Podcast appearances and mentions of todd mccarthy

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

The thirteenth episode of our season on the awesome movie year of 2014 features our cult classic pick, Doug Liman's Edge of Tomorrow. Directed by Doug Liman and starring Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson and Noah Taylor, Edge of Tomorrow is based on the Japanese novel All You Need Is Kill by Hiroshi Sakurazaka.The contemporary reviews quoted in this episode come from Manohla Dargis in The New York Times (https://www.nytimes.com/2014/06/06/movies/tom-cruise-battles-invaders-in-edge-of-tomorrow.html), Ty Burr in The Boston Globe, and Todd McCarthy in The Hollywood Reporter (https://www.hollywoodreporter.com/movies/movie-reviews/edge-tomorrow-film-review-706507/).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at

Mobile Rolling-Chris Barsby has the latest Harness racing news with David Miles, Riley Butt, Todd McCarthy, Alex Ashwood and Adam Sanderson.

Film critic Todd McCarthy

Mobile Rolling-Chris Barsby talks all things Harness racing with Todd McCarthy, Greg Bond, Will Rixon and Matt Young.

Ha llegado el momento de hablar con cierto detenimiento de la película que contiene ese momento musical que en este programa nos ha servido de prolegómeno, sintonía e incluso de excusa, para hablar ya de no pocas películas. Ese momento en el que un puñado de seres, tan diferentes entre sí, cada uno con sus propias historias, con sus temores, con sus demonios pasados, y que en esa escena, encerrados todos ellos en la oficina de un sheriff en un pueblo a la orilla del Rio Grande, sabiéndose a la espera de un peligro que acecha fuera, y probablemente sintiéndose tremendamente solos e incluso rotos por dentro, con esta canción encuentran en sus compañeros, en sus amigos la compañía inmejorable y necesaria que les hace mucho más fuertes. La película es «Río Bravo», que es como los mexicanos llaman a ese mencionado Rio Grande y la canción es, ya la han escuchado, "My Rifle, my Pony and me". RECOMENDACIONES LIBÉRRIMAS —Frank Sinatra cantando “All the way”; Dean Martin cantando “Sott'er celo de Roma” y Louis Prima cantando “Pennies from Heaven”. —Una buena nueva: el relazamiento de “La Iberia”. (https://www.laiberia.es/) —«Hawks», de Todd McCarthy, editado por Hatari! Books. —Dos westerns modernos: —«Hostiles», de Scott Cooper, (2017) (https://www.filmaffinity.com/es/film794926.html) —«Old Henry», de Potsy Ponciroli, (2021) (https://www.filmaffinity.com/es/film358200.html) —El material de oficina de «El Casco». (https://www.elcasco1920.com/es/) —Dos aforismos fortuitos: «Cuando se juntan bibliotecas, regalar libros es autoregalo», tuit de Pablo Velasco. «Y en ese “me” iba todo», de Alfonso Paredes, escrito en el artículo «Limones en el Cemento», publicado en “La Iberia”. (https://www.laiberia.es/limones-en-el-cemento) Intervienen: Borja Mora-Figueroa (@borjamfm) e Iñako Rozas (@inakorozas). Control técnico: Marcos Machado.

