Podcasts about Snow White

DJ Lou visits The Sphere in Las Vegas for the first time to see No Doubt with his girlfriend. A wildly dancing Chola almost ruins the concert for the two lovebirds. Jay and Bobby go through their favorite attractions in Vegas and remember how big the Riverdance show was years ago. They try to purchase Michael Flatley's Riverdance on VHS. | Bobby discovers freeze-dried ice cream sandwiches and it's a dream for the former fat man. *To hear the full show to go www.siriusxm.com/bonfire to learn more! FOLLOW THE CREW ON SOCIAL MEDIA: @thebonfiresxm @louisjohnson @christinemevans @bigjayoakerson @robertkellylive @louwitzkee @jjbwolf Subscribe to SiriusXM Podcasts+ to listen to new episodes of The Bonfire ad-free and a whole week early.  Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

But why?

Jay Dyer, Owen Benjamin, Eastern Orthodoxy, alien disclosure, MKUltra symbolism, and Steven Spielberg's Disclosure Day collide in this episode of Neph 2 America. David Lee Corbo, Top Lobsta, Matthew from Straight Bible, and Nancy deliver uncensored cultural commentary, comedy, conspiracy analysis, and Biblical discussion through a Christian worldview.The conversation begins with the proposed Jay Dyer vs. Owen Benjamin debate and the events that allegedly caused it to collapse. The hosts examine their previous interactions with Jay Dyer, Owen Benjamin's controversial Orthodox-themed artwork, accusations of blasphemy, the proposed Trinity debate, and the internet culture surrounding Christian apologetics. They also question Eastern Orthodox claims about salvation, church authority, icons, tradition, debate culture, and whether Christians should be known primarily by arguments or by how they live.The discussion expands into Timothy Alberino's appearance on The Joe Rogan Experience and the responsibility Christian researchers have to proclaim the gospel when given access to major platforms. The hosts ask whether talking about supernatural phenomena is enough when Jesus Christ and the message of salvation remain secondary.The second half features an extensive Disclosure Day review and Biblical breakdown. The hosts explore possible MKUltra and Project Monarch symbolism, butterfly imagery, psychic abilities, childhood trauma, intelligence agencies, the year 1947, Catholic involvement in alien disclosure, red cardinal symbolism, and the Alfa Romeo serpent logo. Revelation 12:4 is examined in connection with the dragon waiting to devour the child.The episode also analyzes regressive hypnosis, alien-abduction trauma, sleep paralysis, Disney and Snow White imagery, demonic oppression, starseeds, indigo children, Gnostic teachings, and attempts to portray alien entities as humanity's benevolent saviors. Job 4:12–17 is compared with modern reports of terrifying spiritual encounters, while Zechariah 11:17 appears during a discussion of the so-called Black Eye Club.The show closes with Super Chats, Messages From Mom, AI data centers, surveillance fears, strange food-technology claims, and the usual audience-driven chaos.What do you think caused the Jay Dyer and Owen Benjamin debate to collapse? Does Disclosure Day prepare audiences for alien disclosure, spiritual deception, or both? Share your analysis in the comments.► Subscribe for more Biblical analysis, Christian worldview discussions, and conspiracy research through a Biblical lens.Listen on Spotify, Apple Podcasts, and everywhere podcasts are available.00:00 Intro and Show Announcements04:14 Austin Picard Episode Recap05:56 Jay Dyer vs. Owen Benjamin Dispute08:17 Trinity Debate and Orthodox Salvation Claims14:00 Can Salvation Be Found in Orthodoxy?16:41 Jay Dyer Debate Challenge Backstory25:43 Blasphemy, the Gospel, and Christian Conduct29:17 Hearing God and Obedience to His Calling35:05 Why the Jay Dyer–Owen Benjamin Debate Collapsed42:33 Timothy Alberino, Joe Rogan, and the Gospel46:30 Disclosure Day Review Begins50:04 Sports Rituals, MAGA Imagery, and Kayfabe52:52 MKUltra and Project Monarch Symbolism56:47 The 1947 UFO Files and CIA Storyline59:00 Psychic Powers and Disclosure Propaganda62:38 Catholic Cardinals and Alien Disclosure63:23 Alfa Romeo Symbolism and Revelation 12:471:00 Demonic Imagery Hidden in the Movie76:12 “God Isn't Divine” and New Age Theology84:23 Jesus Imagery, Possession, and Spiritual Inversion87:36 Regressive Hypnosis and Childhood Trauma91:05 Alien Abduction, Snow White, and False Comfort95:51 Job 4 and Terrifying Spiritual Encounters97:43 Why the Aliens Become the “Good Guys”101:24 Gnostic Messages, Starseeds, and Chosen Ones107:27 Snow White Humming and Occult Programming108:11 Super Chats and Audience Questions122:52 Messages From Mom125:10 Black Eye Club and Zechariah 11129:22 AI Data Centers and Surveillance Fears135:01 RJ Reynolds, Food Technology, and Final Reactions136:24 Final Super Chats and OutroBecome a supporter of this podcast: https://www.spreaker.com/podcast/nephilim-death-squad--6389018/support.☠️ Nephilim Death Squad — New episodes 5x/week.Join our Patreon for early access, bonus shows & the private Telegram hive.Subscribe on YouTube & Rumble, follow @NephilimDSquad on X/Instagram, grab merch at toplobsta.com. Questions/bookings: chroniclesnds@gmail.com — Stay dangerous.

In which the Mister joins me in reviewing MIRROR MIRROR (2012), from director Tarsem Singh's fantasy adventure from a screen story by Melisa Wallack and screenplay credits to Marc Klein and Jason Keller. A vain and ruthless evil queen (Julia Roberts) rules over a once-prosperous kingdom, keeping her beautiful stepdaughter, Snow White (Lily Collins), locked away in the palace while bleeding the citizenry dry with exorbitant taxes. When Snow White finally escapes into the enchanted forest and crosses paths with a band of resourceful, highway-robbing outlaws—referred to locally as dwarfs—she learns to fight back and begins rallying the oppressed kingdom to reclaim her birthright. As the queen attempts to secure her power and win the affections of a visiting prince (Armie Hammer) through dark magic and deception, Snow White must lead her newfound companions to overthrow the tyranny and restore light to the land. The film clocks in at 1 h 46 m, is rated R and is currently streaming and to buy/rent on Prime Video. Please note there are SPOILERS in this review.#MirrorMirror #TarsemSingh #Melisawallack #marcKlein #JasonKeller #JuliaRoberts #TheQueen #LilyCollins #SnowWhite #ArmieHammer #PrinceAlcott #NathanLane #Brighton #JordanPrentice #Napoleon #MarkPovinelli #HalfPint #JoeGnoffo #Grub #DannyWoodburn #Grimm #SebastianSaraceno #Wolf #MartinKlebba #Butcher #RonaldLeeClark #Chuckles #RobertEmms #Renbock #MareWinningham #BakerMargaret #MichaelLerner #Baron #SeanBean #King #FairyTale #SwordAndSorcery #Comedy #Family #Adventure #Drama #Fantasy @PrimeVideo #FridayFamilyFilmNightOpening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library

This week Simba is living it up as an apartment dog straight out of a Disney movie and Alexis is gathering animals like Snow White. Alexis and Ella discovered they both watched Sheep Detectives and they both were SHOCKED by how much they loved it so they're taking the opportunity to dig into the film and learn about our new woolly friends! Help support this show and unlock bonus content! Become a member at https://maximumfun.org/joincreatures

Presenting a replay of the Lux Radio Theater production of "Snow White" aired on Dec 26, 1938. Please support these shows with your donation today, thank you. https://mpir-otr.com/sponsors-donations

Former Barclays chief Jes Staley told the House Oversight Committee that he was unsure whether Jeffrey Epstein had introduced him to a woman dressed as Snow White, despite emails showing Staley referencing the Disney character. In a July 2010 exchange, Staley told Epstein to “say hi to Snow White” and, when Epstein asked which character he wanted next, replied, “Beauty and the Beast.” Staley reportedly maintained during the closed-door interview that he did not know what those messages referred to, while acknowledging that he had a consensual sexual relationship with one of Epstein's assistants at an Epstein-linked apartment in New York.Staley also told the committee that he visited Epstein while Epstein was serving his Florida jail sentence following his 2008 conviction and that he saw Epstein regularly withdraw large amounts of cash from his JPMorgan accounts. Committee Chairman James Comer said internal discussions at JPMorgan showed concern that Epstein was a high-risk client, but Staley continued defending him. Staley claimed he ended contact with Epstein after becoming Barclays CEO in 2015, though his relationship with Epstein later triggered regulatory scrutiny, contributed to his 2021 resignation and resulted in him being banned from senior financial-management roles in Britain.to contact me:bobbycapucci@protonmail.comsource:Ex-Barclays chief Jes Staley tells House panel he's 'unsure' he met woman in a Snow White costume through Jeffrey Epstein: source

Former Barclays chief Jes Staley told the House Oversight Committee that he was unsure whether Jeffrey Epstein had introduced him to a woman dressed as Snow White, despite emails showing Staley referencing the Disney character. In a July 2010 exchange, Staley told Epstein to “say hi to Snow White” and, when Epstein asked which character he wanted next, replied, “Beauty and the Beast.” Staley reportedly maintained during the closed-door interview that he did not know what those messages referred to, while acknowledging that he had a consensual sexual relationship with one of Epstein's assistants at an Epstein-linked apartment in New York.Staley also told the committee that he visited Epstein while Epstein was serving his Florida jail sentence following his 2008 conviction and that he saw Epstein regularly withdraw large amounts of cash from his JPMorgan accounts. Committee Chairman James Comer said internal discussions at JPMorgan showed concern that Epstein was a high-risk client, but Staley continued defending him. Staley claimed he ended contact with Epstein after becoming Barclays CEO in 2015, though his relationship with Epstein later triggered regulatory scrutiny, contributed to his 2021 resignation and resulted in him being banned from senior financial-management roles in Britain.to contact me:bobbycapucci@protonmail.comsource:Ex-Barclays chief Jes Staley tells House panel he's 'unsure' he met woman in a Snow White costume through Jeffrey Epstein: sourceBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.

Mr.Freaky Discord server ►Join this channel to get access to perks: https://www.youtube.com/channel/UCCuRS4Ujb-PV1Msz_ZwLt5A/join A childhood encounter with a bizarre anomaly on a classic Disney dark ride resurfaces decades later when a late-night visit to the exclusive Club 33 leads a successful cybersecurity expert down into the dark, subterranean tunnels beneath the park. Written By ► Mr. Freaky Music By ► Myuu Footage By ► Beautiful MicroPortale Mr.Freaky Discord server ► https://discord.com/invite/5SyDc2DFDJ © 2026 Freaky Attractions. All rights reserved. This Creepypasta is for Entertainment Purposes Only. #scarystories #creepypasta #mystery #internetmysteries #forensic #disneyworld #disneyland

Former Barclays chief Jes Staley told the House Oversight Committee that he was unsure whether Jeffrey Epstein had introduced him to a woman dressed as Snow White, despite emails showing Staley referencing the Disney character. In a July 2010 exchange, Staley told Epstein to “say hi to Snow White” and, when Epstein asked which character he wanted next, replied, “Beauty and the Beast.” Staley reportedly maintained during the closed-door interview that he did not know what those messages referred to, while acknowledging that he had a consensual sexual relationship with one of Epstein's assistants at an Epstein-linked apartment in New York.Staley also told the committee that he visited Epstein while Epstein was serving his Florida jail sentence following his 2008 conviction and that he saw Epstein regularly withdraw large amounts of cash from his JPMorgan accounts. Committee Chairman James Comer said internal discussions at JPMorgan showed concern that Epstein was a high-risk client, but Staley continued defending him. Staley claimed he ended contact with Epstein after becoming Barclays CEO in 2015, though his relationship with Epstein later triggered regulatory scrutiny, contributed to his 2021 resignation and resulted in him being banned from senior financial-management roles in Britain.to contact me:bobbycapucci@protonmail.comsource:Ex-Barclays chief Jes Staley tells House panel he's 'unsure' he met woman in a Snow White costume through Jeffrey Epstein: sourceBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

We would love to hear from you. Send us your thoughts or suggestions. Hotel manager Cassidy Evergreen is sent to evaluate a cozy ski lodge — but between the Christmas magic and its charming owner, Trey Sanderson, a simple work assignment turns into a heartfelt choice between duty and love. Eric and Andrea dig into SNOWBOUND FOR THE HOLIDAYS, starring Marcus Rosner and Vanessa Lengies, as Christmas in July rolls on.In this episode: an honest review of Snowbound for the Holidays (originally titled "Uphill for Christmas"), the standout line that gave us the feels, why the manufactured conflict didn't land, on-location filming trivia, similar-movie recommendations, and a Murder, She Wrote pairing for the mystery fans.MOVIE: Snowbound for the HolidaysSTARRING: Marcus Rosner, Vanessa LengiesDIRECTOR: Christopher JaraczIF YOU LIKED THIS, WATCH:• Holiday Crashers• Let It Snow (Candace Cameron Bure, Jesse Hutch, Alan Thicke)• Take Me Back for Christmas (Vanessa Lengies)• By Mount Rushmore One Winter Weekend (Taylor Cole)• Checked In for Christmas (Rachael Boston)• Murder, She Wrote — S5E4, "Snow White, Blood Red"NEXT WEEK: We wrap up Christmas in July with Love Under the Mistletoe, starring Jen Lilley and Nick Bateman.Follow us on social media: Instagram and TikTok: @hallmarkmysteriesandmoreYoutubeOr visit our website. This podcast was created by fans for fans and is NOT affiliated with or sponsored by Hallmark or the Hallmark Channel. 

