1994 American animated musical film produced by Walt Disney Feature Animation
This week, Disney bride Alley Moore and her mom, Missy Smith, share the story of Alley's Tree of Life ceremony, Festival of the Lion King reception, and Terrace des Fleurs welcome party with Remy's Ratatouille Adventure ride mix-in. They were initially leery of using Festival of the Lion King but needed an indoor venue so they could have amplified entertainment after midnight, and today they share all the pros and cons of using the space, plus tips on making it feel more like a wedding venue. You'll also hear how guests reacted to the late-night ceremony and reception times and what Alley and Missy would change about their events. Click here to see all the photos!
This week we talk about Unity, Unreal, and Godot.We also discuss fee structures, user revolts, and indie game-makers.Recommended Book: How Big Things Get Done by Bent Flyvbjerg and Dan GardnerShow Notes* https://www.statista.com/outlook/dmo/digital-media/video-games/worldwide* https://www.billboard.com/pro/ifpi-global-report-2023-music-business-revenue-market-share/* https://www.cnbc.com/2022/07/07/video-game-industry-not-recession-proof-sales-set-to-fall-in-2022.html* https://en.wikipedia.org/wiki/Video_game_industry* https://www.washingtonpost.com/video-games/2022/08/22/are-video-games-recession-proof-sort-experts-say/* https://www.gamedeveloper.com/blogs/unity-s-pricing-changes-are-trying-to-solve-too-many-problems-at-once* https://www.gamedeveloper.com/business/unity-apologizes-to-devs-reveals-updated-runtime-fee-policy* https://www.theverge.com/2023/9/22/23882768/unity-new-pricing-model-update* https://www.theverge.com/2023/9/15/23875396/unity-mobile-developers-ad-monetization-tos-changes* https://www.theverge.com/2023/9/12/23870547/unit-price-change-game-development* https://www.washingtonpost.com/video-games/2022/08/22/are-video-games-recession-proof-sort-experts-say/* https://www.investopedia.com/articles/investing/022216/how-microtransactions-are-evolving-economics-gaming.asp* https://digitalcommons.uri.edu/srhonorsprog/902/* https://www.investopedia.com/articles/investing/053115/how-video-game-industry-changing.asp* https://finmodelslab.com/blogs/operating-costs/video-game-company-operating-costs* https://www.makeuseof.com/ways-the-rising-costs-of-games-affect-the-industry/* https://codeswholesale.com/blog/5-ways-to-make-money-in-the-gaming-industry/* https://gamemaker.io/en/blog/cost-of-making-a-game* https://www.gamedesigning.org/learn/video-game-cost/* https://www.reuters.com/technology/video-gaming-revenue-grow-26-2023-console-sales-strength-report-2023-08-08/* https://www.statista.com/outlook/dmo/digital-media/video-games/worldwideTranscriptDepending on how inclusive you are with your measurements and the specific numbers you're tallying, the global video game market is expected to pull in somewhere between $187.7 and $334 billion in revenue in 2023.That's somewhere between 2.6% and 13.4% above 2022 numbers—and again, those figures are pretty far apart because different entities keeping tabs on this industry measure different things, some only looking at direct sales of video games and in-game items, while others look at connected sub-industries, like e-gaming events and service jobs that do customer support for game companies.Whichever end of that spectrum you look at, though, the global video game industry is a behemoth that's growing every year, and its income surpassed that of the music and film industries, combined, years ago, the global film industry expected to bring in around $92.5 billion in 2023, while the global music industry pulls a paltry $26.2 billion.The video game market is continuing to grow at a fairly stellar pace, compared to other entertainment categories, as well. And while it was shown not to be entirely recession proof, as had been claimed since the financial crisis of 2007 and 2008, when it remained one of the few industries still growing steadily, that growth balking a bit in 2022, when the industry contracted by 1.2%, it grew substantially at the beginning of the COVID-19 pandemic, and has largely maintained that growth since, which has allowed entities operating in this space to claim more and more entertainment-related marketshare, which in turn has shifted the center of gravity in the media world toward video games and away from other leisure options, including things like travel, vacations, and other things you wouldn't typically think of as being competitors of the video game market.Since video games really took off, hitting the mainstream in the 1980s, and becoming a big deal in the 1990s with the emergence of user-friendly consoles and 3D graphics, the economics of video games have changed substantially.Once, video game companies sold games that would play on a user's computer, then consoles—which are basically gaming-focused mini-computers that plug into a customer's TV, or can be carried around in their pockets—those quickly became the new default for many gamers, creating a more optimized gaming experience, though also introducing a new cost for game-makers, as they typically need to pay something to the console-maker to use their tech and have their products work on these platforms.Retail stores became increasingly important to the gaming industry's budgetary concerns around this time, as they would need to take a cut of the sale price of everything they sold, but also have the flexibility to offer deals to their customers, to incentivize purchases and lure them away from other game stores.And further toward the base of the development stack, as games became more sophisticated and refined, game-makers had to spend more money on high-end hardware, but also higher-end software tools that would allow them to develop the games, polish them so they could compete with other offerings, and in some cases use what's often called "middleware" to serve as a scaffolding for their game projects—software tools that are sometimes referred to as game engines.All of which has made the process of producing video games a lot more complex and expensive, and as the industry has become more popular, roping-in more and more customers, more and more entities have popped up, intent on making their own games; and that's fed a spiral toward higher-costs and more complex game-making processes, leading to a lot of enrichment in some cases, and quite a few new business models optimized for different platforms and styles of game, but also quite a few bankruptcies and hostile takeovers, even seemingly successful video game companies sometimes falling short or investing too much in a game that flops, leaving them with insufficient resources to keep the lights on or produce their next product.What I'd like to talk about today is a recent scandal in the video game industry related to one of those middleware, game engine-making companies, and how they're scrambling to make things right after seemingly losing much of their goodwill and credibility essentially overnight.