Greg spoke to Todd McCarthy, Minister of Public and Business Service Delivery of Ontario about Ontario to step up efforts to protect students' data. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg spoke to Todd McCarthy, Minister of Public and Business Service Delivery of Ontario about Ontario to step up efforts to protect students' data. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cuando uno entiende lo que significa seguir a Jesús, el cristianismo nos parece maravilloso, pero tan difícil de llevar a la práctica, que nos tememos que es imposible para algunos de nosotros. La Buena Noticia es que lo que es imposible para los hombres, es posible para Dios. En esta parada en nuestra Ruta por los 66 libros de la Biblia consideramos el final del capítulo 9 y el principio del 10 del Evangelio según Lucas. La sintonía, esta vez, está a cargo de una formación de jazz italiana que atiende al nombre de Cluzon Big Band, bajo la dirección de Andrea Rapaggi. Los caminos de Jesús (Jesus Walks) llegan a personas tan lejos de la religión y la moralidad como Kanye West, cuyo "rap" sorprende al santo y al pecador en 2004 con un mensaje de fe en un mundo de sexo, violencia y drogas. Cuando George Harrison escuchó la canción del dúo de Delaney y Bonnie con Leon Russell como "soldados de la cruz" (Soldiers of The Cross) en 1969, les ofreció grabar con el sello de los Beatles, Apple. Le recomendó también a Eric Clapton que los llevara de gira con su grupo Blind Faith y se acabó uniendo finalmente a ellos. La misión de Jesús es una lucha en la que hay triunfo frente al mal por su cruz, o el mal acaba con nosotros, si luchamos con nuestras propias fuerzas, como la droga acabó con Delaney y Bonnie. El "Mensaje de la misión" (Message From The Mission) del dúo de folk-rock de Brewer y Shipley en 1971 nos recuerda el principio del capítulo 10 de la Buena Noticia según Lucas, por el cual un mismo Evangelio trae salvación o condenación, pero no debemos desanimarnos, sino mantener la lucha. La película que se conoce en España como "Cuestión de sangre" tiene el titulo original de "Stillwater", una localidad de Oklahoma, aunque la historia se desarrolla en Marsella. Esta sorprendente obra del director de cine independiente Todd McCarthy muestra un circunspecto Matt Damon como un obrero alcoholizado, cuya hija es condenada por el asesinato de su amante lesbiana en Francia. La fe cristiana cambia la vida de este desastroso padre. que intenta retomar la relación con su hija en una situación que recuerda a la de Amanda Knox, la americana encarcelada en Italia que afirmaba también ser inocente del crimen de su compañera en Perugia en 2007. Lo que interesa a McCarthy es el conflicto del personaje del padre, extraño en un país y una ciudad dominada por la violencia, donde desconoce su idioma y su hija le rechaza. La maravillosa actriz francesa Camille Cottin le presta su ayuda y el amor de su hija en una historia de incomprensión y tragedía, donde la oración es la única salida para el personaje de Damon, cuya fe es presentada más realistamente que en las llamadas películas "cristianas". José de Segovia la comenta sin desvelar su sorprendente final con el fondo de la banda sonora original de Michael Danna. La original artista británica P J Harvey, escritora y poeta, cantautora y multinstrumentista, se une a Tim Phillips en 2022, para interpretar el espiritual tradicional americano que se conoce como "Corre" (Run On) en la versión de Moby, "Sermón" o "Dios va a derribarte" en la voz de Johnny Cash o Marilyn Manson. Es una advertencia del juicio que Jesús anuncia sobre los que no se arrepienten (Lucas 10:13-16). La sorpresa es que Dios salve a aquellos que en su ignorancia y debilidad se vuelven a Dios como niños (vv. 17-22). Bob Dylan puso estas palabras del Evangelio en los créditos de su disco "Shot of Love" (Disparo o estallido de amor), el tercero de sus álbumes en sus llamados "años de Jesús". La canción "Cada grano de arena" (Every Grain of Sand 1981) es una de los pocos temas de aquella época que todavía interpreta en vivo, una oración basada en la Escritura y la fe en ese Dios de imposibles.

Guest host Anthony Furey speaks with Todd McCarthy, Ontario's Minister of Public and Business Service Delivery, about the province announcing that six ServiceOntario locations will be moving into Staples Canada retail stores starting Thursday. Learn more about your ad choices. Visit megaphone.fm/adchoices

After weeks of debate and political fighting, Canada has made a major vote in favour of a ceasefire in the Israel-Hamas war. The House digs into Canada's position on the Israel-Hamas war, as well as the situation in Ukraine, in an interview with Defence Minister Bill Blair. We'll also hear from a CBC reporter who had the chance to sit down with the head of Canada's spy agency, which has had a challenging year. Plus — the issue of a complex and concerning scam that has seen homeowners pay out thousands of dollars over the years, and is now getting some attention from the Ontario government. Two Hill journalists will also talk about the fracas over House of Commons Speaker Greg Fergus and the question of whether he should resign — and what it all means about the state of politics right now. Finally, The House will take a look at the issue of rising food bank usage and the question of whether government aid can solve the problem. This episode features interview with: - Bill Blair, minister of defence - Catharine Tunney, CBC senior reporter - Todd McCarthy, Ontario minister of public and business service delivery - Tom Rakocevic, Ontario NDP consumer protection critic - Dennis Crawford, lawyer - Rob Russo, journalist, The Economist - Susan Delacourt, journalist, Toronto Star - Dianne Mcleod, executive director, Cambridge Food Bank - Marjorie Bencz, executive director, Edmonton Gleaners Association Food Bank

"Sólo me importa contar una buena historia, contarla bien y que sea entretenida”. Con estas desmitificadoras palabras distingue su carrera el hombre detrás de la cámara en 'Río Bravo', 'El sueño eterno' o 'La fiera de mi niña'. Aprovechamos la publicación en España de 'Hawks!', la biografía sobre el director de cine del escritor estadounidense Todd McCarthy que acaba de traducir la editorial Hatari! Books. ¿Por qué se considera a Hawks un autor 'invisible'? ¿Cómo consiguió ser tan versátil? ¿Y por qué dice Vigalondo que es "el director de la conversación"? Lo debatimos con Rubén Amón, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Además, reseñamos el biopic sobre Leonard Bernstein dirigido e interpretado por Bradley Cooper. Y regresamos sobre 'El otro lado', la serie de Berto Romero.

"Sólo me importa contar una buena historia, contarla bien y que sea entretenida”. Con estas desmitificadoras palabras distingue su carrera el hombre detrás de la cámara en 'Río Bravo', 'El sueño eterno' o 'La fiera de mi niña'. Aprovechamos la publicación en España de 'Hawks!', la biografía sobre el director de cine del escritor estadounidense Todd McCarthy que acaba de traducir la editorial Hatari! Books. ¿Por qué se considera a Hawks un autor 'invisible'? ¿Cómo consiguió ser tan versátil? ¿Y por qué dice Vigalondo que es "el director de la conversación"? Lo debatimos con Rubén Amón, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Además, reseñamos el biopic sobre Leonard Bernstein dirigido e interpretado por Bradley Cooper. Y regresamos sobre 'El otro lado', la serie de Berto Romero.

