna pledge to pay everything that is owed for your salvation? Right? That's not too on the nose here, I think. Welcome to episode 502 of The Reformed Brotherhood. I'm [00:01:00] Jesse  And I'm Tony, and this is the podcast with ears to hear. Hey, brother.  Jesse Schwamb: Hey, brother. Well, we've got a big one to talk about on this episode. We're marching further and further into all of the glorious parables Jesus told as part of His teaching. And as you and I kind of joked before we began, I mean, what did you call it? Did you say this is, uh, the big daddy?  Tony Arsenal: It's the big daddy, one of the big daddy parables.  Jesse Schwamb: It's one of the big daddy parables. Now, this one is probably second maybe only to the prodigal son. Yeah But in terms of its ubiquity and its kind of just common knowledge in culture, this one ranks right up there. And before I reveal what it is, which you may already know, I was thinking how so many times we look at the Beatitudes as expression of a master class in Jesus teaching the law, and I think that's true. But as I was reading and thinking about this particular parable, I thought, "I don't know. I think this one is, uh, right up there," because [00:02:00] this is like law on law. It's double law. Yeah It's law coming back at the law giver who's trying to use the law to test Jesus, and then Jesus tests him with the law that He himself gave His people. It's... I'm already getting too excited- ... and we've got something to do before we get there. But we're talking about the parable of the Good Samaritan. And so I can't imagine, can I just make a prediction up front? I, you know where I'm going with this, and probably everybody else does. Uh, this is gonna be like two conversations-  Tony Arsenal: At least ...  Jesse Schwamb: probably.  Tony Arsenal: Yeah, at least two.  Jesse Schwamb: Is that fair? Because I realize we, of course, wanna get to the parable itself, and oh, my goodness, how much ink has been spilled. Even going back to, like, if you read, like, Augustine or, like, the early church, like the Patristics, the Church Fathers, there are so much that could be said, and maybe some stuff that just shouldn't be said about all the allegorical potential intent here about these characters. But [00:03:00] there's so much amazing stuff that happens in the opening of this, that's not just the setup, but it is its own lesson, and I'm real excited actually to talk about that with you before we even get into, like, all the good stuff that everybody expects that you wanna talk about. So we're gonna do it all. Tony Arsenal: Yeah.  Jesse Schwamb: We're gonna do it all, but it'll take time.  Tony Arsenal: Yeah. I'm interested to see if we're even on the same page about where to start reading, 'cause I, I think we might not be, and that's gonna be fun. So we'll, we'll let it fly and see what happens. It'll be our own little, uh, podcast game.  Jesse Schwamb: But, uh, I think- Well, I mean, we're gonna be in Luke chapter 10, but I guess to your point, we should be starting in Luke chapter one to get to this. Yeah.  Tony Arsenal: Exactly. But  Jesse Schwamb: we, we do have to back up quite a bit, and I was gonna ask you about that. Yeah. But I, apparently we're just gonna play that on the fly and see where we go.  Affirmations Denials Segment Jesse Schwamb: But of course, the Reformers had their five solos. Chalcedon had its, what, seven withouts. We've got opinions, and we're just as confident about ours, so of course it's time for affirmations, denials, where we affirm something that we think is good or awesome or [00:04:00] we wanna recommend, and we deny, again, something that is not so great or maybe just plain annoying. So before we talk about the Parable of the Good Samaritan, Tony, what do you got for us on this episode? Are you affirming with something, or are you gonna come in with a denial?  Tony Arsenal: Well, I've got two affirmations. That's fine. One is just- I will allow it ... a declaration of joy, and one is, like, a real affirmation. I, I just can't... It would be remiss of me not to share with our podcasting family that my son August and my daughter Adeline, uh, joined the visible church today as- Hear, hear ... uh, non-communicant members. Uh, Augie and Addie were baptized on the 16th of August of 2026, uh, into the visible church, into the name of Jesus Christ. Uh, was, it was just a great service. Um, it's funny because I've been- been talking with Augie. One of the thing with toddlers when you're doing something big like this is you kinda have to talk about it and practice and rehearse, rehearse it and, and get them ready for it. And up until maybe, like, I don't know, three days [00:05:00] ago, every time it would come up he would be saying, "I don't wanna be baptized. I don't wanna be baptized." And, um, you know, I, I, I, you know, I don't wanna force him to do something, but also, like, I make him eat vegetables. But, um- ... he, I, I think it was nerves, and I think something clicked in his head and all of a sudden he was very excited to be baptized. So, um, it was great. We've been talking about, you know, what baptism is, God's promise to you that if you trust him he'll save you. And so today he- Right ... he was like, "God's gonna make a promise to me to save me." So he was very excited. Nice. And he did a great job just standing quietly and listening to the pastor talk. Uh, and Addie was, was, was just a beautiful little girl, and she, um, she loved it as well. So that's just a bonus affirmation. I don't know that I could get through a podcast without gushing over that.  Glorify App and Devotionals Tony Arsenal: Uh, but the, the affirmation I have, uh, this is an, an app that I think some of our listeners may have heard of. Um, some may roll their eyes at it, to be honest with you. Um, I stumbled on this because, uh, you have an Oura Ring, don't you, Jesse? Jesse Schwamb: I do.  Tony Arsenal: You [00:06:00] do, yeah. So for those who don't know, an Oura Ring is like a little wearable ring that's like a, almost like a fitness tracker, but it tracks biometrics, pulse rate, temperature, all these different things, sleep. Um, there's a startup, uh, that has been doing a GoFundMe or a funding kind of thing for, uh, what they're calling like a Christian version of an Oura Ring. So it does a lot of the same things, sleep tracking, basic biometric tracking. Hmm. But it also has like alerts built in, and it's tied into an app that they use for devotionals. So it'll, it'll remind you to pray. It'll remind you, you know, bring you to an app to do a devotion. But the app it uses is a standalone app that I looked up, and it's called Glorify. Have you ever heard of this app before this evening? I have heard of  Jesse Schwamb: this, yeah.  Tony Arsenal: So Glorify is just a small devotional app. Uh, it's not much different than you would expect based on the name. It is connected to this, uh, to this Glorify ring, which again is, is sort of like an Oura Ring tied into this app. But this app basically is, is [00:07:00] designed to help you complete short daily devotional exercises, and they're usually very brief. They're based on a very brief, um, a very brief passage of scripture. Today's passage, uh, c- there's a quote. So today's quote is from Dietrich Bonhoeffer. It says, "True love does not consist in finding the perfect person, but in faithfully loving an imperfect one." Not sure why this devotional app is using a romance, uh, quote from Bonhoeffer of all people. But that was today's. Um, and the passage is Proverbs 5:15-17. So it's a, it's a devotional based on two verses, which is fine. So you read the passage. There's a very brief devotional on that passage, and then sort of a guided prayer, and they have both premium and free models. The premium model includes like you can listen to the devotional, you can listen to the prayer. Um, but just for example, today's prayer, it, it's very simple. "Loving Father, thank you for, uh, thank you because you're faithful and unchanging. In a world [00:08:00] marked by broken promises, disposable relationships, you remain the same. Teach me to reflect that faithfulness in my relationships. Help me to love with perseverance, grace, and commitment following the example of Christ. Protect marriages, strengthen families, restore what needs healing. May every relationship be marked by respect, truth, and genuine love. Shape in me a heart of integrity that honors you in both the small and significant choices of life. In Jesus' name, amen." So I think what I love about this, and this, I mentioned last week that there was, this is kind of like, sort of like the fluffy evangelical devotions. Like- Right ... there's not a ton of like solid doctrinal meat- But like, it's still nourishing. And sometimes we need a little bit of help. Sometimes we don't know what to pray, we don't know what to read, we're not sure. Sometimes in, I think in our Reformed circles, we feel like if we're not reading large portions of scripture and reading deep theological treaties or long, complex devotionals, that we're really not doing anything, and that's just not the [00:09:00] truth. So I've been using this in addition to other devotional studies I'm doing. I don't do it every day. I mean, there's some like streak functionality, kinda like habit tracking type stuff that's built into it. Um, but it's nice. It's nice to be able to pick it up, read a very short scripture, a brief devotional thought, and then have some guided prayer. I know one of the reasons I don't pray as often as I ought to is because I struggle to know what and how to pray. So even having some written prayers, I mean, this is why the Psalms are good, things like the Valley of Visions are good. Um, having some pre-written prayers that you genuinely pray but you're not having to come up with in the moment can really help. Right. So the app is called Glorify. I know it's available on iPhone. I'm not sure about Android. I'm sure it probably is. I'm sure they wanna have a pretty broad ecosystem. Um, and, and it's good. Again, it's, it's not anything fancy. It's not anything like super technical. Uh, and as I kind of alluded, like some of it's a little weird. Um, I, I didn't read the proverb. I think maybe the proverb is about romantic relationships, why they're, why they're tying in that, um, Bonhoeffer quote in, in the prayer. [00:10:00] But, um, even that, like it's pretty innocuous. And the quotes, like you don't have to read the quotes. It's not like you have to have to do that. Um, you could jump in, just read the scripture or just read the devotion and just do the prayer and you would be fine. So check it out. It's called Glorify, available on iPhone for sure. I'm pretty sure it's on, on Android. And maybe it's something you add daily, you know, this kinda thing like you do when you're on the bus or you're waiting at the grocery store, something quick you can do when you might be wasting that time just sorta sitting around or scrolling Twitter. Again, Twitter's fine. You can use your leisure time as you see fit. But if you wanna fill it with something like this, something that is more spiritual, then this would be a good option to just add a little bit of, uh, a little bit of nourishment to your diet where you might not otherwise be getting it  Jesse Schwamb: I have no proof of this, but I just keep saying it anyway. It might be that we're living in the golden age of really great- ... daily worship resources. Like, something to actually cultivate, not just, like, a devotional nugget, but something that actually leads you into a pattern and a habit of [00:11:00]worship, giving your attentive focus on Jesus. And I love that. So, uh, uh, 'cause I was just thinking, like, I was trying to look back on some of our past affirmations here. We've talked about the book Walking in Faith. I just gave everybody Awake My Soul last week. You're coming in with the Glorify app. I- we've talked about Dwell, if not recently, we've talked about that for some time. It's like a great Bible reading app, and there's lots and lots of new features, by the way, coming out on that- Yeah that are fantastic. And then, yes, all these other great prayers. I, I see, like, these books on prayer, like, actually, I'm sorry, like, prayer books, I guess, as, like, a great way to kinda... It's like a jumper for your car. You know what I mean? Like, just gets you started. What a, what a lovely thing to come into a place and have a launching pad. And I've been using a lot of Into His Presence, which is a collection of Puritan prayers, sometimes because, for instance, this just happened, where I wanted to pray for someone who was just going through a rough time, a good friend of mine. And I went to that place to kinda start and frame, knowing that I was gonna sit down with him and pray, how I might be able to do that well and [00:12:00] effectively. And these things are just, like, really phenomenal resources. It's just an amazing time to have all these things at our disposal. So that's another great option. It's, it's really more about, like you and I have talked about, Tony, like, whatever gets us into that pattern, whatever gets us, like, authentically experiencing under our own volition, coming in the discipline of sitting before God in daily worship with that expression being pretty broad in its representation- Yeah is to really include something of devotional time in the scriptures, memorization, metabolation, metabolizing. Metabolation, I'm just gonna make that up as, like- ... what happens when you, when you take the scripture and metabolize it into your own life. Meditating on it and, you know, again, maybe looking through the confessions and creeds that have shaped our distilled understanding of what the scripture teaches so that we're enhancing and edifying our mind. We're also engaging the heart, and then we're engaging God and ourselves in communication with Him through prayer. I'm all for anything [00:13:00] that gets us into those rhythms, reminds us of the importance of them, and like we talked about last week, makes it so that when we think about what it means to be married to Christ, so to speak, it's not just about whipping out some kind of marriage certificate to prove that, but that we actually have a frame and a behavioral pattern that fits a married person, that- Yeah how they act, how they think, how they behave, how they communicate, they're never too far away from their lovely spouse in some way or another. And so I think that these tools are great ways to get us exactly into that kind of mindset and practice.  Tony Arsenal: Yeah, absolutely. And like I said, like, I think- In our Reformed circles, we can, you know, we, we tend to be maybe a little eggheaded, and we, we tend to be a little more intellectual and, and a little more, I don't know, studious. And there's nothing wrong with that. Um, but I think sometimes it can breed a sort of, uh, elitism and arrogance. Sure. Uh, this is a perfectly valid devotional tool. Yes. Mm-hmm. And, and I think, [00:14:00] you know, kinda like the old adage, like, well, what's the best translation of scripture? Well, whichever one you're gonna read. Exactly. Like, what's the best devotional tool? Whichever one you're gonna use, whichever one's actually gonna bring you into the Word, uh, on a, on a regular basis. Um, and again, like, two verses of the scripture is two verses of the scripture that you might- Right ... not have other spent time, otherwise spent time reading. And it really is short enough, and it saves your progress. Like, you can do, you can do the quote in the morning, and then you can check the scripture on the way to the, you know, the word work, on a stoplight or whatever. Um, if you have the, the paid subscription, you can listen to this stuff, you know, on the, the bus or whatever. Um, so check it out. Glorify app, they have a ring they're making. It's in funding, I guess, if you wanna check it out, you can check that out too. I am neither affirming nor denying whatever this Glory ring is, Glorify ring. But, um, but yeah, the app is great. The, the app is free, and it's, it's worth even just checking out and adding once in a while to your day  Jesse Schwamb: The glory ring or the glorify ring sounds like almost too Tolkien, even for me  Tony Arsenal: Yeah. Yeah. It's the one ring to rule all of your devotions. [00:15:00] Uh, and in the, and in the morning bind them. Jesse, save me from the trail I was about to go on, and, and I was gonna speak in the language of Mordor, I think, on accident. Uh, save us from this. What are you affirming or denying?  Jesse Schwamb: That's  Tony Arsenal: beautiful. Please tell me it's the language of Mordor. Elvish AI and Music Pick Jesse Schwamb: Uh, no, but can I just say at the risk of really taking us really far afield so early on, which is not necessarily off-brand for us, I have done this... I, I don't know if I should be ashamed by this or I should be excited by this. But- ... um, the Elvish tongue in the Tolkien universe-  Tony Arsenal: Oh, no. ...  Jesse Schwamb: is like, there's several... If you're super nerdy, you'll know there's like several different kind of iterations or formulas of it, and there's no, like, official language like Klingon, but there ha- it has been studied, and basically, like, it's kind of like the Eugene Peterson of the language. Like, there's, like, just kind of a dynamic equivalent or an expression of words. Anyway, all that to say- ... there's several languages that, uh, Microsoft Copilot will just not [00:16:00] translate because it says, like, "This one, this language doesn't actually exist. There's not enough for me to do anything." Let me tell you something. Tolkien Elvish is not one of those languages, and I actually built an agent, because I have a coworker who can, uh, who can appreciate all this stuff, that takes a text, translates it into this kind of academic high-level Elvish from Tolkien, and then translates it back to English. That makes anything you're saying way better and far more poetic and just absolutely amazing. So if you wanna have some fun, go and do that with whatever your favorite AI model is. Anyway, that's free of charge. Real quick, my affirmation is more music. It just turns out I've found this band, and I've been listening to them a lot. The band's name is Thronebreaker, which is just a phenomenal name, I think, for any group. Uh, it's amazing. Uh, th- this is... I'm gonna read you their description from Spotify. It just says, "Thronebreaker is Christian metalcore built for the bruised, the doubting, and the ones still fighting their way home." And what I've really been [00:17:00] loving about them is it is kind of like Wolves at the Gate adjacent. It's really lovely music. It is melodic, so it's, there's not just that there's that kind of hard edge, but that is present in it. But, uh, the music is really lovely and beautiful, and in part that's because they're going through this, like, drip of releasing music where they're taking, like, old hymns or maybe songs if you're of a certain age like I am of kind of childhood Sunday school- And they're taking the lyrics, not the melody, and they're reimagining them. So they have two versions of Jesus Loves Me that they just released. They have the old We're Gonna Cross, a song called Glory to the King Most High. These songs are just saturated with gospel. Like, they're just all power, all encouragement, and all authority represented in Jesus Christ. They're incredible, and I've j- where I've, what I've been really blessed by is these two versions of Jesus Love Me are just fantastic. Like, they're orchestral. There is a children's kind of chorus at one point, and it got me [00:18:00] singing that song again, and really, maybe to what you were saying before, Tony, like sitting in those three words, which are really phenomenal words to hear. And so I have been surprised at how moved I've been by what really I, I first understood, of course, as a children's song with simple truth that seems, you know, depending on how long you've known some part of the gospel, obvious. And yet I found them all new again, and a, a really lovely way of just sitting in the truth of God in music that I didn't expect to find. So if you're interested in any of that or maybe just curious of what it would sound like if a Christian metalcore band took Jesus Loves Me and turned it into their genre, then honestly you should just go check out Throne Breaker. I mean, you pretty much have to at this point.  Tony Arsenal: I, I don't ever have anything to add to your musical affirmations or denials, 'cause I, I just don't. What I do have to add is that Throne Breaker actually sounds like some sort of really [00:19:00] amazing, like, mace-type weapon in Lord of the Rings. Yes.  Jesse Schwamb: Yes,  Tony Arsenal: it does. Or like a big hammer that a dwarf carries. And I would also like to say that if you ask Google Gemini to translate something into Tolkien English, it not only will do it, it will tell you how to pronounce it.  Google Elf: A ava aini Ilai amel i trona se.  Tony Arsenal: What do you think that was, Jesse?  Jesse Schwamb: No idea.  Tony Arsenal: First of all, that was elevated Quenya, a Quenya. Yes.  Jesse Schwamb: Yes, that's  Tony Arsenal: the one. Classic Quenya.  Jesse Schwamb: Yes.  Google Elf: A leta Ilai amel aima.  Tony Arsenal: I would be willing to bet... Actually, let's do this.  Jesse Schwamb: Ugh.  Tony Arsenal: Uh, we don't give out prizes very often. Uh, I will say to anyone who can tell me what that is, the first person that emails, uh, or, or goes into the Telegram chat, we'll do this. We'll be professional podcasters and drive people to one of our channels. Here we  Jesse Schwamb: go.  Tony Arsenal: The first person who goes to our telephone, our Telegram chat and tells me what that [00:20:00] means, what that, uh, Elvish means, will get a Reformed Brotherhood T-shirt.  Jesse Schwamb: Oh, that is big.  Tony Arsenal: Yeah.  Jesse Schwamb: That-  Tony Arsenal: So I'm gonna, I'm gonna play it one more time.  Jesse Schwamb: Okay, here we go. Everybody listen. Every- All right, pull over. Stop your vehicles. Here we go.  Google Elf: A leta Ilai amel aima.  Tony Arsenal: There it is, everybody.  Jesse Schwamb: I'm not being a cry- I have a guess, but I, I, I wanna try to win the T-shirt, so I'm gonna- Yes ... wi- withhold. All right. Uh, yeah, that's, that's super fun. Did it, um... Did you also translate it back into English from that  Tony Arsenal: just to see- No, I'll do that later, 'cause that would give away the, that would  Jesse Schwamb: give away the prize. Yeah, it's, it's... We'll have to save that for next week, because that, that is the fun. It creates, like, what I was doing to, to have fun with this coworker is take very technical, like, work-related emails, and I would send it through. It would go through that iterative process, and I actually loved how it, it was talking. Like, it wa- this was an email about risk, and it, it gave, like, these beautiful grand metaphors that didn't sound corny or cheesy. That's the beautiful thing. That's amazing. It [00:21:00] was like true Elvish. Like, you were just like, "I wish I spoke that way all the time about, about risk." And it, like I said, it wasn't just like... You could, you could obviously throw something in and be like, "Make this Shakespearean," or, you know, "Make this, you know, sound like, you know, Milton." This is way better. This is way better, because it's not, like, actually trying to manipulate what you're saying. It's takes, like, the dynamic equivalent of what you said, then translates it back with way more kind of poetic infrastructure while maintaining, like, the essential meaning that you have. I'm, I'm selling this too hard. Everybody just has to go out and try it. So, all right, you know what's at stake here, but here's how you have to win this. If you want a chance, if you want a chance at winning this, you gotta go to t.me/reformedbrotherhood, t.me/reformedbrotherhood, and that link will take you to the Telegram app and our little corner of it, and you're gonna find there's a bunch of chats there. You gotta go to the affirmations or denials chat, and then you gotta put in what is the translation of what Tony just played.[00:22:00] I just love... Isn't it amazing, though, that, like, y- as you discovered, there's more than one version of Elvish available? Yeah. And they do differentiate between the various kinds. This is a big deal. I learned there are actually scholars who have, like, again, filled in kind of like the details of the language- Oh, yeah taking as a basis what Tolkien had there. Yeah. So I think that this is the best. We couldn't have conceived of this if we'd actually tried and planned for it, so-  Tony Arsenal: It's true ...  Jesse Schwamb: it's just better that it all happened in, in real time. It's true. And, and speaking of which, I think now we get to have the fun of figuring out, uh, where in Luke chapter 10 are we gonna begin? Or should we just start in Luke 1 and just let's see how far we can get reading  Tony Arsenal: in this- I could have, I could have Google Gemini read it in elevated Kenya, Quenya I did try to get it to put it in Sindarin, and it wouldn't do it for some reason. I'm not sure. Maybe this anti-Sindarin bias in Gemini,  Jesse Schwamb: man. Disappointing.  Tony Arsenal: It's disappointing.  Jesse Schwamb: Dis- disappointing. So let's kick off some Good Samaritan talk, which again, I think is gonna take us [00:23:00] through maybe in the next couple of conversations, in part because, like I said, we're not even gonna start at, uh, verse 25 because there is so much more that needs to be said, I think, before that. Tony Arsenal: Yeah. Yeah. I, I think actually the proper place to start this, and I, I'm guessing Jesse probably, whether he was there or not, he probably figured out where I was going, uh, over the course of the last 20 minutes or whatever. Um, I actually think the proper place to start, at least one of the proper places to start, is in verse 21. Yeah. Um, and I- we'll talk about why that is. And I'll... I'm gonna read here, um, 21, uh, through the end of the parable. Uh, and this is Jesus talking. He says in this, uh... Well, it, this is, um... Yes, uh, I'll just read it here. "In the same hour He rejoiced in the Holy Spirit and said, 'I thank you, Father, Lord of heaven and earth, that You have hidden these things from the wise and understanding and revealed them to little children. Yes, Father, for such was Your gracious will. All things have been handed over to Me by My Father, and no one who knows who the Son is except... No, no one knows who the Son is [00:24:00] except the Father, or who the Father is except the Son, and anyone to whom the Son chooses to reveal Himself.'" Then turning to the disciples, he said privately, "Blessed are the eyes that see what you see. For I tell you that many prophets and kings desired to see what you see and did not see it, and hear what you hear and did not hear it." And behold, a lawyer stood up to put him to the test, saying, "Teacher, what shall I do to inherit eternal life?" He said to him, "What is written in the Law? How do you read it?" And he answered, "You shall love the Lord your God with all your heart, with all your soul, and with all your strength, and with all your mind, and your neighbor as yourself." And he said to him, "You have answered correctly. Do this and you will live." But he, desiring to justify himself, said to Jesus, "And who is my neighbor?" Jesus replied, "A man was going down from Jerusalem to Jericho, and he fell among robbers who stripped him and beat him and departed, leaving him half dead. Now by chance a priest was going down that road, and he saw him and passed on the other side. So likewise a Levite, [00:25:00] when he came to the place and saw him, passed by on the other side. But a Samaritan, as he journeyed, came to where he was, and when he saw him he had compassion. He went to him and bound up his wounds, pouring on oil and wine. And he set him on his own animal and brought him to an inn and took care of him. The next day he took out two denarii, gave them to the innkeeper, saying, 'Take good care of him. Whatever you, whatever more you spend I will repay you when I come back.' Which of these three do you think proved to be a neighbor to the man who fell among the robbers?" And he said, "The one who showed him mercy." Jesus said to him, "You go and do likewise."  