Alleged Cocaine Kingpin Lamar Cook has returned from his SNAP-funded Disney vacation, and The Herald's Tim Dunn caught up with him after his hearing -- spoiler alert: he's not remorseful at all.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

That's how it starts. The fever. The rage. The feeling of powerlessness. That turns good fans … toxic. How does this toxification happen? Or does it happen? Maybe it's all the fault of big corporations. Or social media. Or foreign adversaries poisoning the discourse. In either case, we need discernment to sort honest criticism from harshest cynicism. Episode sponsors Enclave Publishing: Worlds Collide by Clint Hall Above the Circle of Earth (softcover) by E. Stephen Burnett Iffy Eats Monsters for Breakfast by Bryan Timothy Mitchell Lorehaven Guild: July 2026 book quest for The Silver Chair Mission update New at Lorehaven, Daniel Whyte IV's Onscreen article: Supergirl Strives to Be Good, but Struggles to Save a Disempowered Movie. Reviews are currently on hiatus, but we have over 380 of those! Subscribe free to get updates and join the Lorehaven Guild. Critics are writing off famous fantasies, and we concede their demise. We also believe in an Author who surprises us with epic resurrection. Listen to episode 307. 1. They don't—some of this is legit criticism. Quick snack from the Concession Stand. We've talked about this. Big corporations selling bad storytelling have blamed “toxic fans.” Disney tried this against fans who disliked Star Wars TV shows. They maybe learned their lesson and didn't try it with Snow White. And even the current DC regime didn't do that much with Supergirl. In this case, studios may be driven to these scripts by leftist media. In fact, look for some media pundits to do this against Andy Serkis. But the fans may just be saying, “That's not for me.” Loudly. Often the fans have legitimate reasons for loudly rejecting stories. Stephen feels this way about previous and current DC hero movies. But in the past, the studio lied to DC fans and called them “toxic.” Even some false criticisms have some truth mixed into them. Fans claimed an actor called “Elliot Page” was playing Achilles. It turned out she wasn't; she played another soldier character. But this is still a gender-bend. And that character replaces Achilles. So what angry fans told you was true, from a certain point of view. In either case, this isn't “toxic.” That label implies a kind of sin. One may spy the familiar hues of the old fundamentalist legalism. But if you can't call something sin, don't manipulatively imply it is. Sin is binary. Actions are motivated by idolatry or by faithfulness. And anything that isn't an actual sin is just creative differences. 2. Fans may see actual folly, but overreact. Nevertheless, some fans have too much fun booing the screen. This is best illustrated by the infamous “Cinema Sins” channel. Its maker monetizes constant, often foolish movie nitpicking. This impulse, when it catches, ruins otherwise good franchises. Most recently, some anti-fans did want Christopher Nolan to fail. They did spread lies about Odyssey casting as if these were fact. Meanwhile, sociopolitical agitators slander Greta Gerwig's Narnia. They claimed as fact “Meryl Streep is playing Aslan.” Unconfirmed. Frankly, Stephen believes this could be Netflix's rope-a-dope tactic. If/when we hear Ciarán Hinds voices Aslan, the goals get moved. Fans may then easily forgive “race-swapping” or era-changing. We'd miss the real crime: ignoring Lewis's original 1900s setting! So don't get played either by studio false-flag ops or the agitators. Yet a few YouTubers, known for criticism, can be more balanced. Behind their loud clickbaity titles and aggression is an earnest side. Example: Gary Buechler says he earns just as much from positivity. In fact, his whole TV interview (even on Piers Morgan) is healthier. Stephen enjoys these YouTube roasts, but also these critics’ praise. For example, it's been a pleasure to see Buechler loving One Piece. 3. Later they become lost in sinful cynicism. We do need legitimate or balanced criticism, shared reluctantly. Alas, some of these voices do take over factions of our culture. This is the hateful, spiteful, deconstructive impulse from actual sin. We see this in many political movements that despise creativity. Often they are spreading lies and subversion more than big studios. One could conclude these “critics” aren't even happy being critical. And we see this from certain Christians who have axes to grind. Zack and Stephen see some voices only cursing cultural darkness. They are selling negativity and/or implied solutions (they made up). But at least the faulted corporations did try making new things! We're back to the adage, “Don't curse the darkness; light a candle.” Christianity gives no moral clearance for “professional cynics.” Our worldview is eternally positive. No matter the evils we see. And even non-Christian humanists ought to catch biblical optimism. Com station Top question for listeners Have you ever been accused of being a “toxic fan”? Next on Fantastical Truth Everyone's talking about that new release from Christopher Nolan, the feature film that is just so big that it's one everyone oughtta see. Zack plans to see it. Stephen may eventually get there. Meanwhile, what about that book by Greek poet Homer that changed the course of our world's epic storytelling? Dramatist and author Phil Lollar—no stranger to that name!— will return to the studio for our tour of The Odyssey.

Was there ever an official Disneyland postmark? That's one of the questions I get asked most often, and in this episode I dive into the history behind Disneyland mail, unique ZIP code 92803, pictorial cancels, cachets, and whether mail was ever officially postmarked "Disneyland, CA." We begin with two 1985 postcards celebrating Disneyland's 30th Anniversary. The first features Snow White and the Seven Dwarfs welcoming guests to New Fantasyland and bears the special EXPO '85 Anaheim pictorial cancel honoring 30 years of Disneyland magic. The second, mailed on Disneyland's official 30th birthday—July 17, 1985—shows Mickey Mouse leading the Disneyland Band down Main Street, U.S.A. Together they set the stage for a deep dive into one of Disneyland's most enduring postal mysteries. Along the way I explain the differences between postmarks, cancels, and cachets, examine special Disneyland-related postal markings from my collection, discuss why ZIP Code 92803 is unique, and share what years of collecting and research have revealed about whether Disneyland ever maintained its own official postal cancellation. Also in this episode: Vintage Disneyland postcard messages and postal history Disneyland's 30th Anniversary celebrations The history of special Disneyland pictorial cancels Incoming mail featuring a Trader Sam's postcard illustrated by Dave Perillo A thank you to Kayla for another piece of Disney mail As always, thanks to Enfield Post, the official vintage postage sponsor of the podcast, and Art Throw Down for supporting this episode. If you enjoy Sent from Disneyland, please subscribe, leave a rating or review, and share the show with a fellow Disney or postal history fan! Below are some of the regulars on Art Throw Down, Follow all of them on Instagram anyway for great art and postcards in your Instagram feed: Hipstadufus, luluvision, jlynch9923, greenmosspaper, georgemailsart, state_of_the_funyun, RussRomano2021

Here is your Daily Disney News for Thursday, July 16, 2026 - Disneyland Tokyo unveils a new Snow White attraction, offering an enchanting journey with cutting-edge technology. - Walt Disney World hosts a summer festival with nightly concerts and a dazzling nighttime parade featuring Disney characters. - ESPN Wide World of Sports Complex holds a major basketball tournament, drawing teams from across the country. - Disney+ debuts a documentary series revealing the behind-the-scenes magic of Disney film creation. Have a magical day and tune in again tomorrow for more updates.

For our penultimate episode of the Red Fairy Book, we have a triple bill of rather different stories.First, we have one of the best known fairy tales out there - Snowdrop, otherwise known as Snow White and the Seven Dwarfs. It's got some excellent moments, though things get a little out of hand closer to the end!We follow that up with another Grimm tale, The Golden Goose, an example of the 'All Stick Together' tale type from the ATU Index. Follow an unlikely hero called Dullhead, his magical little grey friend, and a very sticky goose...The last in the trio is a Norwegian tale, The Seven Foals (but don't worry, they don't meet the same fate as those in Dapplegrim!) With a sadistic king, an enticing hairdressing hag and a surprisingly Christian message, it's a bit of an odd one!As ever, we discuss, compare and rate the stories afterwards! We hope that you enjoy the episode, and we will speak to you again on Saturday, when Eleanor is interviewing the Fairy Whisperer herself, Karen Kay!If you are unfamiliar with the Lang Fairy Tales, these seminal collections were assembled between 1889 and 1913 by a married couple, folklorists and translators Nora and Andrew Lang, with most of the work done to compile them completed by Nora, also known as Leonora Blanche Alleyne.Assembled and published in 12 colour-coded "Fairy Books," the corpus the Langs put together included 798 fairy tales from across cultures, many of which had never before been translated into English.They were amongst the most influential books of their time, changing the course of children's literature - although they're hardly just for children, and often deal with quite challenging concepts.Today, purchasing a complete set of the Lang Fairy Books in good condition costs over £4,000 ($5,000+).Thankfully, the collections are all out of copyright, meaning that we can now tell these stories, in podcast form, many for the first time, and share them with a global audience, for free.Our plan is to release the stories between main series of Three Ravens, performing them straight (though with plenty of silly voices) letting the tales speak for themselves in all their madcap, sharp-edged, often quite bizarre glory.The only edits we have made are to amend some culturally-insensitive epithets, which typically pertain to ethnicity, with any such edits made by Eleanor Conlon.Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon, too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?REGISTER FOR THE TALES OF SOUTHERN ENGLAND TOURVisit our website Join our Patreon Social media channels and sponsors Hosted on Acast. See acast.com/privacy for more information.