"Sólo me importa contar una buena historia, contarla bien y que sea entretenida”. Con estas desmitificadoras palabras distingue su carrera el hombre detrás de la cámara en 'Río Bravo', 'El sueño eterno' o 'La fiera de mi niña'. Aprovechamos la publicación en España de 'Hawks!', la biografía sobre el director de cine del escritor estadounidense Todd McCarthy que acaba de traducir la editorial Hatari! Books. ¿Por qué se considera a Hawks un autor 'invisible'? ¿Cómo consiguió ser tan versátil? ¿Y por qué dice Vigalondo que es "el director de la conversación"? Lo debatimos con Rubén Amón, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Además, reseñamos el biopic sobre Leonard Bernstein dirigido e interpretado por Bradley Cooper. Y regresamos sobre 'El otro lado', la serie de Berto Romero.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4412383/advertisement

Another lively discussion on politics in Ontario with Tony and Jodie.

When Mike casually remarked to Dan that he had just re-watched Ball of Fire, the 1941 Barbara Stanwyck / Gary Cooper screwball comedy co-written by Billy Wilder and directed by Howard Hawks, Dan replied that he had “always wanted to, but never gotten around to seeing it.” Mike made demands, Dan pressed play, and here's their conversation about what it's like when a friend takes one of your film recommendations and wholly enjoys it. They also talk about the ways in which dancing, slang, and falling in love are messier than entries in an encyclopedia—wonderfully so. Mike even compares this film to one by John Carpenter—and he's 100% correct. So stop worrying about the quest for knowledge and learn how to cha-cha! Dan has interviewed Catherine Russell on New Books in Film about her new book, The Cinema of Barbara Stanwyck. You can also find a collection of interviews with Howard Hawks here and Todd McCarthy's 2007 biography of Hawks here. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Mike casually remarked to Dan that he had just re-watched Ball of Fire, the 1941 Barbara Stanwyck / Gary Cooper screwball comedy co-written by Billy Wilder and directed by Howard Hawks, Dan replied that he had “always wanted to, but never gotten around to seeing it.” Mike made demands, Dan pressed play, and here's their conversation about what it's like when a friend takes one of your film recommendations and wholly enjoys it. They also talk about the ways in which dancing, slang, and falling in love are messier than entries in an encyclopedia—wonderfully so. Mike even compares this film to one by John Carpenter—and he's 100% correct. So stop worrying about the quest for knowledge and learn how to cha-cha! Dan has interviewed Catherine Russell on New Books in Film about her new book, The Cinema of Barbara Stanwyck. You can also find a collection of interviews with Howard Hawks here and Todd McCarthy's 2007 biography of Hawks here. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. 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

When Mike casually remarked to Dan that he had just re-watched Ball of Fire, the 1941 Barbara Stanwyck / Gary Cooper screwball comedy co-written by Billy Wilder and directed by Howard Hawks, Dan replied that he had “always wanted to, but never gotten around to seeing it.” Mike made demands, Dan pressed play, and here's their conversation about what it's like when a friend takes one of your film recommendations and wholly enjoys it. They also talk about the ways in which dancing, slang, and falling in love are messier than entries in an encyclopedia—wonderfully so. Mike even compares this film to one by John Carpenter—and he's 100% correct. So stop worrying about the quest for knowledge and learn how to cha-cha! Dan has interviewed Catherine Russell on New Books in Film about her new book, The Cinema of Barbara Stanwyck. You can also find a collection of interviews with Howard Hawks here and Todd McCarthy's 2007 biography of Hawks here. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

This is the 5th in a 5-part series with Business owner and Coffee Roasting Consultant, Todd McCarthy from Full Spectrum Coffee based in Coffs Harbour, Australia. In this series, having recently launched his latest coffee business, Full Spectrum, Todd gives us insight into 'Launching a Coffee Roasting Brand Today'.In this final episode of the podcast series, Todd gives 5 tips for future roasting brand owners seeking to take a well-thought-out process to launch a coffee roasting business focused on values as well as profit.Connect with Todd and Full Spectrum:LinkedIn here: https://www.linkedin.com/in/todd-mccarthy-9268aa145/ Instagram here: https://www.instagram.com/fullspectrum.coffee/ Website: https://fullspectrum.coffee https://www.mapitforward.coffee ••••••••••••••••••••••••••••••••

This is the 5th in a 5-part series with Business owner and Coffee Roasting Consultant, Todd McCarthy from Full Spectrum Coffee based in Coffs Harbour, Australia. In this series, having recently launched his latest coffee business, Full Spectrum, Todd gives us insight into 'Launching a Coffee Roasting Brand Today'.In this final episode of the podcast series, Todd gives 5 tips for future roasting brand owners seeking to take a well-thought-out process to launch a coffee roasting business focused on values as well as profit.Connect with Todd and Full Spectrum:LinkedIn here: https://www.linkedin.com/in/todd-mccarthy-9268aa145/ Instagram here: https://www.instagram.com/fullspectrum.coffee/ Website: https://fullspectrum.coffee https://www.mapitforward.coffee ••••••••••••••••••••••••••••••••