Jesse Schwamb: I think you're right, of course, to back us up into verse 21 because I don't want to keep saying it's always a setup, but Jesus is certainly giving us like the right context in which... Well, Luke of course is the author here and as he's explaining the teaching of Jesus, he does so well to start out with some irony that we don't realize is gonna be ironic until we get to the, to verse 25 [00:26:00] when we realize who's testing Jesus, who's setting this all up. So this idea that the Holy Spirit, everybody rejoicing in the Holy Spirit and the knowledge and the wisdom, the intelligence that's revealed through the Holy Spirit to all of these lesser people and in particular here emblematic the infants That here we have kings and rulers, and in this case, this beloved scholar of the law, who all have this adventure in missing the point. They think, in fact, they're looking for the one who is to set them free, and they can't even see that it's Him who is before him. And yet, incidentally, God has already revealed all these things to the lowest, to the ones who are the most humble, the meek, the mild, the down and outs, the ones who are weak by the view of everybody else. And so it's amazing that if we just kinda, again, like blow past it into, like, just all the characters, we don't see that the teaching starts actually well above this, that even everything we're about to understand, that unfolds in our lives, ev- every spiritual incarnation and insight that we have [00:27:00] first starts with God himself in his revealing it to us both in his general revelation, but of course, in the specific revelation of his teaching. So I like that you started us there, because I, I'm with you. That's where this whole thing launches off, right?  Tony Arsenal: Yeah.  Parables Reveal and Conceal Tony Arsenal: Yeah, and as we come into when we very, like very start of this, uh, series, the, the parable series, Jesus sort of embeds a theology of parables into this introduction, right? Or I should say Luke does. But this, uh, this is written a- as though all of this is occurring as sort of one event. Right. And likely it was, right? So sometimes, uh, in the Gospels, events are kind of, like, moved next to each other for thematic reasons. It's possible that that's the case. It seems like this may have actually just been one, one teaching, and I'll, I'll talk about why that is in a second here. Um, but at the very least, this is placed next to each other in the Gospel almost as, like a, "Here's the theology of parables. Now, here's actually that happening in real [00:28:00] time."  Jesse Schwamb: Yes.  Tony Arsenal: And then also, like, a parable kinda demonstrating it, right? So the theology of the parable here is that there are many prophets, kings who desire to see what it is that, that, uh, uh, the disciples are seeing, right? And all things have been handed over to the Father or to, to the Son, by the Father, and no one knows who the Son is except the Father. No one who knows who the Father is except the Son, and anyone to whom the Son chooses to reveal, right? So the, the theology of parables here presented in Luke is that the parable itself is being used as a way to reveal the Father and the Son to those whom the Son chooses to reveal it to. The Lawyer as the Fool Tony Arsenal: And that leaves us with this lawyer, um, sort of playing, playing the fool in almost like a dramatic sense, right? In a lot of drama, there's kind of like the fool character who's sort of like the foil or the idiot of the thing who's, who's unaware and is almost like made an example of, right? Um, I, I can't think of any examples off the top of my head, but there's often a character in a play who's like, uh, it's [00:29:00] almost like the opposite of the everyman, right? The everyman in a, in a play- Right ... or in a movie is sort of like the outsider who things gets explained to, and he's sort of the proxy for, for the audience. Um, I think like, um, Hawkeye in Avengers is kind of the everyman. He's sort of just like this regular dude swept up in this thing, and oftentimes he's the one that, uh, the big characters are explaining things to. And really what that is is the big characters are explaining that to the audience through this proxy. There's also this concept of the fool in a lot of these plays or movies who's sort of like the dummy, the idiot of the play, who things are explained to, and it's still a way to explain it to the audience, but the character doesn't get it. And so that's kind of, kind of the role that this lawyer is playing in this, this narrative here. He, he steps forward. He's like, "What must I do to inherit eternal life?" Jesus answers his question, and then in this like sort of like stunning moment of, like unawareness, he's trying to justify himself. He says, "Well, who is my neighbor?"[00:30:00] As though that's a question that needed to be asked, right? I think, like, we sort of think of it as like, "Oh, yeah, that's a valid question." I actually don't think it is. Like, it's pretty obvious, in the Old Testament at least, who your neighbor is. It's the people who live immediately with you. It's the other people of Israel. It's the people in your immediate concentric circles, the people you have direct access to. Um, and so then Jesus explains it through this parable, and whether or not he gets it at the end, I guess is maybe a little bit unclear. We can talk about that as we get there. But at least in the beginning, he's portrayed as this sort of, like, fool who doesn't understand what Jesus is saying, and then this parable is taught. So it's this theology of, um, revelation to those whom it is intended to, and further obscuring from those it's intended not to, not to illuminate, which is identical. Uh, maybe it's a different flavor of the same thing, but it's the same thing as what Matthew had and what Jesus taught- Right ... in Matthew with the parables. Jesse Schwamb: Right. It definitely is, again, illustrating, again, God's divine prerogative. I think you really have to do a lot of theological gymnastics [00:31:00] to try to work yourself out of a place here that says, like, "Well, this, this knowledge is accessible to all people."  Tony Arsenal: Right.  Jesse Schwamb: That if somehow we just work hard enough, study hard enough, come even before God with the right attitude or do the right things, that somehow all this will be made plain to us, and that's certainly not the truth here. In fact, again, the ironic setup is you have this lawyer asking this question, which creates this strange contrast because here's a man trained in the law, and he approaches the very wisdom of God to test him while the little children already perceive what this fool cannot. So it's irony upon irony, and then I, I like what you're saying. I think, and we'll get to this to anticipate a bit, I'm reading this as he's hoping that the answer to whom is my neighbor, just like he- he's received the affirmative from Jesus saying, "Yes, you understand. Go and do these things. This is life," and we'll get to all of what that means, I think, as well in terms of the covenant of works and the covenant of grace. But I think he's hoping that the definition of neighbor is gonna mean that he has [00:32:00] already accomplished the thing then, so that if there's somehow- Yeah ... he could just set the right boundaries. He could say, "Ah, yeah, I'm already good then, Jesus. I already, already did all that stuff." So- It's wild to me that it, it all starts with, of course, like some kind of scribal specialist in the Torah, of course, likely some kind of Pharisee by theological alignment. And as I'm looking at the notes here, what I find particularly stunning as we start this out is that Luke, of course, is able to speak several times in this parable to the intent. And so he says right away with great kind of fanfare and description that the intent here from this scribal Torah person was to test or to tempt, which is the same verb used of Satan's temptation of Christ and of Israel's testing of God in Deuteronomy 6, which of course Jesus is gonna quote here later on. So it's not, of course, like sincere inquiry, like you're saying. It, it is like adversarial probing. It is like really profound setup. It is dripping with like [00:33:00] ulterior motive. It's seeking to expose Jesus as either like heterodox or as diminishing the law's demands. And I think we've talked about this before, so Tony, correct me if I'm wrong, but I'm pretty sure in one of the previous parables we talked about sometimes how these get set up with this kind of weird like oxymoronic setting. Inherit Eternal Life Debate Jesse Schwamb: So like this question of se- uh, uh, itself, what shall I do to inherit eternal life?  Tony Arsenal: Yeah.  Jesse Schwamb: It's like more than just theologically revealing. Biblically it's self-contradictory, 'cause of course like we talked about inheritance, I think actually when we went through the, the parable of the prodigal. By definition, that's received, of course, on the ba- basis of relationship or promise. It's not earned by performance. And if the inheritance comes by a law, it no longer comes by promise, right? I think that's like Galatians. So the lawyer's question already portray- portrays like some kind of weird works righteous paradigm. E- even if you think he's really after trying to understand the true intent of God's heart [00:34:00] behind the law, he is assuming at least in this question that eternal life is some kind of wage that he can earn rather than a gift to be received by grace through faith. And that's a fundamental error that the entire subsequent exchange, including the parable, is designed to expose. It's both, like you're saying, Tony, he has not learned yet what it means to be in the kingdom of God. He's outside of that, and so he's trying... Now Jesus is bringing in this corrective action, as it were, set up in a story, but he's gonna turn the law on him, which, which I don't wanna get too excited about that yet. But he's... But essentially, here we have somebody who's the expert in the law trying to leverage the law by way of force against the one who he does not understand has all leverage and authority over him, and is in fact the law giver himself So he's gonna, Jesus is gonna drive him to see his own ability to keep the law that he claims to honor, and that's more than just brilliant. This is what the law does. You do not wanna pit the law against the one who has given the law, the [00:35:00] one whose character is represented in the law, because you're always going to get owned, and you'll get owned before you realize you've just gotten owned on multiple levels, and I think that's what basically unfolds here. Tony Arsenal: Yeah. Yeah, I, I have a little bit of a different take on the, the word inherit here. Um, I don't think what you're saying is wrong, um, but I think there's a little different flavor here, and actually, I, I think it, it still sort of propels us forward to the conversation we have to have, um, about the law and the gospel and the covenant of works, the covenant of grace. The, the Greek that lays under this word is, uh, it's a compound word of the word for, like, lot or portion and the word for law. And so, so the, this force of the word is more along the lines of, like, what shall I do to have a legal right to eternal life? Like- Right ... inherit, I think we hear inherit, and we think of, like, um, like what you get when someone dies, and so, like, obviously there's nothing you do to earn it, and that's certainly an element of the way this [00:36:00] word is used in some instances. I think reading this and kind of how, how the rest of the text plays out, this lawyer is coming forward and he's like, "What do I need to do to have a rightful legal claim to eternal life?" Right? We might even be able, and this is where it comes into the covenant of grace, covenant of works k- kind of paradigm. We might even be able to say that what this lawyer or this person comes forward to ask Jesus is, how do I gain, how do I gain the benefits of the covenant of works, right?  Jesse Schwamb: Right.  Tony Arsenal: Yep. That's language that was developed later that's not, not, like, biblical language in terms of, like, the actual language within the text, but that's the force of what he's saying. What must I do to be a rightful legal... Uh, what must I do to have a rightful legal claim on all of the blessings of the covenant of works, is really the question that's here. And so Jesus' answer is so instructive- Right ... 'cause what he says is, "Well, what's written in the law?" Like, he, he basically says, like, "Well, you should be able to tell me, teacher- Exactly of [00:37:00] the law, like, what, what needs to happen there." And there's an assumption on Christ's part that, like, there is an answer. I think sometimes, sometimes we, we, uh, we make an error in thinking that the covenant of works was never attainable, that it's somehow this, like, um, it's almost like a black box. Like, nobody could know what we have to do to, like, obtain eternal life. That's absolutely not the assumption Jesus makes. Jesus not only knows that there's an answer, it's such a straightforward answer that he expects this scribe to be able to answer it, right? And the scribe can, right? The scribe says, "Well, you shall love the Lord your God with all your heart, your soul, your mind, your strength, and your neighbor as yourself," right? The summary of the law. Just good old classic Westminster larger, shorter catechism. Where's the law summarily comprehended? Summarily comprehended in the Ten Commandments. And then, then again, I don't know the questions exactly, but then it also, like, says, like, "Where does Christ summarize this?" Well, you should love the Lord your God, and you should love your [00:38:00] neighbor as yourself, right? Covenant Works and Grace Tony Arsenal: So the, the lawyer comes forward and says, "What do I need to do to have a legal right to all of the blessings of the covenant of works?" Christ says, "Well, what do you think?" He says, "Well, you obey the entirety of the law." And he says, "You've answered correctly. Do this. Obey the entirety of the law and you will live." So the parable itself doesn't necessarily speak to this law, gospel, covenant of works, covenant of grace paradigm. The, the parable is used to show that not only does this lawyer know what is required of him, but that he won't do it.  Jesse Schwamb: Right.  Tony Arsenal: And I think that's really key, because even in the parable, within the parable itself, there are these figures that know what they should do, right? I, I think, um, we'll get into it, but there's a lot of ink spilled on almost like, um, explaining [00:39:00] why the priest and the Phar- phar- and the, the Levite almost like did the right thing by going to the other side of the room, and it points to like, well, their priestly and Levitical responsibilities, if they touch a dead body, like they can't do those things, and those things are so important. Like, there's a lot of ink spilled trying to almost explain why what they did is right, when the point of the parable is that actually we all know what the right thing to do in that sense was. And even the most righteous people in the mind of the hearers, the Levites and the priests, the most righteous people, even they don't do what they're supposed to do. Jesse Schwamb: Right.  Tony Arsenal: This, this paradigm, this gospel law paradigm, law gospel paradigm, this covenant of works, covenant of grace paradigm, is so baked into the very like fabric of, of human thought that it's just there. And Christ takes this time to point out to this lawyer, like, "You know what's expected of you." And so that's why the phrase desiring to justify himself is so key [00:40:00] here. I actually think that the, the, the I don't wanna go so far as to say, like, that this person was regenerated in the midst of this conversation, 'cause I don't know that. But I actually think that there's a forward movement of this lawyer as he interacts with Christ that is optimistic. I'm optimistic about it, right? Right. He starts out trying to test Jesus, then he star- then he moves to having a desire to justify himself. I think we hear that, we read that, desiring to justify himself, we automatically think that that's a negative thing. But if we think about justifying himself in terms of what he's talking about, how do I fulfill the obligations of the covenant of works, that's not a bad thing to wanna do. Right. It's not bad to wanna obey God's law and to lay claim to His promises. It's a misguided notion of something we can't accomplish, but in itself, desiring to justify himself is to desire to fulfill the obligations of the covenant of works. That's not necessarily a bad thing. And so I think this is a merciful, a merciful [00:41:00] teaching on Christ's part. He's trying to instruct this guy to say, "Look, you can't do it. And even if you could do it, you wouldn't do it. So let's, let's talk about mercy instead and what that looks like." And that's where we get to kind of the end of the, uh, the end of the parable.  Jesse Schwamb: And again, we have to remember that we know that the intent here is actually to test or try Jesus, so He's certainly being merciful by using this opportunity not to just put him on blast, but to actually provide true instruction. And of course, like, that was, to some degree, this turning the question back would've been, like, a rabbinic pedagogical technique, but theologically, this is what floors me, is from the jump, Jesus refuses to let this man treat Him merely as one more voice among competing rabbis. Yeah. Instead, He holds that lawyer to the standard of God's own revealed word by, like you said, asking not just what does it say, but how do you read it? Mm-hmm. He's pressing not just for, like, some kind of recitation, but for the lawyer's own understanding and application, and Jesus is gonna hold him [00:42:00] accountable to his own hermeneutic. So by, by the time we get the answer, we know as readers, and all those present would've understood, he already knows the right answer, and he's not ignorant to God's requirements. He already summarizes the whole moral law correctly, encompassing both tables of the Decalogue. And so I think that does lead us then to this statement that we probably should spend a little time on, like, do this and you will live, like you introduced for us. Like, what does that even mean? Because i- it's not, like, in my view It's not like a Pelagian or Arminian concession that law keeping actually saves. I mean, it is the covenant of works principle stated truly inexorably that the law as law does promise life to perfect obedience. But that's the exact problem. I, I like what you said that it's not as if we can't understand what it would be to comprehend or contemplate this perfect law and what it means to fall under the covenant of works. It's just that he also presents for us at the same time this covenant of grace in which life is [00:43:00] granted freely through faith in the mediator who alone fulfills all of these laws' demands. So it's wild in this back and forth that's happening here where it's... I don't even know if it's fair to say this is like the most incredible subtext ever. I'm imagining trying to process this in real time and realizing everything that's being said, not just listening to what's being said and like the technical answers going back and forth. But I think like you said, that the Spirit even here is at work, I would like to believe, in the life and at the heart and the mind of this lawyer who's bringing forward this question with nefarious intent first to test and to undermine, and then is being drawn in almost inexorably into this debate to more profound understanding about a covenant based on works that cannot be accomplished, uh, in perfect obedience except through the mediator who organizes and distributes liberally this covenant of grace to his children for whom he has accomplished at least passively and then actively in his obedience in life and death. And so Jesus' reply is, I [00:44:00] think, thus a very genuine like if that functions to expose an impossibility. I, I don't think he's teaching salvation by works here, of course. He is holding out the law's own terms so that the lawyer and everybody else listening, and even us as well, can discover through this narrative which is about to happen the impossibility of self-produced righteousness, which again is what this gentleman is theologically all about. He's trying to justify himself. And that is precisely the pedagogical strategy like Paul uses later when he systemizes all of this by saying that the law was our guardian or school master until Christ came in order that we might be justified by faith. I think- Yeah ... and it's only because God is good to us and we might sit in some of this teaching, I think this is all in play. So, so I ask you, like, have I gone too far with all this? Like, how much do you think in the real time was being processed? And maybe that's a horrible question to ask because we know the Spirit does this work of illumination and enlightenment, and we're on the other [00:45:00] side of this and have this time to sit and to kind of parse and to really kind of just be pickled in all of this. But there's so much happening here, right?  Tony Arsenal: Yeah. Yeah. Uh, maybe I'll answer the question a, a little bit of a different way. I think, um- We often can think about Old Testament religion, if we wanna kinda call it that. We think about Old Testament religion as though it was totally uniform and, um, entirely legalistic. Right. Uh, my- the, the listener is gonna panic a little bit when I say this, so please don't freak out, but I, I think N.T. Wright, uh, and some of the new perspective on Paul stuff is a, a little bit helpful in this, in that it gives us a foil to sorta push against. Yes. The new perspective on Paul is this idea that, um- Paul was not saying that Judaism was legalistic and Christianity is a grace-based religion, right? He, m- [00:46:00] um, N- NPP is not, is saying, um, Paul was not correcting New or Old Testament religion. And where they go wrong is that they say that Paul actually retains this concept of covenantal faithfulness, covenantal nomism fidelity. Uh, where I think, where I think they're right is that this idea that, like, the Old Testament religion is entirely legalistic and Paul was just sort of correcting that, I think that's way too simplistic. And the reason I say that is that the Mosaic Covenant for, you know, w- and predominantly this podcast is coming from a sort of Westminster Confession of Faith Presbyterian perspective, give or take, right? The, the broad Reformed tradition would say that the, the Mosaic, uh, covenant, the Davidic Covenant, all of the covenants of the Old Testament, and we can break them up in all sorts of different ways, but all of the covenants of the Old Testament, [00:47:00] um, with maybe the exception of the Noahic Covenant, and there's some debate about that, all of those are They're not just, like, supporting structures for the covenant of grace, but they actually are the covenant of grace in various administrations. If that's true, and of course we believe that it is, if that's true, then the people of those covenants understood that on some level. Right. Right? So to think that, like, people under the administration of the covenant of grace somehow thought that they were operating under a legalistic framework doesn't make any sense. Jesse Schwamb: Yeah,  Tony Arsenal: that's true. So, so where I think that applies here is I think this person coming forward, it's not as though the concept of the covenant of grace... Again, that's language that we would develop later, but the concept that God graciously saves His people by the counsel of His own will, apart from their works of righteousness, apart from their meritorious effort, that God [00:48:00] simply extends His grace and conveys the cov- the blessings of the covenant of works to those who trust in the mediator, those who trust in the one to come, the, the forthcoming serpent-crushing seed, right, if you wanna use- Right language from Genesis 3. The, the idea that God simply graciously conveys the blessings of the covenant of works to those people Um, that's not something that's alien to the Old Testament, right? It's not alien to the, even to the Mosaic economy. The most law-based of all of the Old Testament, um, covenants, even that starts with the concept that these people are God's people who he redeemed out of Egypt, right? Right. The redemption out of Egypt comes before the giving of the law, and the giving of the law is a result of the redemption out of Egypt. So to think that this lawyer comes forward, and again, this had been sort of corrupted and distorted and had become a very works-based, uh, [00:49:00] meritorious-based understanding. But the idea that this framework of a covenant of grace is totally alien to this guy just doesn't, it just doesn't, I think it doesn't play. And so I think rather than us read this as I think sometimes we do, of Christ as kind of like giving this guy, trying to give this guy an entirely new paradigm, or like the rich young ruler is very much a parallel kind of situation. We read this, this guy comes forward, he's like, "What do I gotta do to earn eternal life?" Christ is like, kinda basically says like, "Well, you dum-dum, you can't. And I'm gonna demonstrate for you that you can't by- Right ... taking sort of like this situation that you can't possibly believe that you fulfilled and telling you to fulfill it." That's the outcome of this. We'll get to that when we get to the end of the parable. Um, he's not trying to give them a new paradigm. He's trying, in my opinion, he's trying to sort of reorient them back to the true paradigm of grace that is present under all of the Old Covenant administrations. So it's not so much a matter of like [00:50:00] developing a new framework and impli- like imposing this new framework on this guy. It's really trying to say like, "Listen- Think about this for a second, dude. Think about this, right? Think about the fact that, yes, you know you have to love the Lord your God with your whole heart, your whole soul, your whole strength, your whole mind, and you have to love your neighbor as yourself, right? You've answered correctly. If you can do those things, you will live. With the subtext, which I think is what you're getting at, the subtext of, like, and of course you cannot possibly do those things. Right. Right. So what's the alternative, my friend? The alternative is not justifying yourself by somehow identifying who the person is that you have to love the most. The, the, the, um, the... Well, we'll get this when we get to the parable itself, but the, the alternative is... This will be interesting, 'cause I'm not sure that we... I don't know where you are on this, but, um, the alternative is that there's someone out there who shows us mercy. [00:51:00] Right. There's someone out there who takes care of our need despite our total inability to do so. Jesse Schwamb: That's right.  Tony Arsenal: That's the alternative to the covenant of works, is the covenant of grace. I m- maybe I'm, like, hinting at it too much, so I'll just say it. Like, Jesus is the Good Samaritan, right? Like, there's something for us to learn about our own justification here and our own- Right ... like, um, our own need to be merciful, to treat people as our neighbors. But just like we talked about when we talked about, like, what does the least of these mean, this parable, uh, I'm totally, like, burying the lede for next, next week, but that's fine. This parable is not primarily about us figuring out how to do mercy ministry. Right. Like, that's important. It's probably an outcome of this. It's probably something for us to think about. But really, this is actually Christ saying, like, "Hold on a second here, dude." Like, "Let's just think about this." Do you need someone who is going to tell you to pick yourself up off your bootstraps and cross to the other side of the street and leave you to [00:52:00] your own devices? Or do you need someone who's gonna throw you on their donkey, who's gonna bind up your wounds, who's gonna pay the innkeeper, and is gonna pledge to play- pay everything that is owed for your salvation? Right? That's not too on the nose here, I think. Right. And, and I really look forward to, like, unpacking that, although maybe we don't need to now, but I think, like, this parable is so much more about how salvation works than it is about, like, what it means to have a good neighbor and to be a good neighbor. I think we get bogged down in that, and I just am really excited to talk more about, like, what I think this parable actually gets at.  Jesse Schwamb: I agree, and it's happening in the contex