Christopher Nolan's The Odyssey has arrived as one of the year's biggest blockbuster release - but instead of universal excitement, the film has ignited a fierce cultural and political debate. Critics have accused the Homer adaptation of prioritizing modern identity politics over historical authenticity, pointing to its colorblind casting and alleged feminist themes. Some have even labeled it "Snow White on steroids," arguing that Hollywood has once again reshaped a beloved classic to fit a contemporary agenda. Supporters, however, argue that great storytelling evolves with its audience and that adapting ancient myths for modern viewers is exactly what cinema should do. The controversy surrounding The Odyssey raises broader questions about historical accuracy, artistic freedom, and whether Hollywood should preserve the past or reinterpret it for the present. Piers Morgan is joined by two expert panels to debate the controversy from opposing perspectives, beginning with the historical and classical context before examining the wider cultural arguments surrounding one of the year's most anticipated films. Joining Piers are historian and Hoover Institution senior fellow Victor Davis Hanson, essayist and author A.N. Wilson, author and critic Daniel Mendelsohn, BET News host Marc Lamont Hill, YouTuber Gary Buechler (Nerdrotic), and YouTuber Will Jordan (The Critical Drinker). Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week Cinema in Seconds visits the happiest place on earth, as Ian, Dan and Alyson explore the Disney animated canon. So let your conscience be your guide and be our guest. We promise we'll have you home by midnight.Snow White - 8:00A Goofy Movie - 19:30Beauty and the Beast - 33:30The Lion King - 44:00Wreck It Ralph - 58:30Dumbo - 1:11:00

Christopher Nolan's Odyssey hasn't even come out yet and it's already the most disliked Hollywood trailer since Snow White. Bridget breaks down the casting controversy, why Elon rage-tweeting about a movie he hasn't seen is just as annoying as woke casting, and why the script is a downstream effect the collapsing literacy rates of our youth. #TheOdyssey #ChristopherNolan #DumpsterFire #elonmusk #bridgetphetasy Topics covered: Christopher Nolan Odyssey movie, Odyssey woke casting, Lupita Nyong'o Helen of Troy, Elliot Page Odyssey, Elon Musk Odyssey, Oscar DEI rules, literacy decline, race swap fatigue, Hollywood culture war, DEI Hollywood 

The latest trailer for Nolan's The Odyssey is racking up records... bad ones. Yes, it's been disliked as much as Snow White. Now, will it tank at the box office? It's a Nolan movie, so probably not. Probably. Grab popcorn. Watch the podcast episodes on YouTube and all major podcast hosts including Spotify. CLOWNFISH TV is an independent, opinionated news and commentary podcast that covers Entertainment and Tech from a consumer's point of view. We talk about Gaming, Comics, Anime, TV, Movies, Animation and more. Hosted by Kneon and Geeky Sparkles. Get more news, views and reviews on Clownfish TV News - https://more.clownfishtv.com/ On YouTube - https://www.youtube.com/c/ClownfishTV On Spotify - https://open.spotify.com/show/4Tu83D1NcCmh7K1zHIedvg On Apple Podcasts - https://podcasts.apple.com/us/podcast/clownfish-tv-audio-edition/id1726838629 MORE CLOWNFISH TV - Official Merch Store: http://ClownfishMinus.com Facebook - https://facebook.com/ClownfishTV X - https://x.com/ClownfishTVcom Clownfish TV subreddit: https://www.reddit.com/r/ClownfishTVOfficial/ Disclaimer: This series is produced by Clownfish Studios and WebReef Media, and is part of ClownfishTV.com. Opinions expressed by our contributors do not necessarily reflect the views of our guests, affiliates, sponsors, or advertisers. ClownfishTV.com is an unofficial news source and has no connection to any company that we may cover. This channel and website and the content made available through this site are for educational, entertainment and informational purposes only. These so-called “fair uses” are permitted even if the use of the work would otherwise be infringing. #TheOdyssey #Movies #Podcast #Commentary #News #Reaction #Gaming #Comedy #Entertainment #Hollywood #PopCulture #Tech #Anime #FYP Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Jim Hill and Drew Taylor take a Fourth of July detour on Fine Tooning for a deep dive into the first 50 years of Disney animation directors. With Ron Clements' memoir now pushed to October and The Great Mouse Detective celebrating its 40th anniversary, Jim and Drew trace how Disney's animated features evolved from Walt's hands-on oversight to the rise of the CalArts generation. Along the way, they revisit Snow White, Dumbo, Cinderella, The Jungle Book, The Rescuers, The Black Cauldron, and the film that helped set the stage for Disney animation's next era. HIGHLIGHTS • Ron Clements' long-awaited memoir, Making Disney Magic, gets another release-date delay. • The Great Mouse Detective turns 40, giving Jim and Drew the perfect excuse to revisit Disney animation's directing history. • Walt Disney's role in shaping Snow White, Pinocchio, Fantasia, Dumbo, and Bambi gets a fresh look. • The wartime package films reveal how Disney kept animation alive during a difficult stretch for the studio. • The conversation follows the handoff from veteran Disney directors to the CalArts generation that changed feature animation. FEATURE • How early Disney animated features used supervising directors, sequence directors, and Walt's final creative say. • Why Cinderella, Alice in Wonderland, Peter Pan, Lady and the Tramp, and Sleeping Beauty marked a major postwar rebuilding period. • How Wolfgang Reitherman's run helped define the studio's animated output after Walt's death. • Why The Rescuers, The Fox and the Hound, The Black Cauldron, and The Great Mouse Detective became turning points for the next generation of Disney storytellers. HOSTS • Jim Hill - X/Twitter: @JimHillMedia, Instagram: @JimHillMedia, Website: jimhillmedia.com • Drew Taylor - X/Twitter: @DrewTailored, Instagram: @drewtailored, Website: drewtaylor.work FOLLOW • Facebook: @JimHillMediaNews • YouTube: @jimhillmedia • TikTok: @jimhillmedia • Patreon: https://www.patreon.com/jimhillmedia/ SUPPORT Support the show and access bonus episodes and additional content at https://www.patreon.com/jimhillmedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - https://strongmindedagency.com SPONSOR This episode is sponsored by UnlockedMagic.com. If a Disney or Universal trip is on your radar for 2026, Unlocked Magic helps you lock in great ticket prices without the stress, all handled by people who know the parks and how to save you money. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. https://www.jimhillmedia.com/sponsor/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Jim Hill and Drew Taylor take a Fourth of July detour on Fine Tooning for a deep dive into the first 50 years of Disney animation directors. With Ron Clements' memoir now pushed to October and The Great Mouse Detective celebrating its 40th anniversary, Jim and Drew trace how Disney's animated features evolved from Walt's hands-on oversight to the rise of the CalArts generation. Along the way, they revisit Snow White, Dumbo, Cinderella, The Jungle Book, The Rescuers, The Black Cauldron, and the film that helped set the stage for Disney animation's next era. HIGHLIGHTS • Ron Clements' long-awaited memoir, Making Disney Magic, gets another release-date delay. • The Great Mouse Detective turns 40, giving Jim and Drew the perfect excuse to revisit Disney animation's directing history. • Walt Disney's role in shaping Snow White, Pinocchio, Fantasia, Dumbo, and Bambi gets a fresh look. • The wartime package films reveal how Disney kept animation alive during a difficult stretch for the studio. • The conversation follows the handoff from veteran Disney directors to the CalArts generation that changed feature animation. FEATURE • How early Disney animated features used supervising directors, sequence directors, and Walt's final creative say. • Why Cinderella, Alice in Wonderland, Peter Pan, Lady and the Tramp, and Sleeping Beauty marked a major postwar rebuilding period. • How Wolfgang Reitherman's run helped define the studio's animated output after Walt's death. • Why The Rescuers, The Fox and the Hound, The Black Cauldron, and The Great Mouse Detective became turning points for the next generation of Disney storytellers. HOSTS • Jim Hill - X/Twitter: @JimHillMedia, Instagram: @JimHillMedia, Website: jimhillmedia.com • Drew Taylor - X/Twitter: @DrewTailored, Instagram: @drewtailored, Website: drewtaylor.work FOLLOW • Facebook: @JimHillMediaNews • YouTube: @jimhillmedia • TikTok: @jimhillmedia • Patreon: https://www.patreon.com/jimhillmedia/ SUPPORT Support the show and access bonus episodes and additional content at https://www.patreon.com/jimhillmedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - https://strongmindedagency.com SPONSOR This episode is sponsored by UnlockedMagic.com. If a Disney or Universal trip is on your radar for 2026, Unlocked Magic helps you lock in great ticket prices without the stress, all handled by people who know the parks and how to save you money. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. https://www.jimhillmedia.com/sponsor/ Learn more about your ad choices. Visit megaphone.fm/adchoices

No Film School's Jo Light records live from Aspen Shorts Fest with Julia Aks and Steve Pinder, the co-writers and co-directors of Jane Austen's Period Drama. The conversation covers how the short grew from a period-drama pun into an Oscar-nominated comedy, what it took to produce an ambitious period piece on a limited budget, and how the filmmakers navigated festivals, awards qualification, campaign strategy, and the career momentum that followed. In this episode, No Film School's GG Hawkins, Jo Light, and guests Julia Aks and Steve Pinder discuss... How Julia Aks and Steve Pinder first met through a USC student film and developed their creative partnership Turning a comedic pun into a short film with emotional depth and a clear central event Why successful short films often focus on a small moment instead of compressing a feature-sized story Budgeting the short, finding the right producer, and learning where production money shows up on screen Calling in community favors for period costumes, crew, and production support Working with Snow White the chicken and planning animal scenes safely Balancing Julia's roles as actor, co-writer, co-director, and editor Building a festival strategy after early rejections and learning the importance of premiere status Why Aspen Shorts Fest became a key Oscar-qualifying opportunity for the film How live festival screenings shaped the filmmakers' understanding of the comedy Handling polarizing reviews and why strong reactions can signal that a film took risks What happens after winning a qualifying award, from the long list to the short list to nomination The cost, strategy, and labor behind an Oscar campaign for a short film How Emma Thompson became the film's “Executive Menstrual Advisor” Why live screenings became central to their campaign strategy The career impact of receiving an Oscar nomination, even without winning Developing the feature version of Jane Austen's Period Drama and future musical comedy ideas Memorable Quotes: “When short films are very successful, I think they take a small moment or they take a small piece of humanity or a small observation about life, and then really maximize and explore that small thing.” “We never wanted to make a proof of concept that didn't stand on its own. We wanted to make a short film that was a short film.” “Everything makes sense, and also nothing makes sense.” “Be bold, be brave, make a zero or a 10. Don't make a five.” Guests: Julia Aks Steve Pinder Resources: Jane Austen's Period Drama Jane Austen's Period Drama on IMDb Aspen Shortsfest Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram

The Martin Show Podcast is baaaaaack!! As we deal with the sweltering heatwaves, the Martin Show Podcast has a remedy. Take a chill pill as Martin, Gina, Tommy, Cole, and Pam revisit their icy past with snow. But in this special comeback episode that aired November 21, 1996, somebody on the ski trip is coming out of the snow closet.

From Disney classics such as Cinderella and Snow White, to the fantastical The Red Shoes, darker tales from European cinema like Bluebeard or Pan's Labyrinth, or stories within stories such as The Princess Bride or The Fall - Ellen E Jones and Mark Kermode explore the magical spell fairy tales have continued to cast over cinema history.Featuring interviews with director Julia Jackman, Tarsem Singh and cultural historian, Sir Christopher Frayling.Producer: Queenie Qureshi-Wales A Prospect Street production for BBC Radio 4

This week, Eric and Josh are joined by Nick to discuss: MTV, Tubi, 1980s/1990s movie channels, Indiana Jones, Aliens, Disney's Robin Hood, Masters of the Universe, Master and Commander, and more! They also discuss the movies (and Saturday Morning Cartoons) screening the week of Friday July 3 - Thursday July 9: Unidentified, The Sheep Detectives, Saturday Morning All-You-Can-Eat-Cereal Cartoon Party, Amores Perros, Snow White and the Seven Dwarfs, and Letty Lynton! They neglect to mention Stop! That! Train!, which was booked after the podcast recording. You can always keep up to date with the Mayfair schedule at mayfairtheatre.ca

Today I sat down with Brad Williams — a stand-up comic that even Robin Williams loved.In this episode, Brad opens up about what really happens behind the scenes at Disney, tells the wild, untold story behind his run-in with John Stamos, and shares stories about Carlos Mencia and Robin Williams that shaped his career. We also get into stand-up comedy, marriage, raising a daughter as a little person, and so much more. This is one of the best, most honest conversations we've had on the show. Sit back and join us.

Come hear the tale of Mortimer's cousin Cynthia, and the fantastic, miner-village story she knows about a lady named Snow White. 