This is the 4th in a 5-part series with Business owner and Coffee Roasting Consultant, Todd McCarthy from Full Spectrum Coffee based in Coffs Harbour, Australia. In this series, having recently launched his latest coffee business, Full Spectrum, Todd gives us insight into 'Launching a Coffee Roasting Brand Today'.In this episode of the podcast series, Todd shares what the value of his first origin trip to Colombia contributed to his approach to his coffee roasting brand Full Spectrum and to the way he talks about the coffee he purchases and sells.Connect with Todd and Full Spectrum:LinkedIn here: https://www.linkedin.com/in/todd-mccarthy-9268aa145/ Instagram here: https://www.instagram.com/fullspectrum.coffee/ Website: https://fullspectrum.coffee https://www.mapitforward.coffee ••••••••••••••••••••••••••••••••

This is the 4th in a 5-part series with Business owner and Coffee Roasting Consultant, Todd McCarthy from Full Spectrum Coffee based in Coffs Harbour, Australia. In this series, having recently launched his latest coffee business, Full Spectrum, Todd gives us insight into 'Launching a Coffee Roasting Brand Today'.In this episode of the podcast series, Todd shares what the value of his first origin trip to Colombia contributed to his approach to his coffee roasting brand Full Spectrum and to the way he talks about the coffee he purchases and sells.Connect with Todd and Full Spectrum:LinkedIn here: https://www.linkedin.com/in/todd-mccarthy-9268aa145/ Instagram here: https://www.instagram.com/fullspectrum.coffee/ Website: https://fullspectrum.coffee https://www.mapitforward.coffee ••••••••••••••••••••••••••••••••

This is the 3rd in a 5-part series with Business owner and Coffee Roasting Consultant, Todd McCarthy from Full Spectrum Coffee based in Coffs Harbour, Australia. In this series, having recently launched his latest coffee business, Full Spectrum, Todd gives us insight into 'Launching a Coffee Roasting Brand Today'.In this episode of the podcast series, Todd unveils the broad spectrum of knowledge required to launch a coffee-roasting brand. While the obvious seems to be acquiring knowledge to roast coffee the way you want, the actual knowledge base required extends significantly beyond that.Connect with Todd and Full Spectrum:LinkedIn here: https://www.linkedin.com/in/todd-mccarthy-9268aa145/ Instagram here: https://www.instagram.com/fullspectrum.coffee/ Website: https://fullspectrum.coffee https://www.mapitforward.coffee ••••••••••••••••••••••••••••••••

This is the 3rd in a 5-part series with Business owner and Coffee Roasting Consultant, Todd McCarthy from Full Spectrum Coffee based in Coffs Harbour, Australia. In this series, having recently launched his latest coffee business, Full Spectrum, Todd gives us insight into 'Launching a Coffee Roasting Brand Today'.In this episode of the podcast series, Todd unveils the broad spectrum of knowledge required to launch a coffee-roasting brand. While the obvious seems to be acquiring knowledge to roast coffee the way you want, the actual knowledge base required extends significantly beyond that.Connect with Todd and Full Spectrum:LinkedIn here: https://www.linkedin.com/in/todd-mccarthy-9268aa145/ Instagram here: https://www.instagram.com/fullspectrum.coffee/ Website: https://fullspectrum.coffee https://www.mapitforward.coffee ••••••••••••••••••••••••••••••••

This is the 2nd in a 5-part series with Business owner and Coffee Roasting Consultant, Todd McCarthy from Full Spectrum Coffee based in Coffs Harbour, Australia. In this series, having recently launched his latest coffee business, Full Spectrum, Todd gives us insight into 'Launching a Coffee Roasting Brand Today'.In this episode of the podcast series, Todd gives us insight into the decision-making process for arriving at the roasting style you'll choose for your coffee roasting brand.Connect with Todd and Full Spectrum:LinkedIn here: https://www.linkedin.com/in/todd-mccarthy-9268aa145/ Instagram here: https://www.instagram.com/fullspectrum.coffee/ Website: https://fullspectrum.coffee https://www.mapitforward.coffee ••••••••••••••••••••••••••••••••

This is the 2nd in a 5-part series with Business owner and Coffee Roasting Consultant, Todd McCarthy from Full Spectrum Coffee based in Coffs Harbour, Australia. In this series, having recently launched his latest coffee business, Full Spectrum, Todd gives us insight into 'Launching a Coffee Roasting Brand Today'.In this episode of the podcast series, Todd gives us insight into the decision-making process for arriving at the roasting style you'll choose for your coffee roasting brand.Connect with Todd and Full Spectrum:LinkedIn here: https://www.linkedin.com/in/todd-mccarthy-9268aa145/ Instagram here: https://www.instagram.com/fullspectrum.coffee/ Website: https://fullspectrum.coffee https://www.mapitforward.coffee ••••••••••••••••••••••••••••••••