Last week's show was “the greatest podcasting that's ever been,” and you definitely missed it, so we decided to do the only reasonable thing: make a tribute and then immediately derail it. What starts as a joke about exclusivity turns into a full-on philosophy of “equal inopportunity” where nobody gets in, everyone is equally rejected, and reclusivity becomes a lifestyle choice we pretend is a movement.From there we bounce through the weird ways pop culture rewires our brains, including the CSI effect and the fantasy that you can always “zoom and enhance” your way to the truth. We take that same skepticism and point it at modern marketing with a fake pharmaceutical ad for Reclexa, a medication that's somehow nothing but side effects and still sounds tempting when you're tired, overstimulated, and ready to disappear for a weekend.We also step out of the bit long enough to talk honestly about audience trust and the pressure of always being serious online. The messages you send us matter, and we don't take them lightly, but we're also learning that humor can be part of the medicine when life feels heavy. Then we wrap it all in fandom chaos: Star Trek doors, angry Klingon letters, and a DeLorean that gets mistaken for basically every other universe at once.If you like comedy podcasts, sharp satire, and conversations that accidentally stumble into real mental health and burnout truths, hit play. Subscribe, share this with a friend who needs a laugh, and leave a review telling us which fandom you've offended by accident. Support the showYou can find us on social media here:Rob TiktokRob InstagramLiam TiktokLiam Instagram