—In early September, 2023, a game engine company called Unity announced that it would be changing its pricing structure, effective Jan 1, 2024, and that set off a wave of outrage and anger from its users, most of which are individual game-makers and game-making companies.To understand why this response was so widespread and vehement, it's helpful to understand a bit about how game engines work and their role in the modern video game industry.Fundamentally, a game engine is a piece of software that serves as a framework for making video games.So while it's not a simple "click a button, get a game" sort of setup, it does dramatically reduce the amount of time and effort required to produce a finished game product, giving users—game-developers of all shapes and sizes—level-editors, physics engines, rendering engines that help them more easily produce and edit 2D and 3D graphics, collision detection tools, which basically track and control how things bump up against each other in the game and what happens when they do, alongside more basic media tools like those that allow for the creation and editing of audio, animations, video content, text, and the like.Modern game engines also help developers keep the size of their games moderated without losing too much quality, they help with memory management on the developers' computers, they can provide artificial intelligence tools and software that helps them build-out multiplayer functionality—it's a really big and powerful toolkit, so the engine that game-makers choose to use is important, and it shapes every other decision they make, and in some ways the final product, too, because of how easy or difficult things are to do within their specific scaffolding.Unity makes a very popular game engine that was originally released in 2005 as a Mac-specific product, but it has since become multiplatform, allowing developers to make games for all sorts of computers, consoles, mobile devices, and virtual reality interfaces.It's perhaps most popular in the mobile gaming space, as it's relatively easy to learn compared to other engines, and is fairly lightweight; and because the mobile gaming space has been growing so rapidly, that's meant Unity has become increasing popular and widespread as a tool, which in turn has had the spillover effect of making it more popular on other platforms, as well—because folks making a mobile game might go on to make a Playstation game next, and may decide to stick with the engine they know, or a gaming company might decide to perch all their games upon the same game engine because that's just a lot easier, both in terms of keeping things simple for developers, and in terms of the costs associated with using a bunch of different engine.The pricing models used by these game engines vary quite a bit from company to company, but typically they make money by selling licenses to use their products; there's generally a free tier for folks learning to use their tools and who make games below a certain threshold of popularity and profit, but at a certain point they'll need to buy the right to use the engine, which generally also comes with a few bonus perks, like better analytics and error reporting options.This system has worked for everyone for a long time now, and though some developers have balked at the idea of paying Unity and similar companies for their engines, opting for free and open source options like Godot, instead, the larger gaming industry has generally oriented itself around just a few primary, paid options, including the Unreal Engine owned by Epic Games, the maker of Fortnite, among many other offerings, and Unity, which since its release has been used to make more than 750,000 games, alongside non-game offerings, like augmented reality experiences in Microsoft's HoloLens headset, about 90% of Samsung Gear VR content, machine learning programs like Google's TensorFlow, and even film content, like the backgrounds for the 2019 real-life version of The Lion King and engineering blueprints, like those for cars and buildings.All of which partially explains why so many people were up in arms about the changes Unity announced, seemingly out of nowhere, to their fee structure in early September.The old Unity model, again, included a free version of Unity for folks operating below a certain threshold—that threshold has been $200,000 for a while now—and after that folks would pay a monthly fee to use the engine, and that fee would typically cost about $400 per year per game, though it varied quite a bit as folks paid per seat—that is, per developer using the engine—and based on the size of the studio and game they're working on.Unity's newly announced pricing model, in contrast, would keep a free tier, but would remove some of the cheaper payment options, nudging people up to higher yearly rates, while, importantly, also tacking-on a small fee, somewhere between a cent and twenty cents, for each installation of a game that uses the Unity engine, after a threshold has been crossed.The announcement also said that Unity would use a secret, internal method of determining download numbers, and folks would be on the hook, in some cases, for something closer to $2,000 a year per game, rather than $400-ish, though that number would also vary wildly based on a game's popularity and reach.This sparked all kinds of concerns, as it was an additional fee on top of existing fees, costing game-makers more over time, and without providing any new value in exchange, and because it was retroactive, so everyone who had ever used Unity for any game would be on the hook for this new payment structure—meaning, all those 750,000 games or so would potentially be new sources of revenue for Unity, but would be burdened with new expenses for the folks who made them.All sorts of immediate concerns bubbled to the surface of the gaming community, ranging from worries that small, indie