This is the first in a 5-part series with Business owner and Coffee Roasting Consultant, Todd McCarthy from Full Spectrum Coffee based in Coffs Harbour, Australia. In this series, having recently launched his latest coffee business, Full Spectrum, Todd gives us insight into 'Launching a Coffee Roasting Brand Today'.In this first episode of the series on The Daily Coffee Pro Podcast by Map It Forward, Todd outlines the pros and cons he experienced launching a coffee roasting brand in 2023.Connect with Todd and Full Spectrum:LinkedIn here: https://www.linkedin.com/in/todd-mccarthy-9268aa145/ Instagram here: https://www.instagram.com/fullspectrum.coffee/ Website: https://fullspectrum.coffee https://www.mapitforward.coffee ••••••••••••••••••••••••••••••••

This is the first in a 5-part series with Business owner and Coffee Roasting Consultant, Todd McCarthy from Full Spectrum Coffee based in Coffs Harbour, Australia. In this series, having recently launched his latest coffee business, Full Spectrum, Todd gives us insight into 'Launching a Coffee Roasting Brand Today'.In this first episode of the series on The Daily Coffee Pro Podcast by Map It Forward, Todd outlines the pros and cons he experienced launching a coffee roasting brand in 2023.Connect with Todd and Full Spectrum:LinkedIn here: https://www.linkedin.com/in/todd-mccarthy-9268aa145/ Instagram here: https://www.instagram.com/fullspectrum.coffee/ Website: https://fullspectrum.coffee https://www.mapitforward.coffee ••••••••••••••••••••••••••••••••

On this very special First Over with Edison Hatter episode, Edison introduces us to the world of Swedish Horse Racing and Solvalla Racecourse, which will be hosting Elitloppet-- The Elite Race-- this weekend, the most prestigious mile harness race in the world. Edison is first joined by Mike Pribozie to break down some quotes from Todd McCarthy, Sarah Svanstedt, and Marcus Melander to introduce the concept of Swedish racing. Next, Edison is joined by Mike Laudon, a former Solvalla trainer and current broadcaster, commentator, and betting expert in Sweden, to dive deeper into Sweden and it's racing. Finally, Edison takes a walk down memory lane with Hall of Fame driver John Campbell to talk about his experience at the 1988 Elitloppet, when he and MACK LOBELL won the race for the United States.

It's Easter! The world has the children down. Drusilla takes a date to Forest Lawn Cemetery because of The Loved One. It's a country club for dead people.  Drusilla watched Cat on a Hot Tin Roof. They play down the homosexuality so much! She also watched Martin Scorsese's Mean Streets for the first time. Josh did a mini marathon of movies from 1980: Cruising, which brought out his internalized homophobia, and then they go on a Brian De Palma Dressed to Kill rant. Josh also watched The Fog, one of John Carpenter's best films.  From wiki: “ Only Lovers Left Alive is a 2013 fantasy comedy-drama film written and directed by Jim Jarmusch, starring Tilda Swinton, Tom Hiddleston, Mia Wasikowska, Anton Yelchin, Jeffrey Wright, Slimane Dazi and John Hurt. An international co-production of the United Kingdom and Germany, the film focuses on the romance between two vampires, and was nominated for the Palme d'Or at the 2013 Cannes Film Festival.In 2016, the film was ranked among the BBC's 100 Greatest Films of the 21st Century by 177 critics around the world.[5] In late 2019, it was named the fourth greatest film of the 2010s by The Hollywood Reporter's chief film critic Todd McCarthy.[6] NEXT WEEK: Night Tide (1961) Website: http://www.bloodhauspod.com Twitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.com         Drusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/ Joshua's website: https://www.joshuaconkel.com/ Joshua's Twitter: https://twitter.com/JoshuaConkel  Joshua's Instagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel  

Every few years the calls go out: candidates wanted, of all types and stripes, to run for elected office federally, provincially, and municipally. It's actually pretty remarkable when you think about it. Anyone who wants to put their name forward can, just like that, even though probably 90% of the people that do are going to lose. To take the plunge, and try to get the job requires a ton of effort, sacrifice, and more. With us now on what's actually involved in running for office: Todd McCarthy, the PC MPP for Durham; Amber Morley, Toronto city councillor for Ward 3, Etobicoke-Lakeshore; Chloe Brown, who ran for mayor of Toronto in the last municipal election; And on the line, Shawn Micallef, contributing columnist at the Toronto Star and co-founder of Spacing magazine.See omnystudio.com/listener for privacy information.

The third episode of our season on the awesome movie year of 2012 features the year's biggest flop, Andrew Stanton's John Carter. Directed and co-written by Andrew Stanton and starring Taylor Kitsch, Lynn Collins, Willem Dafoe, Samantha Morton, Dominic West and Mark Strong, John Carter was meant to launch a franchise based on Edgar Rice Burroughs' classic novels.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/john-carter-2012), Owen Gleiberman in Entertainment Weekly (https://ew.com/article/2012/03/09/john-carter/), and Todd McCarthy in The Hollywood Reporter (https://www.hollywoodreporter.com/movies/movie-reviews/john-carter-film-review-297041/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2012 installment, featuring the Cannes Film Festival Palme d'Or winner, Michael Haneke's Amour.