Welcome to Captain's Pod, a Star Trek podcast presented by Ian and Deneé! Join the crew as Ian enjoys a Klingon drinking song, Deneé hasn't seen Casablanca, and Aaron#s got puns.Next Time: Strange New Worlds: Level Five Transporter Accident (S4E5)1) Ten Forward - Thoughts on the episode; what did the crew love and what can go out the airlock! - (8:18) 2) The Jefferies Tubes- Bloopers and other goodies that didn't make it into the show. Don't tell Section 31! (1:03:21) Want early and ad-free access to the show PLUS other perks? Join the Tea-Flingers at the Ian and Deneé Patreon!https://www.patreon.com/iananddenee Connect with us!Find Aaron Dicer by searching for SiftPop!Email: iananddenee@gmail.comDiscord: https://discord.gg/cm4nxyKd2SAnd live long and Podsper!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In Strange New Worlds S4E4, Number One gets stranded on a Klingon-occupied world that's basically Casablanca in space. Dom Bettinelli, Jimmy Akin, and Fr. Jason Tyler debate the shaky black-and-white science and cheer her overdue spotlight.

In Strange New Worlds S4E4, Number One gets stranded on a Klingon-occupied world that's basically Casablanca in space. Dom Bettinelli, Jimmy Akin, and Fr. Jason Tyler debate the shaky black-and-white science and cheer her overdue spotlight. The post A Case of Chiaroscuro (SNW) appeared first on StarQuest Media.