devs would be priced out of the market—folks without big bank accounts to draw upon, and who aren't making games that bring in tons of revenue—to concerns related to the concept of putting a price-tag on downloads: would trolls be able to aim hefty fees on developers they don't like by repeatedly installing and uninstalling their games? Would Unity's tracking software be legit? Would it differentiate new downloads from redownloads, or would someone who buys a game, paying for it once, conceivably be a drain on the developer's bank account forever into the future, because they might install it over and over again, over time, on multiple devices?This outcry was also laden with a heavy sense of betrayal because it seemed to violate Unity's terms of service, and that outcry grew even louder and more betrayal-laden when it became clear, as folks went back to check the end-user license agreement they'd signed, that Unity had quietly, in the preceding months, gone through and edited its EULA to basically allow themselves to do what they had done, even though previous versions said they would never do such a thing.The first week after this announcement, as the gaming world unified against Unity, the company's stock tumbled around 16.5% from where it was before the announced change, which is the opposite of what the company had hoped to accomplish—industry analysis suggests that the company is trying to shore-up its numbers, never having been profitable, but finding itself especially pressed for cash right now, and hoping to avoid being in the same situation in the future.What seems to have happened is they tried to do too much at once, essentially grabbing at immediate cash as much as possible, while also trying to scale-up their future prospects by giving themselves a means of benefitting from the success of the games that use their engine; this isn't an entirely novel concept, as their competitor, Unreal, charges a 5% revenue share from game-makers using their engine, but because this was new, out of nowhere, seemed to come about without the folks running Unity checking-in with anyone in the gaming industry to see if it would be alright, and if so to see what sorts of numbers would be tenable for their business models, and because it was retroactively applied using a seemingly pretty skeezy, secretive method of basically giving themselves permission, on the down-low, after swearing up and down they would never do exactly this—all of it went over quite badly, the gaming world revolted against them, near-universally, and this has led to a huge exodus from Unity to other platforms, including the free and open source Godot, which has quite suddenly received a wave of funds from some of the more successful indie game studios out there, and newfound attention from folks who are learning they can relatively simply port their games from Unity to Godot, saving them the future hassle and expense of dealing with the former.The alternative floated by some gaming studios and individual makers was to simply pull their games from shelves, and this was also threatened, especially in cases where the games are free to play, and thus tend to garner huge numbers of downloads, but don't make money on all the people who install their game—which means their work would become huge weights around their ledgers, losing them money each year, rather than earning them money.It took more than a week, but the higher-ups at Unity eventually made some noises about having heard the game-making world and feeling bad about releasing this new model without first seeking their input, and they said they would take another stab at things and get back to them.They then released a new plan, a new pricing model, that seems to have infuriated people substantially less—a revamp that still includes changes, but apparently less catastrophic ones.The new plan says they'll rely on game-maker-reported numbers to tally downloads, and they've raised the revenue cap at which folks need to upgrade to $200,000, so below that and you can keep the low-tier Unity Personal plan, which is excluded from this new pricing model, and that roughly lines up with where things were before—and any game that makes less than $1 million in 12 months will also be exempt from the additional, per-install fee.Perhaps most importantly, though, Unity is now saying games made with previous versions of their engine won't be beholden to this new pricing model, nor would they need to abide by the new terms of service, which among other things says their games need to include a big, Made by Unity splash screen at the beginning, and only those that use the new version being released in 2024 would be required to pay based on downloads, though developers can choose to pay a 2.5% revenue share rather than using the per-installation model—and there's some indication that if they report install numbers, the company will choose whichever is the lowest fee for them, automatically, and charge them that.All of which seems to have cooled things down quite a lot, though a fair bit of damage has already been done to the company's reputation in the industry; many game-makers are still saying they're intending to port their games away as soon as they're able, and that they won't use Unity in the future, because the people in charge of the company have shown their true colors, have shown that they're willing to renege on previous commitments and promises, and burn the goodwill they've earned over the years, in order to pull in more money, to fill the gaps in their balance sheets.The company is investing in a big PR push to try to win people back and polish their now-tarnished brand, but it could be a while before they manage to do so, if indeed they do manage to do so.In the meantime, industry alternatives have seen a big boost in attention and use, and there's a chance we could see more entrants in this space, popping up to take advantage of the hole left by Unity's flub, and introducing entirely new business models that may further innovate on what we've already seen, and allow entirely new game-world business models to arise and flourish. 