Well, in this episode of “Tops and Bottoms,” we move from the Top grossing film of 1959 to . . . well, the bottom grossing film. Hoo boy, this is gonna be painful. What's it going to be? Some late-career Ed Wood movie? Ooo, are we going to get another entry from the Cor-man? There are so many of his we still haven't endured, I mean, seen! Heh, I bet it's some teen movie or cheap science fiction dreck. Let's check the Max-O-Tron 9000000 . . . oh . . . huh. “Sleeping Beauty.” Ok, sure this must be some sort of knockoff from some cheesy Latvian or Upper Voltan animation studio, right? Sort of thing they used to sell on the streets of Times Square? Ok, so who produced this . . . wait . . . Walt Disney? Not Wahllte Dizney? Or Wal Tdisney? It was, you know, Disney Disney? Uh . . . wow . . . so, “Snow White,” “Cinderella” . . . that Disney. How . . . what . . . when . . . plankton . . . uh, give a listen, ok? We gotta work on this for a while. Poll question: Who is your favorite animated hero? Leave a comment or call our 3D animated hotline at 617-398-7266

Neither of us is actually in Old Town today — but as Brady put it, we're there in spirit. On this Friends of Old Town edition of The Valley Today, host Janet Michael catches up with Brady Cloven (Executive Director, Friends of Old Town Winchester) via Zoom while he's at a tourism conference in Pennsylvania, pitching bus tours on coming to Winchester. The conversation is released just minutes before Brady cuts the ribbon on the South End Literacy Mural at the splash pad — the year-long project with United Way, the John and Janice Wyatt Foundation, and the Winchester Campaign for Grade-Level Reading that's already doing what it was designed to do (drawing kids and parents to a previously quiet end of the walking mall). Brady walks through Friends of Old Town's recent three-award sweep from Virginia Main Street — including milestone recognition for crossing 40,000 volunteer hours (about $1 million in volunteered time) and 10,000+ building projects across 40 years — plus the upcoming Friends of Old Town public art initiative at Taylor Pavilion (37 artist applications, narrowed to a top six). Then it's a full preview of the July 4th VA250 Downtown Jubilee — 12-to-10 PM with Made in Virginia vendors, two live music acts at Taylor Pavilion, the reading of the Declaration of Independence, a Cheerwine relay chug, a Snow White slider eating contest, and a laser-light show to close out the night. Plus details on the August 22 Dog Days of Summer Hot Dog Crawl, a teaser for the Monty Python pub crawl on July 17, and a friendly reminder that the parrot in the mural is wearing a pirate hat for a reason — though Janet is more than willing to take credit on Brady's behalf. EVENT LINEUP — JULY-AUGUST IN OLD TOWN WINCHESTER FIRST FRIDAY — Friday, July 3 • All That of Winchester at Taylor Pavilion (6:30–8:30 PM, with a break) • Artist Alley on Boscawen — curated by Tin Top in June; new partner each month • Sip and Stroll active throughout • Then head to Jim Barnett Park for Red, White & Boom fireworks VA250 DOWNTOWN JUBILEE — Saturday, July 4 • 12 PM–10 PM • Made in Virginia vendor fair (10–15 vendors throughout the mall) • Rebecca Porter (Americana/country) — Taylor Pavilion, 12–3 PM • Reading of the Declaration of Independence + presentation of colors (Sons & Daughters of the American Revolution) • Melissa and the Mothmen (honky-tonk) — Taylor Pavilion, 5–8 PM • Cheerwine relay chug race • Snow White slider eating contest • Laser-light show at dusk (between 9:00 and 9:30 PM) • Sip and Stroll active throughout MONTY PYTHON PUB CRAWL — Thursday, July 17 • Joint fundraiser with Friends of Old Town, United Way, Blue Ridge Cares, Winchester CCAP, and ARE. Costumes encouraged. Details via partner organizations. DOG DAYS OF SUMMER HOT DOG CRAWL — Friday, August 22 • 12:00–6:00 PM $30 ticket gets unlimited hot dogs at 8 participating Old Town businesses (plus a surprise import). Score the dogs, crown a champion, music at Taylor Pavilion. Best Dressed Hot Dog competition for costumed attendees. Limited tickets — buy early via the event page on Facebook (Eventbrite link). TAYLOR PAVILION MURAL — coming September 2026 • The next Friends of Old Town mural, going on the Mountain Trails building and the stucco above the wine room patio. Selected from 37 artist submissions. LINKS & RESOURCES • Friends of Old Town: friendsofoldtown.org (community calendar — events from across Old Town) • Friends of Old Town on Facebook (event pages for every gathering) • Friends of Old Town on Instagram: @friendsofoldtownwinc • Mural partners: United Way of the Northern Shenandoah Valley, John and Janice Wyatt Foundation, Winchester Campaign for Grade-Level Reading THE VALLEY TODAY with Janet Michael — A decade of conversations. New podcast episodes drop weekdays at 11 AM. Catch the show on The River 95.3 and Fox Sports 1450 AM weekdays just after noon. Subscribe and listen at thevalleytodaypodcast.com — available on Apple Podcasts, Spotify, and wherever you get your podcasts. If you enjoy the show, please take a moment to leave a rating or review — it helps more listeners find us. Connect with us: Facebook — facebook.com/ValleyTodayFanPage Instagram — instagram.com/thevalleytoday

Lux Radio Theatre - Snow WhiteBecome a supporter of this podcast: https://www.spreaker.com/podcast/harold-s-old-time-radio--4206392/support.

The Walt Disney Company is the most successful enterprise ever created for monetizing human nostalgia. Today it's the king of global entertainment, holding the intellectual property rights to the childhood memories of billions of people (including, likely, all of you) and is a reliable, predictable profitable business. But it didn't start that way.During Walt's era, Disney operated like an unhinged moonshot factory, blowing its finances on one seemingly crazy project after another, like the very first feature-length animated film or a theme park inspired by Walt's fascination with model trains (spoiler: Disneyland). Walt's relentless ambition to bet the company over and over again not only created some of the most monumental artistic achievements of the 20th century (Snow White, Fantasia, Disney Imagineering), but also resulted in the accidental invention of the modern “flywheel” business model. In this episode, we tell the story of the ultimate marriage of art, commerce, and engineering — The Walt Disney Company: Walt's Era.Sponsors:Many thanks to our fantastic Spring '26 Season partners:J.P. MorganWeAreDevelopers eventVercelServiceNowStatsigLinks:Sign up for email updates, get our takeaways and research photos from each episode, and vote on future topics!The Acquired Disney Companion PDFOur Disney column in WSJThe original 1958 WSJ “Flywheel” article"Walt Disney: The Triumph of the American Imagination by Neal GablerThe Animated Man by Michael BarrierWalt Disney: An American Original by Bob ThomasBuilding a Company: Roy O. Disney and the Creation of an Entertainment Empires by Bob ThomasThe Disney Version: The Reedy Creek Improvement District in the Contemporary Florida Story by Richard SchickelPBS American Experience: Walt DisneyDisneyland HandcraftedWalt's 1966 EPCOT pitch videoWorldly Partners' Multi-Decade Disney StudyThe Walt Disney Family MuseumAll episode sourcesCarve Outs:Brooks Vanguard sneakersDefunctland YouTube ChannelAnimagraffs YouTube ChannelVolvo EX30The San Francisco SymphonyMore Acquired:Get email updates and vote on future episodes!Join the SlackCheck out the latest swag in the ACQ Merch Store!00:00 Start01:09 Intro06:03 Walt's Early Life & Artistic Calling (1901-1919)12:37 From Commercial Art to Laugh-o-grams (1919-1923)23:04 Hollywood, The Alice Comedies & Oswald's Loss (1923-1928)43:31 Mickey Mouse & The Synchronized Sound Breakthrough (1928)01:01:53 The IP Flywheel & Mickey Merch Explosion (1929-1933)01:09:57 Analysis: The Disney IP Flywheel Unpacked01:59:02 Snow White & The Folly That Defined Animation (1937)01:41:08 The Burbank Studio & Pre-War Struggles (1937-1941)02:04:20 The Animators' Strike & Walt's Disillusionment (1941)02:15:44 World War II & The Accidental Disney Vault (1941-1945)02:24:27 Post-War Slump to Cinderella's Comeback (1945-1950)02:33:46 Walt's Obsession: Model Trains to Disneyland (1950-1952)02:38:44 Financing Disneyland: ABC, SRI & Davy Crockett (1953-1955)03:17:00 Disneyland's Grand Opening & The Evolving Flywheel (1955-1958)03:39:04 The Florida Project: Walt's Vision for EPCOT City (1958-1966)03:54:20 Walt's Untimely Death & Roy's Legacy (1966-1971)04:00:06 A Parks Company & Creative Decline (1971-1984)04:09:44 Analysis: Why No Other Disney Flywheels?04:17:15 The Seven Powers of Disney04:20:30 Quintessence: Art, Commerce & Timeless IP04:23:47 Carve-Outs + Outro‍Note: Acquired hosts and guests may hold assets discussed in this episode. This podcast is not investment advice, and is intended for informational and entertainment purposes only. You should do your own research and make your own independent decisions when considering any financial transactions.

Loretta Chefchaouni's debut The Lustrous Dark (Peachtree Teen, 2026) follows protagonist Shay.Orphaned as a baby, Shay has spent her life training as the midwife's apprentice. Her role grants her stability, yet Shay has always yearned for more. Namely, motherly affection and answers regarding her mysterious birth—neither of which the midwife deems practical to provide.After Shay discovers her birth mother, Hind, is still alive and addicted to a magical drug called Snow, she determines to get the woman clean. But when Hind betrays Shay to get her hands on more Snow, Shay's abandoned within a deadly forest and forced to rely on a band of monstrous ghouls for safety.Shay's realm has long stood on the brink of war between the men who control magic and the revolutionaries who want to eliminate it. But in the forest, Shay hears the pleading call of ancient spirits who claim that not only has magic been stolen, but Shay has the power to return it. With the help of a spitfire revolutionary and the boy who's winning over her heart, Shay discovers the horrific truth of who produces Snow and will have to decide for herself whether to heed the spirits' charge or fade into obscurity. This emotionally raw and gorgeously rendered fairy tale combines the lush worldbuilding of This Woven Kingdom with the mother trauma of Snow White and a dash of Tim Burton. Steeped in mysticism and mythology, The Lustrous Dark confronts injustices against women with a righteous scream that'll inspire readers to rally against the patriarchy and oppressive regimes worldwide. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Loretta Chefchaouni's debut The Lustrous Dark (Peachtree Teen, 2026) follows protagonist Shay.Orphaned as a baby, Shay has spent her life training as the midwife's apprentice. Her role grants her stability, yet Shay has always yearned for more. Namely, motherly affection and answers regarding her mysterious birth—neither of which the midwife deems practical to provide.After Shay discovers her birth mother, Hind, is still alive and addicted to a magical drug called Snow, she determines to get the woman clean. But when Hind betrays Shay to get her hands on more Snow, Shay's abandoned within a deadly forest and forced to rely on a band of monstrous ghouls for safety.Shay's realm has long stood on the brink of war between the men who control magic and the revolutionaries who want to eliminate it. But in the forest, Shay hears the pleading call of ancient spirits who claim that not only has magic been stolen, but Shay has the power to return it. With the help of a spitfire revolutionary and the boy who's winning over her heart, Shay discovers the horrific truth of who produces Snow and will have to decide for herself whether to heed the spirits' charge or fade into obscurity. This emotionally raw and gorgeously rendered fairy tale combines the lush worldbuilding of This Woven Kingdom with the mother trauma of Snow White and a dash of Tim Burton. Steeped in mysticism and mythology, The Lustrous Dark confronts injustices against women with a righteous scream that'll inspire readers to rally against the patriarchy and oppressive regimes worldwide. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Leaked correspondence between Jes Staley—former CEO of Barclays and long-time JPMorgan executive—and Jeffrey Epstein laid bare more than just casual business exchanges; they revealed a troubling bond rooted in intimacy, trust, and privilege. In one exchange, Staley mused, “That was fun. Say hi to Snow White,” to which Epstein replied, “What character would you like next?” Staley coyly responded, “Beauty and the Beast,” turning their relationship into a grotesque pantomime. More damningly, Staley described Epstein as “family” and spoke of a “profound” connection, while photos of young women were also swapped—all under the guise of everyday correspondence. Far from distancing himself, Staley sustained contact well past Epstein's 2008 conviction, even joining him on his private island in 2009—behavior that defied any claim of a “purely professional” relationship.The fallout was swift—and deserved. The UK's Financial Conduct Authority (FCA) concluded that Staley “recklessly misled” both Barclays and regulators by downplaying the closeness of his ties with Epstein. A £1.8 million fine (later reduced to £1.1 million) and a lifetime ban from senior financial roles followed. The Upper Tribunal upheld the sanctions, emphasizing that Staley knowingly took a calculated risk, hoping the truth would stay buried. But the emails, held up like digital incriminators, ensured his downfall. His denials, evasive demeanor in court, and attempt to frame the relationship as innocuous only magnified the breach of trust. In financial leadership, reputation is everything—and Staley burned his.to contact me:bobbycapucci@protonmail.comsource:Epstein-Staley Emails Reveal Friendship Forged at JPMorgan (yahoo.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.