Of all the planets in all the galaxy, she has to crash onto mine! This week, Star Trek: Strange New Worlds takes us on a film noir-inspired adventure—but things aren't nearly as black-and-white as they seem. We'll break down the episode and give you our two cents! Also, this is your LAST CHANCE to get your hands on authentic Star Trek props! We've got all the details on the latest auction. Get ready to watch more Star Trek than ever before! We'll explain what's coming and why Trekkies are in for a serious binge. Plus, Holly Hunter teases Starfleet Academy Season 2 and gives us a glimpse at what fans can expect when the series returns. All that and more on Trekcast!News:https://trekmovie.com/2026/08/10/last-canadian-star-trek-auction-ends-tuesday-with-strange-new-worlds-and-more-memorabilia/https://treknews.net/2026/08/11/pluto-tv-launches-star-trek-pop-up-channels/https://www.tvinsider.com/1273893/star-trek-starfleet-academy-season-2-update-holly-hunter-interview/A Case of ChiaroscuroUna is mistaken for a resistance leader and drawn into a struggle against Klingon occupation.Welcome to Trekcast, the galaxy's most unpredictable Star Trek podcast! We're a fan-made show that dives into everything Star Trek, plus all things sci-fi, nerdy, and geeky—covering Star Wars, Marvel, DC Comics, Stargate, and more. But Trekcast isn't just about warp drives and superheroes. If you love dad jokes, rescuing dogs, and even saving bears, you'll fit right in! Expect fun, laughs, and passionate discussions as we explore the ever-expanding universe of fandom. Join us for a wild ride through the stars—subscribe to Trekcast today! Connect with us: trekcasttng@gmail.comLeave us a voicemail - (570) 661-0001‬Check out our merch store at Trekcast.comHelp support the show - ko-fi.com/trekcastBecome a supporter of this podcast: https://www.spreaker.com/podcast/star-trek-podcast-trekcast--5651491/support.