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This week, we start with a little update on the Hollywood strikes (still ongoing, no end in sight). This was recorded before Drew Barrymore and Bill Maher decided to go back on strike instead of scabbing, but that doesn't mean our assessment of Bill Maher being a colossal asshole was incorrect. Bill might be a stopped clock that's correct in this moment, but we're full digital at Queerly Recommended and we know an asshole when we see one. We also talk about Kris's new work situation, which seems to include nothing but meetings. It's like that Lion King meme where Mufasa is saying everything the light touches belongs to Simba, except it's meetings. Everything the light touches is meetings. You know what else the light touches? Recommendations. Official Recommendations From Kris: Glow Up, Season Five (Netflix) This isn't the first time that this reality make-up competition show has been queerly recommended (and we wouldn't be surprised if it's not the last, either). The Netflix show is a delight of diverse contestants, celebrations of art, and in Kris's words "a good introduction for seeing what a queer world actually looks like." From Tara: Goodbye Volcano High by KO_OP (Playstation, PC) It's the senior year of high school, and young Fang has to decide what to do with the rest of their life. The Battle of the Bands is coming, but so are strange reports of a coming meteor. Did we mention that Fang and all her friends are dinosaurs? Tara described this game as a poignant, powerful reflection of our modern moment. Also, the music fucking slaps. Check it out. Works/People Discussed Alone Australia (SBS) RuPaul's Drag Race Down Under (WOW Presents Plus) Alone (History Channel) The Bodyguard Affair by Anna Stone and Hildred Billings I Like to Watch with Trixie and Katya (Youtube) How to Become a Cult Leader (Netflix) Support & follow the show Buy us a Ko-fi Sign up for our newsletter Twitter: @queerlyrec Facebook: @QueerlyRecommended Instagram: @queerlyrecommended Tumblr: @queerlyrecommended TikTok: @queerlyrecommended Get all our links on Linktr.ee Support local animal shelters by joining Kris's Patreon
In this episode of the podcast we take a look a the haters and specifically one of the biggest haters in Scar from Lion King and talk about why they are like they are, how they try and stop us and how they can be our motivation! --- Support this podcast: https://podcasters.spotify.com/pod/show/cerebralchaospod/support
Hosts Dave Bossert and Aljon Go chat with writer/director/producer, Jim Capobianco about his new animated film, "The Inventor." The duo also discusses the latest Disney and pop-culture news. Jim Capobianco was born in 1969 in Saddle Brook, New Jersey. He graduated from Cal Arts in 1991 with a BFA in character animation. Hired at Disney in their story department, Jim worked on various films at Disney including “The Lion King,” “The Hunchback of Notre Dame,” and “Fantasia 2000.” In 1997, Jim left Disney to join Pixar. He worked as a story artist on “A Bug's Life” and contributed story material to “Toy Story 2”. He continued to help shape the story of such films as “Monsters, Inc.” and “Finding Nemo”. In 2001, Jim helped craft the screenplay for “Ratatouille” and was a constant presence in the production, earning an Academy Award nomination for Best Original Screenplay. Jim also wrote and directed the Annie Award-winning “Your Friend the Rat” as well as the critically acclaimed end titles for “WALL-E.” Jim continues to foster his love of 2D and handcrafted animation with his labor of love, “Leonardo and the King.” Skull Rock Podcast is brought to you by the generosity of the following companies: Shure and their MV7 - Podcast Microphone Kit (shure.com) Sound Extraordinary | The Old Mill Press - “Publishing beautifully crafted books that illuminate our world.” To learn more visit theoldmillpress.com - and listeners like you. Follow us Skull Rock Podcast | Facebook - Aljon Go (@aljongo) • Instagram - Aljon's Dining at Disney Podcast and Sorcerer Radio - All Disney Music, All Day Long SRSounds.com - E-mail: email@example.com || Dave Bossert (@dave_bossert) • Instagram - firstname.lastname@example.org. For more great behind-the-scenes stories and articles visit davidbossert.com. Shop using our Amazon affiliate link - https://amzn.to/3uld8or - Book your next Disney, Universal, and Cruise vacation with Kristen email@example.com. Thanks to you, the Skull Rock Podcast is on the list of the Best Disney Podcasts You Must Follow (feedspot.com). - Outro music "The Pirate King" composed by Jared Rehnquist/Untold Journey - Creative Commons Attribution 4.0 International License. --- Jim Capobianco is bringing the world of LEONARDO DA VINCI to life in a new stylized, stop-motion puppet and 2D hand-drawn animated film for families & children of all ages. Voiced by Stephen Fry (Leonardo), Daisy Ridley (Marguerite), Marion Cotillard (Louise de Savoy), and Matt Berry (Pope X). Discover a playful toy-like world of invention featuring flying machines, kings, queens, and sneaky spies, where nothing seems to go right for the world's greatest inventor, and he is always running out of time. At the center of it all is the audacious and ever-questioning Princess Marguerite (Daisy Ridley) who is the key to solving Leonardo's (Stephen Fry) quest for the meaning of life. LEARN MORE ABOUT "THE INVENTOR" The Inventor Film. --- Send in a voice message: https://podcasters.spotify.com/pod/show/skullrockpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/skullrockpodcast/support
In This Episode, take a cinematic musical journey with Movie Mike as he shares his top 7 times that composer Hans Zimmer went HARD on a movie soundtrack. The movies range from The Dark Knight to the Lion King to Inception and more. In the Movie Review, Mike gives his thoughts on A Haunting In Venice and where it fits in the franchise, who would love this movie and is it worth seeing in theaters or wait to stream? In the Trailer Park, Mike talks about “The Kill Room” starring Uma Thurman and Samuel L. Jackson who are together again after almost 30 years after they received Oscar nods for “Pulp Fiction”. Mike gives his thoughts on the art-world-meets-the-mob comedy thriller. New Episodes Every Monday! Watch on YouTube: @MikeDeestro Follow Mike on TikTok: @mikedeestro Follow Mike on Instagram: @mikedeestro Follow Mike on Threads: @mikedeestro Follow Mike on Twitter: @mikedeestro Email: MovieMikeD@gmail.comSee omnystudio.com/listener for privacy information.
This week we review and discuss "The Lion King 1 1/2". Does this feel like a direct pull of the original animated classic? Do we really need to see this much backstory? How much animation is recycled? All of that and more this week on Monoreel Radio.