The Daily Quiz - General Knowledge Today's Questions: Question 1: What type of structures are used to conduct a water stream across a valley? Question 2: What is the result of the mathematical operation obtained by subtracting the number of Snow White's dwarfs from the original title number of 'Disney Dalmatians'? Question 3: What word is used in the NATO Phonetic Alphabet for the letter T? Question 4: Which word is defined as 'a commotion or fuss'? Question 5: What is the total number of days in March, April, and May combined? Question 6: Which word is defined as 'of, pertaining to, or resembling a hedgehog'? Question 7: Which word is defined as 'a platform of a staircase where the stair turns back in exactly the reverse direction of the lower flight'? Question 8: Which word is defined as 'high-waisted skiing pants with shoulder straps'? Question 9: Which word is defined as 'to drink often; to eat and;or drink noisily'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

The Break Room (Friday 6/12/26) 9am Hour It's officially geese crossing season and Duffy has some questions: can they hurt us? Should we be afraid? And can I fight back? He's had enough of animals as his house is turning into the set of Snow White with bunnies, cardinals and an impending squirrel box. Don't tune out before you get to hear Tommy's impression of a goose receiving a knob.

Eddie's wife came into the house in a panic after seeing a hurt bird outside. What happened next made Eddie worry that he may have a Thor situation going on and that his wife was now an animal rescuer...See omnystudio.com/listener for privacy information.

Eddie's wife came into the house in a panic after seeing a hurt bird outside. What happened next made Eddie worry that he may have a Thor situation going on and that his wife was now an animal rescuer...See omnystudio.com/listener for privacy information.

What if Snow White was a warrior princess who could make a sword out of lightning and a cloak out of the night sky? And what if moms were nice?? To explore these questions, we read 'Sleep Like Death' by Kalynn Bayron. Conversation starts around 31:50. Before we take a bite out of that apple, let's check in on some of the things we've been playing, watching, and thinking about lately.Playing?Godzilla & other kaiju games at Kaiju BrooklynNight in the Woods (2017)Watching?RuPaul's Drag Race All-Stars 11 (Paramount+)Snow White and the Seven Dwarfs (1937 Film)Thinking About?⁠⁠Sony June 2026 State of PlayFind us on Bluesky & Instagram: @NovelGamingPodSend us an e-mail: novelgamingpodcast@gmail.comLogo by: Katie!Theme song: "Bit Bossa" by Azure

You’re listening to American Ground Radio with Louis R. Avallone and Stephen Parr. This is the full show for June 4, 2026. We open with a conversation about Congress's seemingly unlimited capacity for symbolism and its equally limited appetite for actual governance — prompted by the bill to rename the street in front of the Chinese embassy Tiananmen Square Memorial Boulevard. We love the trolling, we love the underlying principle, and we think every Chinese diplomat should have to write that address on their stationery every day. But we also note that the SAVE Act — which 70% of Americans support, including 69% of independents and nearly half of rank-and-file Democrats — is still sitting unactioned. You cannot tell us you can walk and chew gum at the same time if you're only blowing bubbles. In our Top 3 Things You Need to Know, President Trump announced he wants Acting Attorney General Todd Blanch to become the permanent AG — and after overseeing the indictment of James Comey and launching the National Fraud Enforcement Division, we think he's earned it. Then the federal government cut off Hawaii from Medicaid funding after decertifying its Medicaid Fraud Control Unit — a unit that received millions of dollars to fight fraud, produced zero criminal indictments between 2022 and 2025, and watched Medicaid enrollment explode by 40% in the same period. And water began flowing again into the Lincoln Memorial Reflecting Pool — restored for an estimated $13 to $20 million, which is less than half of what the Obama administration spent on a failed repair project that left the pool just as dirty six months later. Our American Mama Teri Netterville responds to the Black Crows concert in Florida where the lead singer told a crowd chanting USA that he didn't understand why they were cheering for this country. Thousands walked out. Teri says she would have been one of them — and explains why the cultural fatigue is real and permanent now. We talk about why woke entertainment keeps failing at the box office, why Snow White bombed, why the all-lesbian Star Trek didn't survive one season, and why Americans are done pretending they'll tolerate being told their country is awful by the people it made wealthy. We dig into the Austin Metcalf murder trial — which CBS News and most of the media are calling the Carmelo Anthony trial, burying the name of the murdered boy seven paragraphs down. We explain why the jury ended up without any Black members — and the answer, straight from CBS News itself, is not that prosecutors were racist. It's that several prospective Black jurors admitted under oath they could not vote to convict a defendant who looked like them, or who looked like a kid, regardless of the evidence. One said he would have a hard time putting a brother in jail. We ask the question nobody wants to ask — if jurors in the other direction had said the same thing in reverse, what would happen? And we ask how many juries have had people on them who felt the same way but didn't say so out loud? The Senate voted to strip the SAVE Act from the reconciliation package — with four Republicans joining Democrats to kill it: Murkowski, McConnell, Tillis, and Collins. We explain why each of them voted the way they did, and we note that 81% of Americans support requiring voter ID and 80% want states to purge non-citizens from voter rolls. This is not a radical idea. It is the will of the American people, and four Republican senators just overruled it. For our Bright Spot, Senator John Fetterman — standing alone again among Senate Democrats — went on record calling out Maine Democrat Senate candidate Graham Plattner over the new revelations about his explicit messaging to women on a platform known for sexual predators. Fetterman said if you've already lied about the Nazi tattoo situation, there are probably a lot more ranches you haven't seen yet. We make the comparison to Alexander Hamilton's endorsement of Thomas Jefferson — I may disagree with his principles, but at least he has them. We also cover the Israel-Lebanon-Hezbollah ceasefire framework — and explain why the big if in that deal is Hezbollah, which has never wanted peace with Israel and still doesn't. And we close with Sterling Nassa, who was sitting in the audience at a live orchestra performance of La La Land in Sydney when the pianist came down ill at intermission. The conductor walked out and asked if anyone in the house could play. Sterling was a trained pianist and an accomplished sight reader. He walked up, sight read the second half of the concert, including a complicated piano solo, and saved the show. May your pursuit of happiness bring you joy. Listen now wherever you get your podcasts, visit AmericanGroundRadio.com, and join the conversation at 866-AGR-1776!See omnystudio.com/listener for privacy information.

On this episode of Mortified, Aaron and Leyla continue their trek through TwIsTeD fairy tales with the 2012 dark fantasy film "Snow White and the Huntsman!" We enjoy a heaping serving of Charlize Theron, discuss the late 00's relationship with celebrities, and break down what makes Imagery so critical to art.  Video Hole Episode II : https://store.steampowered.com/app/2269060/VideoHole_Episode_II/ --- Our theme song is "Obsolete" by Keshco, from the album "Filmmaker's Reference Kit Volume 2." Our other projects: Aaron's TTRPG Reviews aavoigt.com

This year, Fantagraphics celebrates 50 years of publishing and Mike, Kara, and Brian dig comics from the publisher as part of May's Reading Challenge Theme of the Month! Join the IRCB Reading Challenge on Goodreads or on Storygraph: https://www.goodreads.com/challenges/25314-ircb-s-2026-reading-challenge https://app.thestorygraph.com/reading_challenges/92bfe182-4dc9-47ae-ad55-0ecf18ccdba2 Timestamps: 00:00:00 - Start/Our history with Fantagraphics 00:13:02 - Usagi Yojimbo: Book One: The Ronin 00:20:13 - Corto Maltese, the Fable of Venice 00:29:02 - Baby Blue 00:34:50 - The Return of Snow White 00:51:34 - Wrap Producer: Mike RapinPost Production & Social Media: Kait Lamphere, Daniel MartinezProoflistener: Kait LamphereEditor: Zander Riggs Music provided by Infinity Shred. Find them on Bandcamp.IRCB Avatars by @ICELEVELIRCB Logo by Kyle RoseSupport us on Patreon to get access to our Patreon-only series: IRCB Movie Club, Saga of Saga, Giant Days of Our Lives, A Better Batmobile, and more! patreon.com/ircbpodcastBuy a copy of our anniversary zine Totally Not A Cult: https://ircbpodcast.com/shop/p/totally-not-a-cult-zine-1Email: ircbpodcast@gmail.comTwitter: @ircbpodcastInstagram: @ircbpodcastDiscord: discordapp.com/invite/E8JUB9sReddit: ireadcomicbooks.reddit.comIRCB GoodreadsMerch: ircbpodcast.com/shop

“Seems the only one who doesn't see your beauty is the face in the mirror looking back at you.”This week, we're doing a Show and Tell on one of literature's most enduring symbols: the mirror. From Narcissus to Dorian Gray, Snow White's magic mirror to Alice Through the Looking Glass, mirrors have long served as devices of identity, vanity, the supernatural, and the soul, and Taylor Swift is no stranger to the motif. We trace mirrors across three songs: Tied Together with a Smile (Taylor Swift, 2006), Begin Again (Red, 2012), and Anti-Hero (Midnights, 2022). Along the way, we explore distorted self-perception and the inner child, the mirror as a post-breakup identity reset, why Taylor would rather stare directly at the sun than face her own reflection, and what social media has to do with all of it. Plus: Dorian Gray, Narcissus, vampires without souls, the Bloody Mary game, and an accidental Justin Timberlake shout-out. Subscribe for free to get episode updates or upgrade to paid to get our After School premium content: aptaylorswift.substack.com/subscribe After School subscribers get monthly bonus episodes, exclusive content, and early access to help shape future topics!   Stay up to date at aptaylorswift.com   Mentioned in this episode: The Picture of Dorian Gray, Oscar Wilde Hamlet, William Shakespeare Alice Through the Looking Glass, Lewis Carroll Reflection — Mahesh Dattani (Indian play) Reflection — Mulan (1998 film) Snow White and the Seven Dwarfs (1937 film) Greek Mythology: Narcissus Harry Potter and the Sorcerer's Stone (Mirror of Erised), J.K. Rowling Tied Together with a Smile — Taylor Swift (2006) Begin Again — Taylor Swift, Red (2012) Anti-Hero — Taylor Swift, Midnights (2022)   Episode Highlights: [01:13] Mirrors in literature and the arts: identity, vanity, and the soul [09:00] Song 1: Tied Together with a Smile — the fractured self and distorted physical perception [23:52] Song 2: Begin Again — “Took a deep breath in the mirror” [34:11] Song 3: Anti-Hero — “I'll stare directly at the sun, but never in the mirror”   Follow AP Taylor Swift podcast on social! TikTok → tiktok.com/@APTaylorSwift Instagram → instagram.com/APTaylorSwift YouTube → youtube.com/@APTaylorSwift Link Tree → linktr.ee/aptaylorswift Bookshop.org → bookshop.org/shop/apts Libro.fm → tinyurl.com/aptslibro   Contact us at aptaylorswift@gmail.com   Affiliate Codes: Krowned Krystals — krownedkrystals.com — use code APTS at checkout for 10% off! Libro.fm — Looking for an audiobook? Check out our Libro.fm playlist and use code APTS30 for 30% off books found here: tinyurl.com/aptslibro   This podcast is neither related to nor endorsed by Taylor Swift, her companies, or record labels. All opinions are our own. Intro music produced by Scott Zadig aka Scotty Z