When Una's first away mission as commander almost gets her caught inside Klingon space, the away team ditches the shuttle on an occupied planet and they get dressed up to try to lay low. But after she's recognized for someone whose alliances aren't black and white, Una can't end the mission without appointing a new leader for the Mataaran resistance. What's Star Trek shorthand for an oppressive society? When is Dr. M'Benga like Batman? Who do we need 500% more of on this show? It's the episode that's too cute by one quarter.Support the production of our shows Members get benefits including bonus episodes and an ad-free experienceSign up for our mailing listGet a thing at podshop.bizGreatest Trek is hosted by Adam Pranica and Benjamin Ahr HarrisonThe show is produced by Wynde PriddySocial media is managed by Rob Adler and Bill TilleyMusic by Adam RaguseaDiscuss the show using the hashtag #GreatestTrek and find us on social media:YouTube | Instagram | BlueskyAnd check out these online communities run by FODs:Reddit | USS Hood Discord | Facebook group | Wikia | FriendsOfDeSoto.socialSupport the production of Greatest Trek Hosted on Acast. See acast.com/privacy for more information.

Reuploaded with non-copyrighted music!Celebrating 40 years of Star Trek IV: The Voyage Home.Shortly after Star Trek III: The Search for Spock came out, Paramount wanted to lock down Leonard Nimoy to direct its sequel. They wanted his vision this time unlike the last film, and after an original script that included Eddie Murphy and the Klingon bird-of-prey decloaking at the Super Bowl was scrapped, the film was finally ready to go to be released. Originally planned for a December 12, 1986, release, Paramount moved it to Thanksgiving due to great test screenings. The film made $109 million - the highest grossing film for nearly 25 years for the Star Trek franchise until the 2009 reboot (since surpassed by 2013's Into Darkness).In this episode of Twin Cities Trekkies, Wes kicks off the podcast's Second Star Trek Film Extravaganza with his guest Chris (aka MemeSpaceNine) to talk about The Voyage Home.Any feedback you have can be submitted to the Facebook page (facebook.com/TCTrekkiesPod), or by emailing them at tctrekkiespodcast@gmail.com. Twin Cities Trekkies is also available on Instagram (instagram.com/twincitiestrekkiespod). Find us on Blue Sky (TC Trekkies) or TikTok (@twincitiestrekkie). You can also leave us comments in the comment section of this episode in Spotify. Just keep in mind the feedback you may give may be featured in an upcoming episode of this podcast.Twin Cities Trekkies is available on many platforms!

00:00; Vark Latyns, Hangul, minder letters en kappies11:30; Amerikaanse spelling, verbuigings en irregular verbs15:42; Esperanto & Conlang30:43; Lord of the Rings, High Valyrian, Klingon, District 943:48; Toki Pona48:38; Hoekom tale maak? Eddie Vedder, Filosofietaal

Starfleet needs the greatest ninja-SEAL infiltration team in the galaxy to go deep behind Klingon lines and expose Gowron - so they send space station manager Sisko, engineer O'Brien, non-changeling Odo and one of the most recognizable Klingons in history to take on the mission! Meanwhile, Dukat Dukats and Gowron Gowrons.[Episode discussion begins around 1:11:00]

It’s time for the next spin on the genre wheel, as “Strange New worlds” lurches from horror to comedy. Dave Foley is a weird alien with a weird pleasure planet. There’s a thin strand of plot and a Star Trek take on “The Hangover.” Pike gets a lot of tattoos! There’s Klingon karaoke! Someone’s wearing a Mugato suit! Most importantly, Scotty and Ortegas learn to understand each other and Spock bonds with an imaginary—or is he?—Jim Kirk. Also, prompted by the last two weeks’ genre whipsaw, Scott and Jason have deep thoughts about what we like, why we like it, and how we process stuff that doesn’t fit in our definition of the thing we like. Scott McNulty and Jason Snell.

It's time for our latest Quarkstop episode, as we dive into HOUSE OF QUARK, where Quark gets caught up in some Klingon scheming while Jessie finds her true Ferengi self. ▶Coming to Trek to Vegas? Join Tawny and the Syfy Sistas at their annual Patreon Thank You Dinner. Fri Aug 7 - Reserve your seat here: https://www.eventbrite.com/e/fine-alpinist-ranch-supporter-seat-pre-reservation-tickets-1992084897554?aff=oddtdtcreator ▶Call us at: 323-389-7223 ▶Check out the crew's bonus shows at http://suboptimalpods.com. ▶Subscribe to the audio podcast wherever you get your favorite podcasts: https://omny.fm/shows/startertrek ▶See omnystudio.com/listener for privacy information. ▶A Fine Alpinist Ranch Production - http://www.finealpinistranch.com ✔ SOCIAL MEDIA ✔ ▶Twitter - https://x.com/yoisthisracist ▶Instagram - https://www.instagram.com/yoisthisracist/Suboptimal Premium Pods! : https://suboptimalpods.com/See omnystudio.com/listener for privacy information.

We're rating one of the biggest swords around on this week's show, along with another wooden sword, a weapon of Klingon legend, and more! Learn more about your ad choices. Visit megaphone.fm/adchoices

Before Captain Picard. Before the Enterprise-D. Before Gene Roddenberry stepped back into the captain's chair of his own creation... This week on The Trek Files, Larry Nemecek is joined by author and Star Trek historian Ben Robinson to examine one of the earliest surviving documents in the development of Star Trek: The Next Generation: a September 1986 memo from writer Greg Strangis to producer Rick Berman outlining the first concepts for a new Star Trek television series. The document reveals some fascinating ideas: a Starfleet Academy setting, a young captain, a Klingon observer serving aboard a Federation starship, familiar themes of friendship, diplomacy, and the Prime Directive, but viewed through the lens of Cold War politics and 1980s television. Together, Larry and Ben explore why some of these ideas disappeared, why others evolved into the Next Generation we know today, and how the process of reinventing Star Trek began long before Gene Roddenberry ultimately reshaped the concept himself. Documents and Additional References Greg Strangis to Rick Berman — Early Notes on "Star Trek: The Next Generation" (September 4, 1986) Additional References Greg Strangis Rick Berman Star Trek: The Next Generation Gene Roddenberry Ben Robinson Related Trek Files episodes: Season 1, Episode 4 — Early Star Trek: The Next Generation series treatment Season 13, Episode 2 — Gene Roddenberry's response to the early Next Generation proposal

Before Captain Picard. Before the Enterprise-D. Before Gene Roddenberry stepped back into the captain's chair of his own creation... This week on The Trek Files, Larry Nemecek is joined by author and Star Trek historian Ben Robinson to examine one of the earliest surviving documents in the development of Star Trek: The Next Generation: a September 1986 memo from writer Greg Strangis to producer Rick Berman outlining the first concepts for a new Star Trek television series. The document reveals some fascinating ideas: a Starfleet Academy setting, a young captain, a Klingon observer serving aboard a Federation starship, familiar themes of friendship, diplomacy, and the Prime Directive, but viewed through the lens of Cold War politics and 1980s television. Together, Larry and Ben explore why some of these ideas disappeared, why others evolved into the Next Generation we know today, and how the process of reinventing Star Trek began long before Gene Roddenberry ultimately reshaped the concept himself. Documents and Additional References Greg Strangis to Rick Berman — Early Notes on "Star Trek: The Next Generation" (September 4, 1986) Additional References Greg Strangis Rick Berman Star Trek: The Next Generation Gene Roddenberry Ben Robinson Related Trek Files episodes: Season 1, Episode 4 — Early Star Trek: The Next Generation series treatment Season 13, Episode 2 — Gene Roddenberry's response to the early Next Generation proposal

Before Captain Picard. Before the Enterprise-D. Before Gene Roddenberry stepped back into the captain's chair of his own creation... This week on The Trek Files, Larry Nemecek is joined by author and Star Trek historian Ben Robinson to examine one of the earliest surviving documents in the development of Star Trek: The Next Generation: a September 1986 memo from writer Greg Strangis to producer Rick Berman outlining the first concepts for a new Star Trek television series. The document reveals some fascinating ideas: a Starfleet Academy setting, a young captain, a Klingon observer serving aboard a Federation starship, familiar themes of friendship, diplomacy, and the Prime Directive, but viewed through the lens of Cold War politics and 1980s television. Together, Larry and Ben explore why some of these ideas disappeared, why others evolved into the Next Generation we know today, and how the process of reinventing Star Trek began long before Gene Roddenberry ultimately reshaped the concept himself. Documents and Additional References Greg Strangis to Rick Berman — Early Notes on "Star Trek: The Next Generation" (September 4, 1986) Additional References Greg Strangis Rick Berman Star Trek: The Next Generation Gene Roddenberry Ben Robinson Related Trek Files episodes: Season 1, Episode 4 — Early Star Trek: The Next Generation series treatment Season 13, Episode 2 — Gene Roddenberry's response to the early Next Generation proposal

Hola, Sneakers! Welcome to Sneaky Dragon – the podcast for outsiders! This week: reaching our quota; the wizard of idiots; quizlings again: the career of Jodie Foster; out of the woods; afternoon tea; sandwich trials; a narrow margarine; tangoed up and blue; Brando echh; S.E. questions; three for one; quizlings redux: the films of Francis Ford Coppola; Dave doesn’t know Jack; mega city live; rendered harmless; condiment crunch; mixed blessings; Klingon belles; the power of suggestion; Flesh forward; prop humour; everything’s Kay; Supergirl is super; no depression; orphan donor; Question of the Week – Sneakers respond; participation required; senior service; record store Dave; two cats one dog; smashed hit; magical poop; and, finally, quiz whiz. Question of the Week: What is something your partner brought you around to?Sub-question of the Week: Who is an actor or actress whose performance impressed you? Thanks for listening. A modern trailer for a modern film: Some Scooby-Doo for you! Let’s get Freaky!

Season 14, Episode 30  Star Trek: Deep Space Nine #4.14 "Sons of Mogh"    Unlike Worf, we don't forget Alexander! Stephen is still down on Klingon episodes, but like Olivia, is intrigued by what is brewing between Dax and Worf.     Edited by Olivia James, with assistance from Resound.fm   It's All Been Trekked Before is produced by IABD Presents entertainment network. http://iabdpresents.com 

Worf finds out that being Klingon nobility isn't all it's cracked up to be as we review "Sons of Mogh"! All that Kling-ron backstory comes back to haunt our newest Deep Sheetz Nine officer as his brother Kurn shows up with a dire request. We dig deep on Worf realizing how human he has become, the uncounted consequences of his actions, and just how many serious felonies Sisko is going to let slide on this station. 