When did you first witness the bedroom eyes of an animated lioness? Answer— it was the 90s and you were watching The Lion King. We take a trip to Pride Rock this week in an attempt to answer the question… is Scar really gay? Or do we just want him to be? Watch the video version of this episode here! Sleepover Cinema is sponsored by Regal Cinemas' Regal Unlimited Program! New subscribers can use code REGTOOPINK for 10% off of Regal Unlimited for the first 3 months. Make sure to sign up today! Join our Discord server here! Check out our merch shop here! Get 15% off Casetify with code 15SLEEPOVER! Follow Sleepover Cinema on Instagram here! Follow Hannah and Audrey on Instagram! Sleepover Cinema TikTok Sleepover Cinema Twitter More about Too Pink Productions For more details on this episode, go to www.evergreenpodcasts.com/sleepover-cinema! Learn more about your ad choices. Visit megaphone.fm/adchoices
This week's guest is Tommy Igoe. Tommy is a world-class musician / producer / author / creator based in San Francisco, CA. He is the top-selling author in his field with four #1 titles on Amazon.com. He began drumming before the age of 2, started classical piano at 10, won every music competition available to him in High School, simultaneously winning two High Percussion awards with the legendary Bridgemen Drumlines. In 1997, Tommy wrote the drum set book for Disney's epic Broadway production of the “The Lion King” where he served as principal drummer and conductor. He has played drums on three Grammy award winning recordings and was voted the World's #1 Jazz Drummer in the 2014 Modern Drummer Reader's Poll. He has created two ongoing weekly musical residency at iconic Jazz clubs in New York and San Francisco. His New York band, The Birdland Big Band, is the most popular weekly music event in the city for the last 9 years. His most recent and exciting project is the Tommy Igoe Groove Conspiracy, a 15-piece supergroup from the San Francisco that has quickly become an integral part of the San Francisco cultural landscape. SUBMIT YOUR LISTENER PICKS HERE TOMMY'S BIG FAT FIVE
Robert Creighton co-authored and starred in the hit off-Broadway musical "Cagney," which is soon headed toward a Broadway production. For that role, he won the Fred Astaire Award for Outstanding Male Dancer and was nominated for the Drama Desk and Outer Critics Circle Awards as best Lead Actor in a Musical. He played the role of Angelo in "Comedy of Errors" for the Public Theatre's Shakespeare in the Park, had starring roles in New York City Center's ENCORE SERIES productions of "Damn Yankees," "Little Me," and "Paint Your Wagon," and was in the original North American tour of "Fame." On Broadway, some of Robert's credits include playing the roles of Durdles in "The Mystery of Edwin Drood," Moonface in "Anything Goes," and Amos in "Chicago." He was also in "Chitty Chitty Bang Bang" and "Jackie Mason's Laughing Room Only." On television, he was a recurring guest star on the CBS series "The Good Fight" as Clarence Kolb and guest-starred on "Elementary," "Law & Order," "The Family," and "Life on Mars." And now...his Disney credits! Robert recently revisited the role of Timon in Disney's "The Lion King" on Broadway after playing the role in NY in 2010, in the LA company in 2002 and 2003, and in Toronto in 2000. Also on Broadway, he played the role of Chef Louis in "The Little Mermaid," and was in the workshop, the out of town tryouts in Denver, and then the full Broadway run of "Frozen," where he originated the role of the Duke of Weselton - or is it Weaselton? Other Disney projects include VoiceOver work, where Robert sang as a thug in the song “I Got A Dream” in the movie, "Tangled." He also sang on two "Frozen" shorts and was part of the live action "Beauty and the Beast." Robert performed at the International Festival of the Arts at EPCOT with fellow Disney royalty Heidi Blickenstaff and Patti Murin. He was also part of multiple developmental workshops including "Aladdin" where he was the Genie, he did 2 workshops of "Newsies," and was in the development cast for "Tangled" for Disney Cruise Line...and speaking of Disney Cruise Line, he performed on 7 Disney Cruises, headlining in the Walt Disney Theatre! Scott is happy to welcome and chat with his pal from the Pridelands, Under the Sea, and Weselton…Robert Creighton! Email: TheMouseAndMePodcast@gmail.com Support: www.patreon.com/themouseandme FB & Instagram: The Mouse and Me TikTok: @TheMouseAndMePodcast Twitter: @MouseMePodcast Music by Kevin MacLeod from https://incompetech.filmmusic.io --- Support this podcast: https://podcasters.spotify.com/pod/show/themouseandme/support
We hope you are feeling nostalgic because we are diving into the 1994 animated classic, The Lion King. Rick and Kailah are joined by special guest host Susan Herbeck, LMSW. She brings her insight helping kids, teens, and young adults through anxiety and trauma along with a passion for talking cartoon lions. We explore themes include recognizing childhood narratives and overcoming the “Hakuna Matata” lifestyle. Plus, we dive into our favorite animated villains! Hosted by Rick Guttersohn and Kailah Ayres-TuttleConnect with us on Instagram: @CinemaSessionsPodWant to talk about the episode? Join our Facebook community: https://www.facebook.com/groups/2114404968732824/?ref=share
We are sitting down with Ashley Hoffman, who is doing her 104 90s movies tournament. Check out this episode to see what she thinks is the best 90s Movie ever. If you want to do your tournament, please contact us, and we will set it up. Here are the movies in the bracket: KIDS (1995)BASIC INSTINCT (1992)POETIC JUSTICE (1993)HALF BAKED (1998)Sleepless In Seattle (1993)PULP FICTION (1994)The Green Mile (1999)THE SHAWSHANK REDEMPTION (1994)THE ROCK (1996)THE LION KING (1994)MEN IN BLACK (1997)TITANIC (1997)AS GOOD AS IT GETS (1997)THE BIG LEBOWSKI (1998)AUSTIN POWERS: INTERNATIONAL MAN OF MYSTERY (1997)THE BLAIR WITCH PROJECT (1999)The Boondock Saints (1999)JURASSIC PARK (1993)THE THIN RED LINE (1998)TOY STORY 2 (1999)THE CROW (1994)THELMA & LOUISE (1991)What About Bob? (1991)THE MATRIX (1999)AMERICAN HISTORY X (1998)SCHINDLER'S LIST (1993)THREE KINGS (1999)FIGHT CLUB (1999)FROM DUSK TILL DAWN (1996)FRIDAY (1995)THE NIGHTMARE BEFORE CHRISTMAS (1993)CLUELESS (1995)FEAR AND LOATHING IN LAS VEGAS (1998)TERMINATOR 2: JUDGMENT DAY (1991)SPACE JAM (1996)GOODFELLAS (1990)WAYNE'S WORLD (1992)L.A. CONFIDENTIAL (1997)HACKERS (1995)SAVING PRIVATE RYAN (1998)DAZED AND CONFUSED (1993)SCREAM (1996)HAPPY GILMORE (1996)THE IRON GIANT (1999)NEVER BEEN KISSED (1999)TOMMY BOY (1995)THERE'S SOMETHING ABOUT MARY (1998)don't be a menace to south central while