On this episode, I discuss Twentieth Century (Howard Hawks, 1934) starring John Barrymore and Carole Lombard.Works Cited:Elizabeth Kendall, Runaway Bride: Hollywood Romantic Comedy of the 1930s (New York: Cooper Square Press, 2002).Olympia Kiriakou, Becoming Carole Lombard: Stardom, Comedy, and Legacy (New York: Bloomsbury Academic, 2020).Howard Hawks: A Hell of a Good Life, dir. Hans-Christoph Blumenberg (Germany: Sunset Mark Productions, 1978).Joseph McBride, Hawks on Hawks (Berkeley: University of California Press, 1982).Todd McCarthy, Howard Hawks: The Grey Fox of Hollywood (New York: Grove Press, 2000).Andrew Sarris, "The Sex Comedy Without Sex," American Film 3 (March 1978), 12-13. Larry Swindell, Screwball: The Life of Carole Lombard (New York: William Morrow & Co., Inc., 1975). Hosted on Acast. See acast.com/privacy for more information.

NOTE: This episode was a timed exclusive over on our producer David Rosen's Patreon. Sign up to one of the tiers for access to this bonus episode and more great content from us, Piecing It Together, All Rice No Beans and David Rosen. https://www.patreon.com/bydavidrosen (https://www.patreon.com/bydavidrosen) This special bonus episode of our season on the awesome movie year of 1992 features Rob Reiner's A Few Good Men. Directed by Rob Reiner from a screenplay by Aaron Sorkin and starring Tom Cruise, Demi Moore, Kevin Bacon, Kevin Pollak and Jack Nicholson, A Few Good Men was the most frequently mentioned movie on our social media posts about 1992 favorites. The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/a-few-good-men-1992 (https://www.rogerebert.com/reviews/a-few-good-men-1992)), Todd McCarthy in Variety (https://variety.com/1992/film/reviews/a-few-good-men-1200430976/ (https://variety.com/1992/film/reviews/a-few-good-men-1200430976/)), and Kenneth Turan in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-1992-12-11-ca-1517-story.html (https://www.latimes.com/archives/la-xpm-1992-12-11-ca-1517-story.html)). Visit https://www.awesomemovieyear.com/ (https://www.awesomemovieyear.com) for more info about the show. Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear (http://www.facebook.com/awesomemovieyear) and follow us on Twitter https://twitter.com/awesomemoviepod (@Awesomemoviepod) You can find Jason online at http://goforjason.com/ (http://goforjason.com/), on Facebook at https://www.facebook.com/JHarrisComedy/ (https://www.facebook.com/JHarrisComedy/), on Instagram at https://www.instagram.com/jasonharriscomedy/ (https://www.instagram.com/jasonharriscomedy/) and on Twitter https://twitter.com/JHarrisComedy (@JHarrisComedy) You can find Josh online at http://joshbellhateseverything.com/ (http://joshbellhateseverything.com/), on Facebook at https://www.facebook.com/joshbellhateseverything/ (https://www.facebook.com/joshbellhateseverything/) and on Twitter https://twitter.com/signalbleed (@signalbleed) You can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com/ (https://www.piecingpod.com), on Twitter at https://twitter.com/piecingpod (@piecingpod) and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod (https://www.facebook.com/groups/piecingpod). You can also follow us all on Letterboxd to keep up with what we've been watching at https://letterboxd.com/goforjason/ (goforjason), https://letterboxd.com/signalbleed/ (signalbleed) and https://letterboxd.com/bydavidrosen/ (bydavidrosen). Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosen (https://www.patreon.com/bydavidrosen) All of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.com/ (https://www.bydavidrosen.com) Please like, share, rate and comment on the show and this episode, and tune in for future episodes.

Michael Guerin is joined by Todd McCarthy, Nathan Turnbull and Nathan Jack on Monday's edition of On The Pace.

Driver Todd McCarthy joins Michel Guerin on On The Pace.

This is the final episode of a five-part series with Todd McCarthy, co-owner of Supply Coffee and veteran of the Australian specialty Coffee industry. In this series, Todd and Lee explore how the industry has changed over the last decade and where it's headed.In this fifth episode, Todd shares his ideas for the opportunities ahead for specialty coffee industry business owners and employees within the industry.Connect with Todd McCarthy:https://www.instagram.com/supply.coffee/https://www.supplycoffee.co

This is the fourth episode of a five-part series with Todd McCarthy, co-owner of Supply Coffee and veteran of the Australian specialty Coffee industry. In this series, Todd and Lee explore how the industry has changed over the last decade and where it's headed.In this fourth episode, Todd and Lee dive into the biggest challenges ahead for coffee roasters in the challenging economic times we're entering globally.Connect with Todd McCarthy:https://www.instagram.com/supply.coffee/https://www.supplycoffee.co

This is the third episode of a five-part series with Todd McCarthy, co-owner of Supply Coffee and veteran of the Australian specialty Coffee industry. In this series, Todd and Lee explore how the industry has changed over the last decade and where it's headed.In this third episode, Todd and Lee explore the most likely challenges ahead for cafe owners as businesses head into changing economic times.Connect with Todd McCarthy:https://www.instagram.com/supply.coffee/https://www.supplycoffee.co