We dive into Klingon politics and theology with a Worf centric episode in "Rightful Heir". Also, a Riker transporter mishap leads to some shenanigans with Deanna in "Second Chances".    

In this episode we celebrate Father's Day with the best way we know how....discussing Star Trek! We look at TNG's "Bloodlines" when Captain Picard is surprised by a possible love child. What ensues is a web of lies and deceit by the former Daimon, Bok. We also look at Voyager's "Lineage" as Belanna and Paris find out that they are going to be first Time parents. However, Belanna's childhood haunts her with memories of being picked on for being part Klingon. Being a parent is hard and in the Star Trek universe, that is no different!

Anika does 133 jumps while Liz infiltrates a Klingon ship. What could go wrong? Well, this episode is late, so... Yes, we are discussing season 1, episode 9 of Star Trek: Discovery, "Into the Forest I Go". A nice walk in the woods! Everyone comes home!  Do all Starfleet captains disobey orders? Actually yes! Despite the stereotypes, the biggest exception is Kirk in TOS … and Liz has a theory about why that changed  "This conversation reminds me of a Tumblr post that mildly irritated me two weeks ago…" "You can't say anything against my baby Ash, okay? He's my baby girl."  We have some digressions and thoughts on the state of fandom and franchise media in the year 2026 Anika's Wonderland Corner: Cornwell, Ash and L'Rell as Knight, Death and the Devil

Were you a geek? A nerd? Did you play Magic: The Gathering, paint Warhammer miniatures, learn to speak Klingon or Elvish, or memorize whole scenes from Star Trek? If so, then good news: it might have taken a few broken eyeglasses and shoves in high school, but geek culture has finally triumphed. Dragons are cool, Star Wars has never had more fans, and everyone is geeking out over the latest sci-fi release on Netflix. How did this happen? And how have the changing demographics of geekdom affected it, for better or worse? Lifelong nerd and critic A. D. Jameson, whose geek cred is stronger than the Force itself, joins us to figure it out. This episode originally aired in 2018.Go beyond the episode:A. D. Jameson's I Find Your Lack of Faith Disturbing: Star Wars and the Triumph of Geek CultureRead A. D. Jameson and Justin Roman's article on sexism in gaming, “If Magic: The Gathering Cares About Women, Why Can't They Hire Any?”For more on how franchises have changed Hollywood's structure, check out Stephen Metcalf's article, “How Superheroes Made Movies Expendable”If you're looking for an escape this holiday weekend, please binge watch Marvel's Jessica Jones (reading a book would be fine, too)Listen to the queer history of comics in our second ever podcast episode, “Superheroes Are So Gay!”Tune in every other week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek.Subscribe: iTunes/Apple • Amazon • Google • Acast • PandoraHave suggestions for projects you'd like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! Hosted on Acast. See acast.com/privacy for more information.

The crew of the Enterprise D are enjoying some rare downtime while waiting for a meet up, so they decide to relax a little. Picard plays his flute. Bev and Riker work on a play. Geordi and Data play Science Brothers together, and Worf? He reluctantly decides to be a father to everyone's favorite little Klingon, Alexander, and go on a Holodeck adventure. The cutest little computer programmer has whipped up a Western complete with saloons, hornery owlhoots, piano players, and prostitutes. Bonus! Deanna Troi joins them as Durango, a rifle-totin', cheroot chompin' stranger. It's all fun and games until Geordi and Data's little experiment causes the computer to go cattywampus! Suddenly, every owlhoot is Data, and he's out to hornswoggle Sheriff Worf, and his trusty Deputy Alexander! Will Worf and his sidekicks be able to outfox his ultimate AI enemy? Will Geordi and Data be able to fix the computer? Will Picard ever be able to play his flute in peace? Find out in this exciting new episode of ST:TNGeez, Not Another Star Trek Podcast!Even more available at: https://tngeez.com

Celebrating 40 years of Star Trek IV: The Voyage Home.Shortly after Star Trek III: The Search for Spock came out, Paramount wanted to lock down Leonard Nimoy to direct its sequel. They wanted his vision this time unlike the last film, and after an original script that included Eddie Murphy and the Klingon bird-of-prey decloaking at the Super Bowl was scrapped, the film was finally ready to go to be released. Originally planned for a December 12, 1986, release, Paramount moved it to Thanksgiving due to great test screenings. The film made $109 million - the highest grossing film for nearly 25 years for the Star Trek franchise until the 2009 reboot (since surpassed by 2013's Into Darkness). In this episode of Twin Cities Trekkies, Wes kicks off the podcast's Second Star Trek Film Extravaganza with his guest Chris (aka MemeSpaceNine) to talk about The Voyage Home. Any feedback you have can be submitted to the Facebook page (facebook.com/TCTrekkiesPod), or by emailing them at tctrekkiespodcast@gmail.com. Twin Cities Trekkies is also available on Instagram (instagram.com/twincitiestrekkiespod). You can also leave us comments on Spotify. Follow us on BlueSky and TikTok! Just keep in mind the feedback you may give may be featured in an upcoming episode of this podcast.Twin Cities Trekkies is available on many platforms!

Brock and Jon sit down with longtime Northwest Arkansas wedding photographer Dale Benfield of Benfield Photography for a funny, story-filled conversation about weddings, photography, vendor teamwork, and 20 years in the industry.They kick things off with wild wedding stories, including a groom spending his honeymoon in jail, cake-smashing disasters, Klingon wedding ceremonies, and reception drama that proves weddings are never boring.Dale shares how he went from teaching to building a high-end photography brand, why relationships matter more than gear, how he handles luxury clients, destination weddings, celebrity/privacy situations, and why the best photographers know how to read people—not just camera settings.The episode also covers working with DJs, family legacy, emotional dad moments, wedding trends, building trust with clients, and Dale's advice for photographers trying to break into the business.

This week on Hailing Frequencies Open, we're honored to welcome Mary Chieffo, best known to Star Trek fans as the fierce Klingon leader L'Rell from Star Trek: Discovery. We dive into her journey into the Star Trek universe, the challenges of bringing a Klingon to life under layers of prosthetics, her love of Shakespeare, fandom, creativity, and what it means to be part of the ever-growing Star Trek legacy. Qapla'! Learn more about Mary and her latest projects at Mary Chieffo's Official Website. If you enjoy the show and want to help us continue producing interviews, reviews, and Trek discussions, support us at Ko-fi: Hailing Frequencies Open.

Join us on the MuppeTrek Podcast! On Fraggle Rock, Gobo and Red get competitive and things get out of hand in "Wembley and the Great Race." And Star Trek TNG episode, "Sins of the Father." We begin our deep dive into Klingon culture as Candyman joins Worf's family and they're forced to defend their honor!

Join us on the MuppeTrek Podcast! On Fraggle Rock, Gobo and Red get competitive and things get out of hand in "Wembley and the Great Race." And Star Trek TNG episode, "Sins of the Father." We begin our deep dive into Klingon culture as Candyman joins Worf's family and they're forced to defend their honor!

“Richard Gere is too handsome to fight with a helmet on!” - Andrew On this week's show, we're chatting about the super-sexy, Arthurian blockbuster, First Knight! How incredible and unsettling is Gere's wig? Why is every character in this movie way too clean? Did Malagant's broke down palace have an actual bottomless pit? How great is Ben Cross in this movie? And do these Knights of the Roundtable outfits look like something a Klingon would wear? PLUS: Sean Connery's favorite movie of 2005 was definitely Robert Rodriguez's Shin Shity! First Knight stars Sean Connery, Richard Gere, Julia Ormond, Liam Cunningham, Christopher Villiers, Ralph Ineson, John Gielgud, and Ben Cross as Malagant; directed by Jerry Zucker.Come hang out in Vegas with us this summer as we do a three-night stand at ST:LV to celebrate 60 years of Star Trek and 10 years of The Nexus! We'll be at the convention Thursday, Friday and Saturday night doing three Nexus shows on Wrath of Kahn, Generations, and First Contact! Best part is, you don't need to have a convention pass to attend, each show is ticketed separately. Click through to snag your tix now!This episode is brought to you in part by Hims. Ready to reach your goals? Visit hims dot com slash WHM to get a personalized, affordable plan that gets you.And by Pestie! Keep the bugs away with Pestie. Go to pestie.com/WHM for an extra 10% off your order.Be sure to visit the WHM Merch shop over on Dashery and check out all the latest show-related designs you can slap on t-shirts, hats, coffee mugs, stickers, whatever! Make your friends jealous by flaunting some WHM merch today! Original cover art by Felipe Sobreiro.

Romulans using Klingon designs!? Vulcan and Romulan finger entwined!? Kirk and Spock are looking for a cloaking device while the Romulan commander's looking for a poking so nice! It's a wild ride this episode, maman!

Anika and Liz are thrown into a Klingon prison, where they are absolutely choosing Lorca's pain. But no one is having a worse day than that poor innocent tardigrade!  We're discussing episode five of Star Trek: Discovery's first season, including:  This is the worst Saru episode of the entire series. It's rough, man Overthinking the "five best captains" list For an awful moment, we start to ask dangerous questions like "how many starships does Starfleet have?" This episode is a card trick: your attention is on Harry Mudd, but really it's introducing Ash Tyler Liz has normal and rational feelings about the historical Buran We play a fun game called "which other captains would leave Mudd in the Klingon prison" (Archer) Introducing Ash means we have to talk about Ash, L'Rell and the misguided sexual assault subplot Antimatter Pod: We aren't really into m/m ships Also Antimatter Pod: We will die for Lorca/Tyler Our hot take: Saru did NOT deserve that telescope, this is NOT a sweet scene to be immortalised as a Hallmark ornament, this is REWARDING his BAD BEHAVIOUR

Send us Fan MailGet an exclusive price for vidIQ! https://link.vidiq.com/podcastWant a 1 on 1 coach? https://vidiq.ink/theboost1on1Join our Discord! https://www.vidiq.com/discordWatch the video: https://youtu.be/wQawsBo1ZksWe talk with Nathan from Slime E101 about going from YouTube scriptwriter to creator and growing to roughly 70,000 subscribers in about three months with daily uploads. We dig into the viral ideas and platform features he used to drive rewatching, revive older videos, and stay consistent without getting trapped by perfectionism. • writing scripts professionally and how that skill carries into a new channel • leaving a high-workload creator job for better balance and a new path in digital media • Project 100 as a consistency system plus a charity penalty for late uploads • why YouTube can push a “non-niched” channel when individual videos are strong • the MrBeast least-viewed concept that sends viewers to older uploads • using YouTube dubbing and a Klingon audio track to add a second “half” after upload • the technical reality of matching audio track lengths and what retention reveals • what happens after a million-view spike: outreach, scams, monetisation and next steps • choosing a sustainable schedule while keeping creative freedom and experimentation If you want to, if you're feeling really cool, you can hit that like button... and later on, if you really love the content, hit that subscribe button... If you're listening to the audio podcast, I think this is worthy of a five star review. 