drinking your juice in the hood (1996)SHAKESPEARE IN LOVE (1998)UNFORGIVEN (1992)BRAVEHEART (1995)BOYZ N THE HOOD (1991)THE SANDLOT (1993)10 THINGS I HATE ABOUT YOU (1999)Bad Boys (1995)HOOK (1991)ALADDIN (1992)FARGO (1996)TOMBSTONE (1993)GROUNDHOG DAY (1993)CASINO (1995)Devil in a Blue Dress (1995)SPEED (1994)TOY STORY (1995)HOME ALONE (1990)GOOD WILL HUNTING (1997)SISTER ACT (1992)THE SILENCE OF THE LAMBS (1991)HE GOT GAME (1998)CLERKS (1994)WILLIAM SHAKESPEARE'S ROMEO & JULIET (1996)OFFICE SPACE (1999)THE CRYING GAME (1992)PRETTY WOMAN (1990)AMERICAN BEAUTY (1999)HEAT (1995)Last Action Hero (1993)GLENGARRY GLEN ROSS (1992)INDEPENDENCE DAY (1996)Leon: THE PROFESSIONAL (1994)POINT BREAK (1991)BOOGIE NIGHTS (1997)MRS. DOUBTFIRE (1993)AMERICAN PIE (1999)BABE (1995)SEVEN (1995)HOUSE PARTY (1990)BEAUTY AND THE BEAST (1991)ARMY OF DARKNESS (1992)EDWARD SCISSORHANDS (1990)FORREST GUMP (1994)THE TRUMAN SHOW (1998)FACE/OFF (1997)RESERVOIR DOGS (1992)SWINGERS (1996)THE USUAL SUSPECTS (1995)GALAXY QUEST (1999)Liar Liar (1997)TOTAL RECALL (1990)TRAINSPOTTING (1996)DUMB & DUMBER (1994)THE FIFTH ELEMENT (1997)THE FUGITIVE (1993)THE SIXTH SENSE (1999) --- Send in a voice message: https://podcasters.spotify.com/pod/show/mass-debaters/message Support this podcast: https://podcasters.spotify.com/pod/show/mass-debaters/support
https://cartermclean.com Carter was born in San Francisco and shortly thereafter moved to Connecticut. This is where McLean listened to and fell in love with music and especially the drums. At age 10, he started his journey as a musician. Broadway wasn't even on his radar when he started working at Manny's Music in Manhattan just prior to 9/11. The self-taught musician had just wrapped up his studies at University of Colorado, Boulder and was hoping to land a gig with someone like Sting, Peter Gabriel or Paul Simon. But then, while working his shift and playing at the store, he got noticed by a vet of Stevie Wonder's band Dennis Davis and got invited to play with legendary musician Roy Ayers in Harlem. While touring with Melvin Sparks in 2002 McLean was approached to be a sub at The Lion King in NYC. This eventually lead to McLean taking over the chair at the hit show in 2011. From Charlie Hunter to the Lion King on Broadway, McLean has been busy touring and doing studio work as well as having a busy teaching schedule. In addition McLean has shared the stage or recorded with Jamie McLean, Greg Holden, Charlie Hunter, Victor Wooten, Anthony Hamilton, Bernie Worrell (Parlament Funkadelic), Fred Wesley (James Brown), Shelby Johnson (Prince), Melanie Gabriel (Peter Gabriel) Leni Stern, Matt Duke and many others.For more, subscribe to Broadway Drumming 101 here: When you subscribe for only $10 a month, you will receive behind-the-scenes access to the life of a musician who makes a living on Broadway through YouTube videos, bi-weekly podcasts, and articles on what you need to know. We also have merchandise! https://merchandise.broadwaydrumming101.comClayton Craddock hosts the Broadway Drumming 101 Podcast and has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud. He has been a sub drummer on Motown, The Color Purple, Rent, Little Shop of Horrors, Spongebob Squarepants-The Musical, Evita, Cats, Avenue Q, and The Big Apple Circus. The next project he's working on is The Hippest Trip – The Soul Train Musical.Clayton has performed on various TV shows, including Good Morning America, The Colbert Report, The View, The Jimmy Fallon Show, The CBS Early Show, the Today Show, and the 2010 and 2019 TONY Awards at Radio City. He's shared the stage with legends such as The Stylistics, Denise Williams, Chuck Berry, and Ben E. King and was in the Netflix DWYCK episode of Luke Cage with the Delfonics and the HBO version of Lady Day at Emerson's Bar and Grill.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe
I had the great pleasure of speaking with a pair of filmmakers behind a brand new animated movie titled THE INVENTOR. Writer/director Jim Capobianco has previously worked on quite a few animated classics over at Disney such as THE LION KING, THE HUNCHBACK OF NOTRE DAME, A BUG'S LIFE, TOY STORY 2, MONSTERS, INC., FINDING NEMO, WALL-E, and INSIDE OUT. He also earned an Oscar nomination as a co-writer on RATATOUILLE. Producer Robert Rippberger is a co-founder of North Carolina's soon-to-be largest film studio, Ascent Studios, which just wrapped production on an upcoming Frankie Muniz-led thriller, RENNER. THE INVENTOR is now playing in theaters everywhere. Follow Jim Capobianco at www.jimcapobianco.com and on Instagram: @capobianco_jim Follow Robert Rippberger on Instagram: @rrippberger If you love this show, please leave us a review. Go to RateThisPodcast.com/karereviewspodcast and follow the simple instructions. Follow Kare Reviews at www.karereviews.net and on Twitter:@KareReviews Also please visit the newly launched Patreon page:https://www.patreon.com/jeffreykare?fan_landing=true Follow Jeffrey Kare on Twitter:@JeffreyKare If you like what you've heard here, please subscribe to any one of the following places where the Kare Reviews Podcast is available. AnchorAppleGoogleSpotifyBreakerOvercastPocket CastsRadioPublic --- Support this podcast: https://podcasters.spotify.com/pod/show/jeffrey-kare/support
Broadway, Reality TV, AND Social Media star, Tommy Bracco comes to Take A Bow talking all things: Newsies Pretty Women Big Brother Real Tawk Podcast Fanbases Similarities between Broadway and Reality shows Favorite reality shows Dream roles Audition stories how the strikes/unions impacts reality tv Dreams of being on Dancing with the Stars + so much more. This episode is one not to miss for all of you fansies as we talk about the importance of fan bases between both Newsies and Big Brother on CBS. Tommy success stems from his multi-hyphenated efforts, one of which involves his podcast Real Tawk recapping all sorts of reality shows from the reality tv stars themselves. Tommy is currently dreaming of coming back to Broadway playing Timon in the Lion King or being a celebrity dancer on Dancing with the Stars. What happens first? That's up to you, the fans. Curtain up, Tommy Bracco Connect with Tommy Bracco on Instagram: @tommybracco Connect with Take A Bow on social: @takeabowpodcast Connect with host, Eli Tokash on social: @tokash_eli Learn more about your ad choices. Visit megaphone.fm/adchoices
Adam and Matt get together to break down week 1 of the NFL season. They discuss what Aaron Rodgers Achilles tear means for the Jets and how they pulled off a stunning victory any way. Then they revisit the Lions epic win over Kansas City on Thursday Night Football and overreact to Sundays slate of games!