What Schools Don't Teach You About American Indians Watch this video at- https://youtu.be/mxapaXrHr1Y?si=cF0XXPt02WgEhCLK Matt Walsh 3.41M subscribers 3,192,761 views Apr 2, 2026 #RealHistory #MattWalsh #TheMattWalshShow The Real History of the American Indians What do Snow White, Cinderella, and smallpox blankets have in common? They're all fairytales. In this shocking episode of "Real History," Matt Walsh rips apart the myth of peaceful, noble Indians who were supposedly victimized by evil white settlers. Matt takes on the biggest mainstream myths and left-wing shibboleths about the settling of the American West. It's time to ditch the self-loathing propaganda designed to demoralize us and replace it with raw, unfiltered history that radical academics and Hollywood don't want you to see. Real History Ep. 2 The Real History of Slavery is available on youtube here:    • What Schools Don't Teach You About Slavery   The Real History of the Civil War is available, exclusively on DailyWire+ https://dwplus.watch/RealHistoryTheCi... -- -- -- LIKE & SUBSCRIBE for new videos every day: https://youtube.com/MattWalsh?sub_con... -- -- -- Today's Sponsors: Balance of Nature - Join hundreds of thousands of customers in one simple routine that's changing the world. Go to https://BalanceofNature.com to subscribe and save today. Grand Canyon University (GCU) - Find your purpose at Grand Canyon University. Visit https://GCU.edu to learn more. -- -- -- CHAPTERS: 00:00 Intro/Trail of Tears Myth 06:57 The "Peaceful Indian" Myth 14:19 Colonization escalated violence? 21:47 Counting Coup, Scalping, & becoming a War Chief 26:16 Indians & Property Rights 30:01 The Fort Parker Massacre 32:50 American Indian War Tactics 41:30 The Rise of Texas Rangers 43:28 Guns that Won the West 46:07 Major Indian Victories 49:55 How the US Finally Won 51:33 The Smallpox Blanket Myth 59:02 It Wasn't a "Genocide" -- -- --

This is Part 2 of my conversation with Heather Pollington — ex-Hollywood artist, iconographer, and illustrator for Symbolic World Press. If you haven't listened to Episode 75 yet, start there first.In this second half, Heather and I go deeper into her world as an icon painter — her illustration influences, the iconographic concept of simultaneous narrative, what it felt like to first encounter Orthodox art, and the bigger question of what a living iconographic tradition looks like for Western audiences today. We close with something I found genuinely moving: Heather's candid account of leaving Hollywood behind, and what she's learned about following work you can do with love.Illustration Influences: From the Palekh lacquer-box tradition of Russia to British illustrator Errol Le Cain and Scandinavian master Kay Nielsen — the visual DNA behind Heather's fairy tale work.The Memory Box: Why Heather's illustrations use framed vignettes instead of full-bleed spreads — and how her doll's-house fascination connects to a centuries-old iconographic principle called simultaneous narrative.The Primacy of Meaning: How iconography taught Heather to colour by emotion rather than observation — and why the best icons hold a permanent tension between the knowable and the unknowable.The Pivot Point: How researching medieval art for Maleficent 2 in 2017 became the unlikely doorway into both iconography and a return to meaning.Old World, New World: A rich exchange on the difference between encountering Christian art in historic England versus new and cosmopolitan Canada — and why North America's "blank slate" might actually be an advantage for building a new vernacular tradition.Reading the Room: Heather's approach to making iconography relevant for modern Western audiences — not by inventing, but by selecting from history what already resonates, the same way she once designed for "Michigan Joe" on a Hollywood set.Doing the Work with Love: Heather's honest account of leaving the film industry — not with a plan, but by moving toward the thing she loved. And finding that the world realigned around her when she did.Heather Pollington: Check out Heather's website and Instagram to see her illustration, iconography, and production design work.https://www.heatherpollington.com/https://www.instagram.com/heatherpollingtonSymbolic World Press: The fairy tale books Heather has illustrated for Jonathan Pageau, including The Tale of Snow White and the Widow Queen and The Tale of Rapunzel and the Evil Witch.https://www.symbolicworld.org/Errol Le Cain: British illustrator and one of Heather's key influences — look for his versions of Aladdin and The Magician's Daughter.Kay Nielsen: Scandinavian Golden Age illustrator; his book East of the Sun and West of the Moon is a must-see.Aidan Hart: Icon painter and Heather's teacher in the Orthodox iconographic tradition.https://www.aidanharticons.com/Creative Mornings Vancouver — June 5th: Tom will be speaking at Creative Mornings Vancouver around the theme of "Curate."https://creativemornings.com/talks/tom-froeseICON13 — Baltimore, July 16th Workshop: Tom's workshop at the illustration conference is now sold out, but come say hi if you're there.https://icon13.theillustrationconference.org/scheduleKnow Your Art — Cohort Class Mailing List: Interested in future offerings of Tom's six-week illustration course? Add yourself to the list.https://forms.gle/NiRwyLkvCbA24Zn19Drawing Is Important — The Book: Now available for purchase wherever books are sold!https://www.tomfroese.com/bookWork: tomfroese.comClasses: tomfroese.com/teachingInstagram: https://www.instagram.com/mrtomfroeseDaily Drawings: https://www.instagram.com/drawingisimportantIn this EpisodeLinks and ResourcesTom's Links

Pre-order WINGMAN now on Apple TV, coming out May 26th! : https://tv.apple.com/us/movie/wingman/umc.cmc.nfzru25awp5jnendhudhjw9t This episode is sponsored by Cheers Health, Inc, Quince -Refresh your wardrobe with Quince. Go to Quince.com/HARLAND for free shipping on your order and 365-day returns. - Same night out — way better morning with Cheers. For a limited time our listeners are getting 20% off their entire order by using code [HARLAND] at CheersHealth.com. #Cheers #ad Thanks for watching the Harland Highway. More Harland Williams: Harland Highway Podcast Video: https://www.youtube.com/c/HarlandHighwayPodcast Harland Highway Podcast Audio: https://podcasts.apple.com/us/podcast/the-harland-highway/id321980603 Instagram: https://www.instagram.com/harlandwilliams Harbling Shirts: https://www.harbling.com Official Website: https://www.harlandwilliams.com Twitter :https://twitter.com/harlandhighway?lang=en #podcast #harlandwilliams More Brad Williams: X:https://x.com/funnybrad?lang=en Website:https://bradwilliamscomedy.com/ Instagram:https://www.instagram.com/bradwilliamscomic/?hl=en 00:00 Intro 00:15 Williams Highway intro 06:13 23 and Me 10:00 Sending Brad Williams to Vancouver 15:00 Autoerotic Asphyxiation 20:00 Puppy Play 25:00 Brad's Darkest Fantasy 30:00 Committing to the Dwarf 35:00 Dog Sledding 40:00 Shooting Guns 45:00 Height Adjustment Surgery 50:00 Brad's Nutty Feet 55:00 Size Difference 1:06:00 Kids 1:10:00 Largest Animal 1:15:00 Wooden Shoe 1:22:00 Shipping off Brad Learn more about your ad choices. Visit megaphone.fm/adchoices

Disney fans rejoice! This year marks the 100th anniversary of The Carthay Circle Theatre, which is well known for hosting the premiere of the first ever animated feature film, Walt Disney's "Snow White and the Seven Dwarfs". But did you know that Walt's history with the Carthay Circle Theatre started before then and continued after? Joining me on this episode is Marc Wanamaker, the founder of Bison Archives, where he preserves and documents the history of Hollywood, show business, and much more. He personally experienced going to movies at the Carthay Circle Theatre as a child and witnessed its destruction. Listen as we discuss the Carthay Circle Theatre's history, Walt Disney's connections to it, and how the Disney theme parks pay honor to the theatre today from coast to coast. That and so much more is coming your way on this episode of Dizney Coast to Coast. ------ EPISODE LINKS: Bison Archives Hollywood's Chinese Theatre Compared to Disney's Recreation (podcast episode) ------ GIVEAWAYS, BONUSES AND SUPPORT: Gain early access to episodes, take part in live streams, and gain more bonuses by joining DCTC on Patreon. Save money on theme park and special event tickets through Unlocked Magic. The host of Dizney Coast to Coast personally uses and endorses Unlocked Magic. It's easy and simply saves you money. Support the show at no additional cost to you. Do your regular shopping on Amazon and Disney Store using my special links and make a purchase within 24 hours of clicking. Get FREE DISNEY GIFTS from DCTC. ------ BE SOCIAL: Follow @DizneyCTC and @JeffDePaoli on Instagram. ------ CONNECT: Write me at Contact@DePodcastNetwork.com Leave a voicemail at 818-860-2569 Sign up for the DCTC Newsletter ------ "Dizney Coast to Coast" is part of the DePodcast Network. Love the show? Leave a tip on Venmo or PayPal.