Time to stand on the table for one of the most underrated and misunderstood Star Trek films ever... The Search for Spock! No, we don't believe ALL the odd numbers are bad... this one deserves to be in the top amongst the best Trek films and we build our case in the show today. Add our Top 5 Star Trek captain moments of all time, and our great friend Daryl Ewry, and you get an incredible show where we get our shields out. So grab your Phasers, be sure to feed your Klingon monster dogs, and don't forget your mind-melds... it's time for The Search for Spock on The Movie Defenders podcast! Click here to listen and connect anywhere: https://linktr.ee/moviedefenders 00:00:00 Intro and What We've Been Watching 00:26:35 Top 5 Star Trek Captain Moments 01:02:03 Movie Discussion Begins 01:32:55 Prologue 01:56:59 Spock's Quarters Broken Into 02:10:45 Sarek Visits Kirk 02:30:45 Stealing the Enterprise 02:56:16 Kirk Learns From Wrath of Khan 03:03:05 Death of David 03:14:26 Zero Zero Zero, Destruct... Zero 03:28:54 McCoy Talks to Spock 03:34:07 "Your name... is Jim." Special thanks to our amazing Patreon supporters! Alex Kirkby  Alexis Helman Barrett Young Bart German Brett Bowen Daryl Ewry Doug Robertson Ena Haynes Eric Blattberg Jason Chastain Josh Evans Joshua Loy Katherine Boulware Kevin Athey Mark Nattress Mark Martin Megan Bush Michal Kaczmarek Michael Puckett Nick Nagher Randal Silver Sean Masters Stephanie Ewry Tim TJ Walker Attack of the Killer Podcast

Remember 2017? Taylor Swift released Reputation. Kendall Jenner fixed racism with a Pepsi ad. And Star Trek returned to the small screen with the launch of Discovery.  Anika and Liz go back in time to revisit the series which led us to become friends and launch a podcast ... and we are excited! We're starting with "The Vulcan Hello" and "The Battle at the Binary Stars", in which Michael Burnham has a very bad day.  "I am one of the first 500 people to sign up for CBS All Access. Which is a dubious claim." These episodes are not bad, but they are a terrible introduction to the series, both in terms of its ongoing tone and themes, and in terms of making people want to see more "Can I just say? T'Kuvma could get it." We are not opposed to subtitles, but the specific "Klingon" font used by CBS All Access was straight up hard to read Does the premiere ask too much of the audience? Both in terms of asking them to empathise with complex characters they've just met, and also in having basic media literacy? (Michael Burnham Did Not Start The War.) Saru's relentless negativity makes him a difficult character to like Returning to our roots as The Sarek Podcast The Klingons are MAGA, but they're also very Brexit-era Britain We are once again criticising the Federation's carceral state

There are word nerds, and then there's the woman who set up a folding chair on sidewalks throughout the country, cheerfully dispensing tips about grammar. She recounts her adventures in a new book. And the story of the brilliant pioneer of computing language whose name lives on in a familiar term. Plus, when you get a new haircut, beware of anyone yelling Rinktums! Noogies may follow! Also, slobgollion and slumgullion, comb graves, tearing up Jack, paging Dr. Armstrong, a brain teaser about book and movie titles, swotting up your Klingon, Parva sed apta mihi, a clever way to end a long phone conversation, and words worth inscribing in stone. See you in the funny sheet! Hear hundreds of free episodes and learn more on the A Way with Words website: https://waywordradio.org. Be a part of the show: call or text 1 (877) 929-9673 toll-free in the United States and Canada; elsewhere in the world, call or text +1 619 800 4443. Send voice notes or messages via WhatsApp 16198004443. Email words@waywordradio.org. Copyright Wayword, Inc., a 501(c)(3) corporation. Learn more about your ad choices. Visit megaphone.fm/adchoices

A woman who hates her unborn child. A scheming Klingon. A Prime Directive that's barely an idea yet. Dom Bettinelli, Fr. Jason Tyler, and Jimmy Akin unpack D.C. Fontana's bold "Friday's Child."

A woman who hates her unborn child. A scheming Klingon. A Prime Directive that's barely an idea yet. Dom Bettinelli, Fr. Jason Tyler, and Jimmy Akin unpack D.C. Fontana's bold "Friday's Child." The post Friday’s Child (TOS) appeared first on StarQuest Media.

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]

Star Trek: Starfleet Academy is doing something rare for a franchise show: it's willing to put its own hero institution genuinely on trial — and Matthew sits down with Matt Carroll, co-host of the Star Trek Universe Podcast and founder of the Stranded Panda Podcast Network, to dig into all ten episodes with full spoilers in hand.At the center of the season is a storyline connecting Captain Ake, Anisha Mir, and her son Caleb; a morally tangled triangle of guilt, projection, and hard accountability that both hosts find unexpectedly moving. They debate how the show handles its courtroom climax, where the villain Noose Braca's grievances against the Federation turn out to rest on factually false memories. The hosts see a deliberate political metaphor but wish the Federation had been made to answer for more. They also get into the Klingon cadet who wants to be a nurse, the war college subplot as Star Trek's latest engagement with its own military identity, and a three-stakes framework for evaluating action sequences that lights up a new way of thinking about everything from the Daredevil hallway fight to Luke's Death Star shot.The conversation doesn't stay in the story, because the story of what's happening to this show turns out to be just as urgent. Both hosts make the case that Starfleet Academy's pre-emptive cancellation before Season 2 even airs looks a lot less like a business decision and a lot more like a targeted act of political interference — and that watching the show is itself a small form of pushback.Mentioned in This EpisodeStar Trek Content DiscussedStar Trek: Deep Space Nine — “In the Pale Moonlight”Star Trek: PicardThe Orville (Season 4 reportedly in production for a late 2026/2027 release)Other Shows & Films ReferencedDaredevil (Netflix) — hallway fight scene, Season 1Buffy the Vampire SlayerLuke CageIf Starfleet Academy has been sitting in your queue, this is the episode that'll send you straight to it — or send you back for a rewatch with sharper eyes.About Matt CarrollMatt Carroll is the co-host of the Star Trek Universe Podcast and the founder of the Stranded Panda Podcast Network, home to the Marvel Cinematic Universe Podcast, Multiverse News, and more. He loves to explore conversations around storytelling and how it connects to our lives.  This is expressed in both his music and podcast endeavors.The album Left to Burn from Matthew Carroll is available everywhere you get music! Matthew debuted three albums in 2020 with his band The Garage; a double album dedicated to Star Trek and a Marvel-centric album focused on Black Widow. Connect with Matt: Stranded Panda**************************************************************************This episode is a production of Superhero Ethics, an Ethical Panda podcast and part of the TruStory FM Entertainment Podcast Network. Check out our website to find out more about this show and our sister podcast Star Wars Generations.We want to hear from you! Keep up with our latest news and send us feedback, questions, or comments via social media or email.TikTok · Twitter/X · Instagram · Facebook · EmailJoin the conversation in the Star Wars Generations and Superhero Ethics channels on the TruStory FM Discord.Want even more content while supporting the podcast? Become a member! For $5 a month or $55 a year you get access to bonus episodes and bonus content at the end of most episodes — and you can even give membership as a gift. Sign up here.You can also support us through our sponsors:Purchase a lightsaber from Level Up Sabers, run by friend of the podcast Neighborhood Master Alan.Use Audible for audiobooks. Sign up for a one-year membership or gift one through this link.Purchase any media discussed this week through our sponsored links.

Jon and Blaine are back! Worf is on trial for the deaths of several Klingon civilians.

Sisko takes time out of running the station to defend Worf from being too Klingon-y. Is it another great Trek legal foray or will this episode be overruled by Matt or Andy?[Episode discussion begins around 1:12]

On this one we chat about celebrity dating apps, drinking, Willy Wonka and the Chocolate Factory, XR Glasses, LOL-ROFL drift, performative friendship, Klingon, and more! Do you hate ads but love (or even just tolerate) this show? Do you want an incredible deal on access to our entire 5 year backlog of video and ad-free episodes for TWO DOLLARS A MONTH? Then check out our Patreon and support the show at patreon.com/leightonnight! Kick us $5 a month and you even get a MINISODE every week, too. AND access to the fan discord, which is cool and fun. It's a steal. We literally shouldn't be doing this. Follow us on Twitter at @leightonnight and on Instagram/TikTok at @leighton_night. You can find Brian on Twitter/Instagram at @bwecht and Leighton at @buttchamps (Instagram). Hosted on Acast. See acast.com/privacy for more information.

When the cadets leave campus for All-Worlds Day break, Darem gets ritually abducted and Jay-Den makes an extremely risky decision to follow him through a random portal. But after Caleb stays aboard the Athena and Genesis gets them both in trouble over nothing, Jay-Den gives a reception speech so targeted that it pushes the happy couple to the point of abdication. How does a Klingon wear a speedo? What's been working fine on Star Trek for 60 years? Which species gets more exposition than the Khionians? It's the episode with three notable examples of science fiction. Support the production of Greatest Trek Get a thing at podshop.biz! Sign up for our mailing list! Greatest Trek is produced by Wynde Priddy Social media is managed by Rob Adler and Bill Tilley Music by Adam Ragusea Friends of DeSoto for: Labor | Democracy | Justice Discuss the show using the hashtag #GreatestTrek and find us on social media: YouTube | Instagram | Bluesky And check out these online communities run by FODs:  Reddit | USS Hood Discord | Facebook group | Wikia | FriendsOfDeSoto.social Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.