We don't like to brag or anything, but the people behind Madness Madness have accomplished some pretty incredible feats of combat prowess, to the point where several hit movies have been based on our exploits: Avatar, Avengers: Endgame, Avatar: The Way of Water, Titanic, Star Wars: Episode VII - The Force Awakens, Avengers: Infinity War, Spider-Man: No Way Home, Jurassic World, The Lion King, The Avengers, Furious 7, Top Gun: Maverick, Frozen II, and of course Barbie. That's more than $27 billion at the box office just from the ones we can name off the tops of our heads, so honestly we've got nothing to learn from Frank Dux, a fight choreographer and semi-professional liar whose “life story,” the 1988 Jean-Claude Van Damme breakout “Bloodsport,” pulled in a mere puff of dust to the tune of $11.8 million worldwide, which I don't even think is enough money to wipe your ass with these days.Nonetheless we'll hear about this valor-stealing boomer schmuck, then imagine him dropped into Cassadaga, Florida (formerly New York), the fortune-telling capital of the world, mouthing off to a series of increasingly irritable palm readers until the ghost of Patrick Swayze manifests and Road House roundhouses him so hard he lands in a different ZIP code from his medals of honor, which turn out to be made of cardboard and cellophane anyway. Join us, won't you?
An experimental issue of STC leaves us worried and confused this episode, as the comic pivots to aim at a new audience that doesn't include us. Still, we get to talk about some toys and think about newsagents and remember when things were a little rosey.
THE LION KING Music & Lyrics by Elton John & Tim Rice | Additional Music & Lyrics by Lebo M., Mark Mancina, Jay Rifkin, Julie Taymor, & Hans Zimmer | Book by Roger Allers & Irene Mecchi | Adapted from the Screenplay by Irene Mecchi, Jonathan Roberts, & Linda WoolvertonWorks Consulted & Reference :The Lion King (Original Production Directed by Julie Taymor)The Lion King (Original Film Directed by Roger Allers & Rob Minkoff)The Lion King: Pride Rock on Broadway by Julie TaymorThe Lion King - The Full Film Script by Bill Scollon & Marbara MontiniDisney Theatrical Productions: Producing Broadway Musicals the Disney Way by Amy S. OsatinskiThe Disney Musical on Stage and Screen: Critical Approaches from 'Snow White' to 'Frozen' Edited by George RodosthenousThe Lion King: A 'Blockbuster Feline' on Broadway and Beyond by Barbara Wallace GrossmanMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording) | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording (Original Cast Recording / Deluxe) | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr. | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording) | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording) | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording) | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"They Live in You" from The Lion King (Original Broadway Cast Recording) | Music & Lyrics by Lebo M., Mark Mancina, & Jay Rifkin | Performed by Samuel E. Wright & Ensemble - The Lion King"Maria" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff
Features of the Disney Treasure have been revealed. Jeff and Sandy break down everything from the new lobby decor, the updated dining experiences - including Plaza de Coco. Hear about all the new room decor including Aladdin themes, Jungle Book, Nemo, Lion King and more. The Disney Treasure is the sister ship to the Disney Wish. You'll hear many Wish references so if you haven't heard our episode, now is the time.http://bit.ly/ltdepisode71#disneycruise #disneytreasure #aladdin #dcl
Welcome to the Multiverse Report, a weekly recap of your news across all the fandoms with Mike Gibson and Steve Haller! Check us out at https://www.themultiversereport.com/ Check out our friends at Funky Town Comics and Vinyl! Strike Watch: Disney VFX workers voting to unionize. SAG-AFTRA votes to allow video game actors to strike as well. MARVEL Marvel Delays Multiple Shows until 2024 Echo originally late November, moved to January 24 Agatha: Darkhold Diaries (fka Agatha: Coven of Chaos [fka Agatha: House of Harkness]) moved from winter 23 to fall 24 X-Men 97 moved from fall 23 to early 24 Ironheart removed from schedule completely. Finished shooting but post production has been delayed due to the strikes. DD:BA and WM also no longer dated due to strikes preventing filming. Loki - still October 6th What If S2 still happening late December 23 https://www.superherohype.com/tv/546089-marvels-echo-agatha-darkhold-diaries-and-x-men-97-delayed-at-disney Unconfirmed Reports of The Marvels runtime Multiple scoopers say the film is only 1:38 long. Making it the shortest film in the MCU if accurate. https://www.superherohype.com/movies/545656-the-marvels-runtime-shortest-mcu-movie DC Giancarlo Esposito