This is the second episode of a five-part series with Todd McCarthy, co-owner of Supply Coffee and veteran of the Australian specialty Coffee industry. In this series, Todd and Lee explore how the industry has changed over the last decade and where it's headed.In this second episode, Todd tells us what changed from his perspective when he changed from being a professional in the coffee industry to being a business owner in the coffee industry.Connect with Todd McCarthy:https://www.instagram.com/supply.coffee/https://www.supplycoffee.co

This is the first episode of a five-part series with Todd McCarthy, co-owner of Supply Coffee and veteran of the Australian specialty Coffee industry. In this series, Todd and Lee explore how the industry has changed over the last decade and where it's headed.In this first episode, Todd shares what key elements of specialty coffee that have evolved over the past decade in business, green, professionally, brewing, and flavour.Connect with Todd McCarthy:https://www.instagram.com/supply.coffee/https://www.supplycoffee.co

Mick Guerin talks with Todd McCarthy and Robbie Morris

On review aggregator Rotten Tomatoes, the film has a rating of 92% based on 88 reviews and an average rating of 7.87/10. The site's critical consensus reads, "A Bug's Life is a rousing adventure that blends animated thrills with witty dialogue and memorable characters – and another smashing early success for Pixar." Another review aggregator, Metacritic, gave the film a score of 77 out of 100 based on 23 critics, indicating "generally favorable reviews". Todd McCarthy of Variety wrote, "Lasseter and Pixar broke new technical and aesthetic ground in the animation field with Toy Story, and here they surpass it in both scope and complexity of movement while telling a story that overlaps Antz in numerous ways." James Berardinelli of ReelViews gave the film three and a half stars out of four, saying "A Bug's Life, like Toy Story, develops protagonists we can root for, and places them in the midst of a fast-moving, energetic adventure." Roger Ebert of the Chicago Sun-Times gave the film three and a half stars out of four, saying "Will A Bug's Life suffer by coming out so soon after Antz? Not any more than one thriller hurts the chances for the next one. Antz may even help business for A Bug's Life by demonstrating how many dramatic and comedic possibilities can be found in an anthill." Kenneth Turan of the Los Angeles Times gave the film four out of five stars, saying "What A Bug's Life demonstrates is that when it comes to bugs, the most fun ones to hang out with hang exclusively with the gang at Pixar." Peter Stack of the San Francisco Chronicle gave the film four out of four stars, saying "A Bug's Life is one of the great movies – a triumph of storytelling and character development, and a whole new ballgame for computer animation. Pixar Animation Studios has raised the genre to an astonishing new level". Richard Corliss of Time wrote, "The plot matures handsomely; the characters neatly converge and combust; the gags pay off with emotional resonance." Owen Gleiberman of Entertainment Weekly gave the film a B, saying "A Bug's Life may be the single most amazing film I've ever seen that I couldn't fall in love with." Paul Clinton of CNN wrote, "A Bug's Life is a perfect movie for the holidays. It contains a great upbeat message ... it's wonderful to look at ... it's wildly inventive ... and it's entertaining for both adults and kids." Michael Wilmington of the Chicago Tribune gave the film three and a half stars out of four, and compared the movie to "Akira Kurosawa's Seven Samurai (with a little of another art-film legend, Federico Fellini, tossed in)." where "As in Samurai, the colony here is plagued every year by the arrival of bandits." On the contrary, Stephen Hunter of The Washington Post wrote, "Clever as it is, the film lacks charm. One problem: too many bugs. Second, bigger world for two purposes: to feed birds and to irk humans."

Woodbine Mohawk's Mark McKelvie joins the program to break down the great harness racing action coming up, including the Maple Leaf Trot and Canadian Pacing Derby on Saturday. Northfield Park's new Chart Writer Matt Rose talks to us about what it takes to chart a race. New Driver to the United States Todd McCarthy talks to us about his driving career, and some of the things he would like to accomplish in North America.

This week, Jamie and Sofia mix it up with Possession, a dual timeline story about 19th-century poets and the baffling behavior of the 21st-century academics who research them. Join them in this first part and hear about stolen historical sources, the unspeakable horror of 19th-century dolls, and more! Sources: Film Background: Roger Ebert's Review: https://www.rogerebert.com/reviews/possession-2002 Jamie Russell's Review: http://www.bbc.co.uk/films/2002/10/08/possession_2002_review.shtml Todd McCarthy's Review: https://variety.com/2002/film/reviews/possession-3-1200546884/ Wikipedia Page, Possession: https://en.wikipedia.org/wiki/Possession_(2002_film) Stealing Sources: Philip P. Mason, "Archival Security: New Solutions to an Old Problem" The American Archivist (October 1975) "Historian Pleads Guilty to Stealing Items from the National Archives," Available at https://wtop.com/prince-georges-county/2018/01/historian-pleads-guilty-stealing-items-national-archives-site-md/ "Britain Destroyed Records of Colonial Crimes," Available at https://www.theguardian.com/uk/2012/apr/18/britain-destroyed-records-colonial-crimes#:~:text=Thousands%20of%20documents%20detailing%20some,an%20official%20review%20has%20concluded. "Erasing History: The National Archives is Destroying Records About Victims of Trump's ICE Policies," Available at https://www.democracynow.org/2020/2/6/national_archives_record_retention_matthew_connelly "Notable Thefts from the National Archives," Available at https://www.archives.gov/research/recover/notable-thefts.html "Sandy Berger, Former National Security Advisor, Dies," Available at https://www.politico.com/story/2015/12/sandy-berger-national-security-adviser-216344 "The Photo Book That Captured the Truth of How the Soviet Regime Made the Truth Disappear," Available at https://www.newyorker.com/culture/photo-booth/the-photo-book-that-captured-how-the-soviet-regime-made-the-truth-disappear "Meet the Guys Who Tape Trump's Papers Back Together," Available at https://www.politico.com/story/2018/06/10/trump-papers-filing-system-635164 "Why You May Never Learn the Truth About ICE," Available at https://www.nytimes.com/2020/02/04/opinion/archives-document-destruction.html Dolls: John Plotz, Portable Property: Victorian Culture on the Move. Princeton: Princeton University Press. Miriam Formanek-Brunell, Made to Play House: Dolls and the Commercialization of American Girlhood, 1830-1930. New Haven: Yale University Press, 2014. Image: Creeping Baby Doll Patent Model, Smithsonian Institute. Available at https://americanhistory.si.edu/collections/search/object/nmah_856663  