How can you navigate uncertainty in a constantly changing market? Why is persistence the key to a sustainable creative career? Plus why distribution is so important, and the four ways to monetise your creative work. All this and more with Adam Leipzig. In the intro, my reflections on running an author-publisher business after a fantastic e-commerce workshop run by Blubolt, and why you will always pay for marketing with either your time or your money; AI-Assisted Artisan Author webinars; and last call for my Kickstarter Bones of the Deep – J.F. Penn. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Adam Leipzig is a producer, former studio executive, and educator whose work spans film, media, and technology. He served as a senior executive at Walt Disney Studios and as President of National Geographic Films. His film credits include March of the Penguins and Dead Poets Society, with projects recognised by the Academy Awards, BAFTA, the Emmys, and Sundance. He is the author of several books on filmmaking and his latest book is Fearless Persistence: Creative Life, Creative Work, and the Ten Laws of Culturenomics. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why writing books still matters in a world saturated with visual media The Jeffrey Katzenberg “next” lesson and the power of fearless persistence How uncertainty and the “long middle” are essential parts of the creative process What film editing can teach writers about cutting, shaping, and refining their work The 10 Laws of Culturenomics, including why awareness is not desire and why distribution is everything How generative AI is changing filmmaking — and why creatives should be the architects, not the tools You can find Adam at AdamLeipzig.com. Transcript of Interview with Adam Leipzig Jo: Adam Leipzig is a producer, former studio executive, and educator whose work spans film, media, and technology. He served as a senior executive at Walt Disney Studios and as President of National Geographic Films. His film credits include March of the Penguins and Dead Poets Society, with projects recognised by the Academy Awards, BAFTA, the Emmys, and Sundance. He is the author of several books on filmmaking and his latest book is Fearless Persistence: Creative Life, Creative Work, and the Ten Laws of Culturenomics. Welcome to the show, Adam. Adam: Thank you so much for having me, Jo. Jo: I'm excited to talk to you today. You have written several books, but you have worked on many more films. So I wondered, why do you think books still have a part to play in reaching people? What do you love about writing books that is different to your filmmaking work? Adam: You can put so much information in a book, and the beautiful thing about a book is that you can pick it up wherever you want, whenever you want, and leave it off and go back to it. It's just waiting for you and it's there. It really allows me, and other authors like me, to share information in a different way, with more details and more stories and more specificity. I love the ability to just share that information and have it always available. You don't need a device, you don't need to have a subscription. You can just go to it whenever you want. You asked me what I love about writing. Like a lot of writers, I'm not sure I love writing, but I do love having written. The thing about a book is that it's a very solitary exercise. A film is a highly collaborative exercise. No movie gets made by one person. It's made by hundreds or sometimes thousands of people. But this book is just me and a laptop and notes and a lot of thought. It's a very introverted, almost monkish existence while you're doing that, and then it has to go out into the world—and that's when it really starts to interact with people. So there's this huge difference between being alone and being always in a collaborative environment, which is what happens when I'm making a movie. Jo: Most listeners will be independent authors in some way, and a lot of us do this because we're control freaks. We like being the only people. So how is that different? You mentioned collaboration in the film industry, but is it almost freeing to do a book without having that? I mean obviously you have editors and publishers and stuff, but— Is it freeing in some creative way? Adam: It is really nice, because there is not another point of view in the room and I can just say what I feel and know that that's there. At the same time, you're right—I have had some amazing editor help and I've had some great early readers that have given me feedback on it and helped me make it so much better than it was when I finished the first draft. I knew that going in. I always test and share what I'm doing to make sure that it lands in the way that I wanted it to land, and it can be helpful for people. Jo: Getting into the book, you have a chapter on “what you do matters.” I feel like this is super hard. This is not a political show, so we're not doing politics, but there are a lot of big things going on in the world. It can be very hard as writers to think, is writing my book actually going to make a difference? So how can you encourage people? Adam: That's the hardest thing, Jo, because there is a lot going on in the world right now. Everything that's going on in the world right now exists because it's following a certain narrative. I don't believe that narratives are come up with because people look at things that are happening and say, “Oh, well let's just write what happened.” I think that we do things from micro experiences that we have with ourselves, our relationships, our families, to the macro experiences of politics and global situations. I believe that happens because there is a narrative that is being followed. So what I say to all creative people is that it's our job to craft and express the narratives that matter—and different narratives—so those narratives can be followed. One of the points that I make in the book is that poets are not overtly really dangerous people. Poets are generally lovely people, a lot of them don't talk too much. They're great to have dinner with, and they just work with words—and often not a lot of words, right? Because beautiful poetry is often concise and simple and spare. Yet there are places where poets are in jail. Because the narratives of those concise, spare, gorgeous idealistic words matter so much that those voices need to be silenced, which means those narratives are dangerous sometimes. Those narratives present an alternate world, an alternate view of reality. I think it's really our job as creative people, as entrepreneurs, as people who are essentially creating narratives out of the soul of our lives and our experience—we want to express those to the world. It's really important for us to express those to the world, especially now, especially because so much is going on. Those narratives are going to become pathways that others can look at and maybe follow. I think that's really important. It's the reason why we do our work. Jo: I absolutely agree with you around writing the narratives that we want in the world. “Be the change you want to see in the world” and all that. I also want to call out the fact that there are hundreds of thousands of books now published, and you come from the film industry, and many more people really watch films or play games than read books. I've wondered about this myself. I've written a few screenplays and sometimes it feels that wouldn't it be better to try and put our words into a visual medium? A lot of authors listening will do micro video like TikTok and all of this. So this is back to the question of— Why books? How can we change these narratives when we feel like we're drowned out by all the media? Adam: I think it's great for authors to express themselves in other media. I have a pretty active Instagram channel, and I love doing that, but it's a really different thing. I'm talking to people in two-minute bursts with very specific things. It's not the same and not the same detail as a book. If we let our understanding of the ocean of content that is always coming to us stop us from doing anything, we wouldn't do anything. That's also true about movies. There are probably 10,000 movies made every year. There are a few hundred that are released. So if every day I thought, “Oh, the movie that I'm working on is maybe not going to be released because there's only a small percent of movies that are made that are released.” Or worse than that, “Of all the movies that are made, there's 500 different shows on Netflix and Apple and Amazon and there's so many choices.” If I thought that everything I was going to do is going to be drowned out, I wouldn't do anything. I just don't believe that's true. I think it's our job to do things. Yes, there's an ocean of content out there, but what we do really matters, and it doesn't have to matter at gigantic scale. We don't know the scale that our work is going to achieve over time. One of the early films that I worked on is a film called Dead Poets Society, and that script was passed on by every studio at least three times. It's probably a film that I couldn't get made now for all kinds of reasons, because it's not a sequel and it doesn't have superheroes or visual effects. When we made that movie, we didn't know the impact it was going to have. It could have been drowned out by things, but it rose to a level that everywhere in the world I go, someone has seen that movie, including people who were not born when that movie was made. We don't know the long arc of our work and the people that it affects. Jo: I love that movie too. “Oh Captain, my Captain.” I can hear everyone saying that behind the screens. This brings us to the title, Fearless Persistence, because of course Dead Poets Society ended up being an incredible success, but not everything turns out so well. I wondered if you could talk about this persistence. How do you keep creating after something you perceived as a failure, or perhaps all the things that didn't get made? Why is persistence so important that you use it in the title? Adam: I've been super fortunate. I've worked with amazing people and on great projects. I've made 40 films at this point, and I'm making more. I've tried to make 400 films. I failed at getting them made 90% of the time, and that's okay. I just keep going. When I was working at Disney and I was an executive at Walt Disney Studios for seven years, there was one movie that we were opening and nobody had really high expectations for it. But it opened huge on a weekend and it beat the competition. We were in our Monday morning meeting and we were dancing on the tables and we were so excited. Jeffrey Katzenberg, who was running the studio at that time, came in, looked around the room, put his hands on his hips, and said, “Next.” We just had to move on. I really learned the meaning of the word “next” about four months later when we had a film that we all knew was going to be hugely successful and make a lot of money and give everyone their bonuses, and it completely bombed at the box office. It was like you gave a party and nobody showed up to eat the hors d'oeuvres. We were in the Monday morning meeting, very glum and not sure what was going to happen. Were we going to be fired? What was going to happen? And Jeffrey walked into the room and said, “Next.” Jo: Mm-hmm. Adam: And we just keep going. I think that is the great and defining quality of people who really have sustainable lives, either as creatives or business people or entrepreneurs. We're persistent. We're just like those little birds—you put their beak in water and they just keep bobbing up. We just keep going. It's not about the people who are the most talented, because I'm certainly not the most talented. I'm certainly not the smartest. I'm certainly not the most creative. There are people who are smarter and more talented and more creative than me all the time, and I get so much energy in being able to know them and work with them. But I am super persistent. I don't stop. If there's something that I really believe in, I'll just keep going. I started taking notes on this book 10 years ago. There are movies that took 12 years to get made. You just keep going. There are times, as a producer, where everybody's fallen away. There was a director attached, there was a star attached. They all left, they did other projects. The material is no longer under option. You don't even have legal rights to it anymore. You just keep blowing on the embers and then eventually maybe it gets made. That's what it's about. Jo: Do you think there's some kind of serendipity or something more that makes a book or a film? Is it timing? Is there just some chemistry? You talked earlier about testing and sharing things to see if they're going to work, but as you mentioned, some films you think are going to be amazing and they bomb. Other things are a slow burn. How do you know when to make a film if you just can't predict this stuff? Adam: You can never predict it, but I think you start with: do you really, really think about it all the time? Do you really care about it? It's not like you're in a meeting or you read a script or you hear an idea and you're super excited about it—but are you still excited about it tomorrow morning? The next day and the next? If you keep waking up every morning thinking, “Wow, that's great, I've got to get that forward,” then I think that is the first indication for me that it's going to have some staying power. I don't think I am that different from everybody else. So if it's something that consistently excites me, I feel like there's going to be at least some other people in the world that it's also going to excite. Jo: Do you think you have a voice, I guess, as a filmmaker as much as a writer? Are there things that excite you consistently that you're drawn to? Or do you think it's much wider as a filmmaker than a writer? Adam: I think it's a lot wider as a filmmaker. Part of it's also just my capacity right now as a writer. I really like the writing in Fearless Persistence and I also recorded the audiobook. I love listening to the audiobook experience. I think it's some of the best writing I've ever done. I have not yet found the capacity to write a novel or to write fiction in the way that other people can. So part of it's just my skill and capacity at this point in my writing career, where I think I'm pretty good at expressing ideas in a nonfiction setting, but I haven't developed the skill set for fiction. In movies, I make documentaries. I make fiction feature films. What attracts me is character. It's always the character, the people, the journey. Are the people really interesting? Do I want to spend two hours of my life in a cinema with them, or 10 hours of my life watching those episodes on a streaming channel? That's what always starts with me. If the character is interesting, then I'll keep going. Jo: I think the book, Fearless Persistence, has a lot of your character in it and your experience. It's not just a nonfiction book of prescriptive rules. You did bring a lot of voice into it, I think. Adam: Thank you. I try to make it be like we're sitting down and we're talking and we're having a conversation. Jo: Coming back to the book—a quote from the book: “Uncertainty isn't the enemy of creativity. It's its greatest ally.” You talk about these messy and unpredictable times. I'm what we call a discovery writer. Some people say “pantser.” It mostly is quite chaotic and unpredictable. Could you talk about this uncertainty and messy creativity? Adam: One of the things I really try to do in Fearless Persistence is give support to all of us in this messy, unpredictable—what I call “the long middle”—where stuff is happening, but you're not seeing obvious results out there. You're either in the world or in your project, and you're just in this mess. That mess is a beautiful place, and I'm trying to give support to the fact that that mess is gorgeous and it's part of the process. It's part of everybody's process. We shouldn't feel as though we are not doing our job when we're in that long, unpredictable, uncertain middle. Because out of that, we discover what we actually want. It gives us a way to refine our taste and refine our direction because we are so uncertain. Then there's this moment—and I don't know if you find this in your own writing, Jo—but there's this moment where that uncertainty changes into: there's no choices here at all. This is just what I have to do. I actually think that the greatest freedom is when there's no choices. Where the path is just there, but we've got to get through the thicket to get to that path. And there's always a thicket. Jo: There's a moment for me where the chaos becomes more certain and I'm like, okay, that's the story. I thought it might have been something else, but now that's what it is. I often have too much material as well. So I wanted to ask you about this too, because as an author with a book, editing is hard for us. Of course there are lots of words and we have to go through it all, but editing on a film—I can't even imagine how hard the editing process is. Could you talk about editing and how you cut and organise these massive projects? Adam: Yes, editing is really hard, but it's also so fun. I think being on a set is great. It's the most fun a kid could have. But being in an editing room is also the most fun a kid could have, because you have all of the pieces and there are so many ways to do it. This is where a film is actually made—in the editing room. Probably the way books are made also is in the editorial process between the writer and your own brain as the editor, or if you have someone who's helping you edit it. Editing is really interesting because it's the only craft that did not exist before filmmaking. Everything else existed, right? There were scripts, there were actors, there were costumes, there was art direction, there was production design, there was music. Editing was a craft that had to be invented for film. So it's a craft that's only about 120 years old. When we make a film, the first thing that the editor does is just put all of the scenes together in a first editor's cut, a rough assembly. It's basically every scene that was in the script as it was shot, and the editor just tries to choose the best angles. That generally comes out maybe a week or two after we wrap photography, and that first cut could be three or four hours long because it's got everything in it. Then the process is: let's take that out. Let's take that out. You don't need this. You can move this scene here and move it there before the other scene. We don't really need that shot. Or can we get to a closeup there? And you get it down, down, down—just like in writing where you kill your darlings. I actually find editing the most fun I have. “Oh, I don't need that sentence.” Or, “I can take out three words here and the sentence is better.” We go through exactly the same process in film editing and squinch it all down to the most compelling and efficient way to tell the story. Jo: I'm glad you say it's fun because I also like editing. I find the editing much more creatively fulfilling because I actually can figure out the book that way. It's so funny, I think as writers, many people either love the editing or they love the first draft. It seems like you enjoy the whole process. Adam: I like the editing so much more than the first draft. I feel like I had to get through the first draft. That was my long middle, that was my uncertain period, that was my thicket. Then my editing was, “Oh, great. Let's cross this out. Let's change that word. Let's lose that paragraph.” That was fun. Jo: So let's say we now have a book or we have a film. In your book, law eight of culturenomics is that “without distribution, there is nothing.” So now we have to get this out there, and this is really difficult. Can you talk about how film distribution has changed? Can you also reflect on how it is for writers, because our distribution has changed a lot too? Adam: So, as you mentioned in the last section of the book, I've observed over the past 30 years that when a work is both aesthetically really excellent and also economically viable and sustainable for the creators, it always observes these ten principles. I call them the 10 Laws of Culturenomics. One of them is “without distribution, there is nothing,” by which I mean: unless your audience, your market, the people that you are seeking to share or serve with the work—unless they can get it, it doesn't really matter. It's like that tree falling in the forest and no one's around to hear it. I always think about my market and my distribution before I start making the movie. I was thinking about that as I was writing the book, because I really want it to be there to meet people where they are and I want them to be able to get it. Film distribution has changed a lot, especially during the pandemic. People stayed home and cinema admissions have fallen off 30% from pre-pandemic levels, so people are going out to cinemas less. That means fewer films are being distributed in cinemas for any viable period of time. Sometimes some movies will be out there for one or two days, literally, in cinemas, and then they go right to streaming. On the streaming side, there was a glut of streaming content. All the streaming channels overinvested in streaming. There were too many shows. I don't know about your Netflix queue or your Amazon queue, but it's unnavigable. There is so much stuff. Now they've cut back a lot—they're just doing a lot less. We're in a situation now where anything can get out there somehow. The question is, does your market, does your audience know about it? Do they want to invest the time to experience it? One of the other Laws of Culturenomics is that “awareness is not desire.” There's a lot of things that we're aware of that we don't want to spend our time with. Everybody was aware of Disney's new Snow White movie. Nobody wanted to go see it. Jo: I must say, I'm not the key demographic for that! Adam: But you knew about it? Jo: Was that a live action one? Adam: Yes. Jo: I don't understand those live action ones, to be honest. Maybe that's why— Adam: I think we are sequelled out. I look at the movie business and I just think what audiences really want is something new, please. Something we haven't seen before. We don't want the 95th iteration of something from the MCU. The studios, because the movies cost so much and they're so risk-averse, talk a lot about “pre-aware titles.” In other words, titles that you've heard of before, so you're going to go see the movie. It works to a certain extent, but I just think it's cinematically boring. In that world, you never could have predicted Oppenheimer. You never could have predicted Barbie. Movies that really don't have a precedent, but they did so well because they're different. I think audiences are craving something different right now. Jo: It's interesting though, isn't it? I agree on one level, but then I also watch Bridgerton and we watched the latest series as soon as it came out. I guess that is pre-aware to a point. I don't read historical romance, yet I really like the show. I think it's because of Shonda Rhimes. I watched Grey's Anatomy for about 20 years. Adam: She's great. Jo: She's amazing. So I feel like this is why it's hard, isn't it? It's hard to know. As fiction writers particularly listening, we have very specific genre audiences, and they often don't cross over into other genres. They love their genre fiction. So it is hard to balance original work that may not be easily sold and the other stuff. I guess that's why the studios do it, right, because they think they can make enough money with the next Marvel movie. Adam: Yes, but I'm curious to know what you think about this, because even within a genre, a really good genre movie or a really good genre book is not the same as all the other books or films in the genre. It's familiar in that it does what the genre says you have to do, but it's different. It's got those unique things that make us feel like super fans, that we really love it. It's familiar enough to fall within the genre—and yes, genres have rules that you've got to follow—but then there's something unique and different that's exciting. And that's why we say, “Hey Jo, you've got to read this book.” Jo: I agree with you. I love that you said “awareness is not desire.” This is another problem with our creative work, right? We have to do marketing. We can throw all this stuff out there, and yet it may or may not work. So let's talk about your book marketing. Obviously you are on this podcast, and I presume your publicists are pitching lots of podcasts, but— What are you doing to promote the book that might be different to a film release? Adam: Well, I don't have a hundred million dollars. Jo: Surprise! Adam: Right? I've got a few hundred dollars, so we're just doing it this way. As you know, once upon a time, legacy publishers actually did marketing. Legacy publishers barely do any marketing now. Every author has to do it themselves. So we have to do this ourselves. It's been the hardest thing. I think it's the hardest thing that we've all had to adopt, that we have to do this thing where there used to be a marketing department and you just hand it over to them and we could just be in our own little creative space. But no, we've got to do this also. So what am I doing? I've amped up my social media. I'm speaking. I am on podcasts like this. I'm sharing as much as I can. I'm asking circles of people who have been early readers of the book. I'm really grateful because I've had really enthusiastic response to it, both from creatives and also some business people, which was surprising to me, but really great. Someone said, “This is the best business book in the past 10 years,” which is really interesting, right? Because you read it, Jo, as an author, but she read it as someone who sits on the board of major companies. That was a pretty interesting response. I'm just asking them to be advocates and share it around. I'd just like to be those people who blow on the embers and let's see if we can make a fire. Jo: We talked about the fun bits earlier. I'm enjoying our conversation, but I know that marketing is not necessarily in the fun bucket. Are you finding bits of the marketing you enjoy? Adam: Yes, I love meeting the audience. I love meeting the people that I'm writing the book for and sharing it with. I've been fortunate enough to be asked to run a writer's workshop in Greece for the past few years. It's a retreat centre called Rosemary's House. It's on the east coast of Greece. A dozen writers. I work with writers all the time, but they're always writing a specific thing, like a screenplay or something. This was a dozen writers all writing different things, and I'd never done that before. I had an extraordinary time. The first year I went, I'd had all these notes for this book, Fearless Persistence, that I'd been compiling for some time. But there I was in the room and I was with the people that I was really intending to write the book for, and that kicked me in the butt and I wrote the book. Then the next year I was back and I finished it while we were there at the writer's retreat. So that was great, and I was with another group of writers. I'll be back there again later this year and the book will be out. So it's this fabulous continuation of really engaging with and meeting the people that I'm seeking to serve with this book. I really enjoy encouraging and mentoring and sharing the systems that are undergirding the creative process, and then the process of how do you build a sustainable life, including all these super practical things that they don't teach you in art school or writing school or film school or even business school. How do you actually build a sustainable life in this practice? I love that. I guess that's marketing, but it's also just being with the people that you're there to serve. Jo: I love that you use “serve.” I use the same word. I say, “Who do you serve?” And that can help people, because I feel like creative people are like, “We don't want to be marketers, we don't want to be salesy.” So if you reframe it as service—who are you trying to help, who are you trying to entertain—that actually helps. Coming to the business side, you mentioned systems. You are right, the book has a lot of business in it, which I love because we talk a lot about business on this show. In one section you say there are only four ways to monetise your creative work. So could you talk a bit about those different ways to monetise your creative work? Adam: Yes. This has been true for maybe 5,000 years because it's not about technology, it's just about how work is monetised. There are only four ways that any piece of work is monetised. For sale. You have a book, and you go to your favourite bookstore and you buy the book, and now you own the book. For rent. You could rent a book from your library, or in a movie context, what you're really renting is the seat for two hours to watch the movie. On subscription. People have subscriptions to Kindle Unlimited or other platforms, or people have subscriptions to a streaming service. Free. When it's ad-supported. That's like linear television where there's ads, or Amazon where there's ads and you don't pay for it. For sale, for rent, on subscription, or free—those are the only ways anything is ever transacted. When it's ad-supported, for example, some people have YouTube channels that are very successful. YouTube is free, and then YouTube is making money from the ads and the creators are getting a tiny little slice of the ad revenue. Jo: Like this podcast. I have sponsors who pay, and they're all related to the author industry. They're companies that I use and work with. I personally recommend them, and that means this podcast is free. Adam: Thank you, sponsors. Jo: Yes, thank you, sponsors! I also have patrons—people who subscribe to the show to support it as well. So I guess we don't have to be in one bucket or another. We can have our work in different buckets. Adam: Ideally, you can have your work in every single one of them. Not always, not necessarily always at exactly the same simultaneous moment, but at a certain point as the work gets out there into the world, as it's lived long enough, it probably will be in every bucket. That's great because we want our work to be as accessible to the people that we're serving in any way they want to get it. Jo: I totally agree. And your audiobook, as you mentioned, will be available in those different formats as well. Adam: Yes. Jo: I find that, especially with nonfiction audio, what I love is being able to listen to just a chapter, just a chapter in a specific part. Someone could actually listen to the 10 Laws of Culturenomics separately to some of the rest of the book. I love that. Adam: I'd never done that before. It was so powerful to record the audiobook because up until that moment, my relationship with this book was fingers typing keyboards, electrons on a screen. It was a completely silent experience. Then I was in this recording booth in Los Angeles and I started speaking the words, and I was visualising the people that I was writing it for as I was doing it. It was so powerful. Then I listened to it and I thought, wow, this is actually a really good experience. It was so powerful that I was recently in Paris because I'm working on some films that are in Europe, and I decided to create a special advanced listener edition of the audiobook, where I took the chapters and put them into individual or grouped listening units. In a recording studio in Paris, I recorded some prefaces and reflections on those listening units, which are now thematic. I'm really proud of that edition. It's not for everybody. The regular Audible audiobook is going to be out there, but this version, which is on my website, I think is a really wonderful version for someone who just wants me to walk with you as you go through the experience of the book. Jo: Are you selling that direct from your website? Adam: Yes, I'm selling it direct on the website. Jo: Brilliant, because we all do that too. You can actually make more money selling audio direct than you do from the streaming. Adam: Yes. Jo: I realise we don't have much time left, but I need to ask you this because the film industry and publishing are in this great time of change with the advent of generative AI. We've seen in the last week the actor Ben Affleck's company, InterPositive, has been acquired by Netflix. So it seems like technology is disrupting a lot. How do you think we can navigate this time? What are your feelings around this new wave of generative AI? Adam: It's a great tool. It's not a great writer. It's actually really a terrible writer. You can always tell when generative AI has written something because it has a certain very annoying style, but it's a great tool. I use it in my production. I teach at the business school at UC Berkeley. We train people on how to use it for various kinds of problems and solutions. But the important thing is that you are the architect of the machine. It's a machine. It is like a paintbrush, but it is not the hand that holds the paintbrush. So I am not concerned that AI is going to go make movies that we all care about, and I am not concerned that it's going to disrupt, in the largest sense, the employment picture. Certainly some jobs are being lost, but new jobs are being gained. It's really interesting. For example, you mentioned Ben Affleck's company, which Netflix just partnered with. It's not making new content. It's creating a better production workflow. It's taking what is shot or what is planned in the production workflow and just making it better and more efficient and implementing it and adding to it. That is a really good use of AI. All the creative power retains within the hands of the creative humans, but it's giving the humans more tools. Jo: I've been reflecting on the idea of the film director, in that people often know their names and they win awards, and yet they didn't necessarily write the script. Some do, obviously, but they didn't act in it, they didn't do all the editing, they didn't do all the different jobs, but it's their creative vision. So is that how you see us playing that part? Adam: I do. I think that's a really good analogy. And look, AI—it's good. It's going to keep getting better. It still has massive error rates, so we still have to be very careful about what we attribute to it and what powers we give it, and what facts we believe from it. Jo: So what are you excited about next? Obviously you are promoting this book, you are doing speaking things, but are you looking to your future continuing to work across film and books? What are you excited about in terms of your creative projects? Adam: The big arc of my creative life is creating ecosystems where creative people can do their best work. This book is part of that. With the movies that I make, as a producer, I try to create the ecosystems where people can do their best work. I envision, and I'm excited about, continuing to do that. Whether it is in a book or in a workshop or in a film that I'm making. I just want to keep doing that: creating these ecosystems where people can really do great work and express themselves creatively, entrepreneurially, and with a positive view of the world to come. Because that is a responsibility, coming back to the first question you asked me. Jo: Brilliant. So where can people find you and your book and everything you do online? Adam: You can find me at my website, which is AdamLeipzig.com, just like the city. Of course, the book is available wherever you buy your books, and the Kindle and the audiobook are exactly where you would expect to find them. You can also find me on Instagram at @AdamLeipzig, and you can find me on LinkedIn as Adam Leipzig. I love interacting with people, so come and find me. AdamLeipzig.com is the best place to find everything. Jo: Brilliant. Well, thanks so much for your time, Adam. That was great. Adam: Jo, thank you so much for having me. It was great talking with you.The post Navigating Uncertainty And Fearless Persistence In A Long Term Creative Career With Adam Leipzig first appeared on The Creative Penn.

In this bonus episode Sebastian takes question from the listeners about the recent episodes on Henry Box Brown and Snow White. First, we hear some comments from a listener in Iceland who wanted to weigh in on the North American Vikings. Then Sebastian unpacks some tricky questions about the line between activism and entertainment. Finally the host muses about the Mandela Effect and considers an interesting question about little people who were known to serve at the Hapsburg court. Tune-in and find out how the speed of sound, the one ticket sold to Kazaam, and "Minor Miners" all play a role in the story.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.