teases talks with James Gunn During a Q&A at Comic Con Panama Esposito was filmed saying “...I had been talking to James Gunn about the possibility about being in a movie so who knows, it could happen soon.” Later off camera he said he would rather play a hero than a villain. Hmmmmmm. https://www.superherohype.com/movies/545935-giancarlo-esposito-teases-joining-the-dcu-after-talks-with-james-gunn DISNEY The Incredibles returns to theaters! As part of Disney's 100th Anniversary, select theaters will be showing The Incredibles from Sept 1st though the 14th. Other films getting re-releases are Coco, The Lion King, Moana. Earlier in the year we saw the re-releases of the og Pirates of the Caribbean, Toy Story, and Beauty and the Beast. https://www.superherohype.com/movies/546062-the-incredibles-celebrates-theatrical-rerelease-with-disney-100-poster COMICS D COMIC REVIEWS: STEVE: MIKE: THIS WEEK Action Comics Presents Doomsday Special #1 (one shot) ASM 33 Bad Omens Concrete Jungle 1 Batman 137 Batman The Adventures Continue S3 7 Birds of Prey 1 Black Panther 4 Blue Beetle 1 Catwoman Uncovered 1 (one shot) Dark Knights of Steel 12 of 12 Doctor Strange 7 Fantastic Four 11 Fire & Ice Welcome to Smallville 1 Godzilla Here There Be Dragons 3 Heat Seeker Gun Honey 3 Joker The Man Who Stopped Laughing 10 JSA 6 Kill Your Darlings 1 Magneto 2 Moon Knight 27 My Little Pony Camp Bighoof 2 Peacemaker Tries Hard 5 Poison Ivy 14 Sdcarlet Witch 8 Shazam 3 Silver Surfer Rebirth Legacy 1 Spider Gwen Annual 1 Star Trek Defiant 7 Star Wars 38 SW Dark Droids 2 Superboy the Man of Tomorrow 5 Xmen 26 Subscribe: Apple Podcasts, Spotify or search The Multiverse Report on your podcast app of choice! ### #TMR, #MCU, #DCEU, #StarWars, #Fandom, #LOTR
Because we all had spots (and manual labor obligations this week) I had to record this little solocast for this week's episode. But I chatted about The Lion King, working like a dog, and a group of people that's severely overrated.
Kendu Kids is founded by Davy Liu, a veteran animator with Disney, Lucas Film, and Warner Bros whose vision is to bring Bible-based stories of faith and hope to children and families and to provide the highest quality creative content through media, technology, and films to impact a postmodern culture with God's truth. Mentioned in This Epsoide The Giant Leaf The Royal Feast Fire Fish Jordan's Guest Enchanted Tree Donate to KenduKids - https://www.kendukids.org/donate Connect with Davy Liu + KenduKids Website | KenduKids | Instagram | Facebook Don't forget to subscribe + leave us a rating and review! Be sure to visit the full show notes and listen to other episodes at thetriciagoyershow.com. And check out my newest book Beyond the Gray Mountains at https://triciagoyer.com/big-sky-series/! --- Support this podcast: https://podcasters.spotify.com/pod/show/thetriciagoyershow/support
Barry and Abigail discuss Spirit: Stallion of the Cimarron (Music from the Original Motion Picture) by Bryan Adams and Hans Zimmer and sample Green Zebra Watermelon, Green Zebra Peach, Green Zebra Pineapple, and Green Zebra Mango from Founders Brewing Co. in Grand Rapids, Michigan. Barry revealed that the first song in the end credits of a film is eligible for an Oscar nomination. The David Byrne song This Is a Life that we briefly discussed in Byrned-Again (David Byrne and Lincoln & South Brewing) was nominated based on its presence in the end credits of Every Everything Everywhere All at Once. Barry and Abigail discussed the tendency of Disney animators to recycle various scenes in multiple movies. Watch some examples! Spirit: Stallion of the Cimmaron was directed by Kelly Asbury, whose monochrome books were staples in the Hummel household when Abigail was a child. Barry entered Get Off My Back into the Abigail Hummel School of Speaking Smartly About Music with Windy by The Association. Don't Let Go reminded Abigail of the Xanadu soundtrack, particularly Suddenly. Listen to our discussion of Xanadu in our episode Can I Do (Xanadu Soundtrack and English Beers). Run Free reminded Abigail of Stampede, the song played over the wildebeest stampede scene in The Lion King (also composed by Hans Zimmer!). Barry saw zebras “in the wild” at Hearst Castle. The woodwinds in The Long Road Back reminded Abigail of the music of R. Carlos Nakai, a Native American flutist with Navajo-Ute heritage. Up next… Smithereens 11 by The Smithereens, featuring special guest Dave Zalatoris of the Beer in Front podcast! Listen to our appearance on Beer in Front! Jingles are by our friend Pete Coe. Visit Anosmia Awareness for more information on Barry's condition. Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic! Facebook | Instagram | Twitter | YouTube | Website | Email us | Virtual Jukebox --- Send in a voice message: https://podcasters.spotify.com/pod/show/pops-on-hops-podcast/message