Interviews with the Play by Play Voice of Rocky Top, Univ of Tennessee - Bob Kesling; Todd McCarthy, Asst Athletic Director - Video Operations; Sterling Johnson, Defensive Lineman, NY Jets; Coach himself gets interviewed --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/appSupport this podcast: https://anchor.fm/coach&crewshow/support

Ty G. II brings in your favorite film, The Matrix, and 3 politically and racially charged SPIRITUAL TIES to prove to you that the Chosen One in the Matrix is NOT Neo, it’s MORPHEOUS. Keep this quote from Malcolm X in mind before you listen in. “I believe that there will ultimately be a clash between the oppressed and those that do the oppressing. I believe that there will be a clash between those who want freedom, justice and equality for everyone and those who want to continue the systems of exploitation.” Bring your scissors! Let’s find out what we need to cut up and what we need to tie up! Cited Materials: Hollywood Reporter, David Hunter, 1999. https://www.hollywoodreporter.com/news/matrix-thrs-1999-review-743651 Variety, Todd McCarthy, 1999. https://variety.com/1999/film/reviews/the-matrix-1200456768/ Roger Ebert, Roger Ebert, 1999. https://www.rogerebert.com/reviews/the-matrix-1999 CNN article “most dangerous Negro leader”: https://www.cnn.com/2014/11/14/us/fbi-and-mlk/index.html The Matrix dir. The Wachowskis starring Keanu Reeves, Hugo Weaving, Laurence Fishbourne, Carrie Ann Moss prod. By Warner Bros. 1999 US directed by Jordan Peele. Blumhouse Production. Universal Studios Production 2019. Snippet from MLK’s “I have a Dream Speech.” Will Smith video on Why He didn’t do the Matrix: https://youtu.be/hm2szuXKgL8 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/ty-g7/message Support this podcast: https://anchor.fm/ty-g7/support

Tika Sumpter - As an accomplished actor and producer, Tika Sumpter is quickly establishing herself as one of Hollywood’s most sought-after multihyphenates. Tika stars on top-rated ABC comedy series MIXED-ISH, the heartfelt spinoff of BLACK-ISH, where she plays “Alicia Johnson” opposite Mark-Paul Gosselaar and Gary Cole. Tika’s latest endeavor is ​Sugaberry​, a lifestyle brand by and for modern moms of color she co-founded with Thai Randolph, after being frustrated with the lack of resources available for brown mamas during her own pregnancy. Launching March 23, 2020, ​Sugaberry​ caters, cultivates and celebrates all aspects of the brown mom experience through a curated mix of editorial content, original audio and video programming, interviews, newsletters, live event series, thoughtful product recommendations and more. Sugaberry also features original reporting, expert parenting advice, and unfiltered stories from a collection of celebrity guest contributors and influencer ambassadors. Tika and Thai are also launching ​The Suga Podcast​ (premiering March 23rd), on Stitcher. The podcast is a ​weekly conversation series exploring motherhood from the perspective of notable brown moms. Tika’s recent acting credits include: Paramount Pictures’ SONIC THE HEDGEHOG and OWN’s highest-rated series, THE HAVES AND HAVE NOTS, directed and produced by Tyler Perry. In 2016, Sumpter received critical praise for her “spot-on performance” (Todd McCarthy, The Hollywood Reporter) as a young Michelle Obama in Miramax’s feature film SOUTHSIDE WITH YOU, which Sumpter co-produced with John Legend. The film, inspired by Barack and Michelle Obama's first summer date, premiered at the Sundance Film Festival that year to a standing ovation and went on to receive rave reviews. Tika resides in Los Angeles with her fiance, Nick, and their three year old daughter, Ella. Thai Randolph is an award-winning ​marketing, business development & operations leader who has spent her career at the intersection of content, consumers and commerce. Randolph has a proven track-record of developing brands, audience and revenue for some of the biggest names in advertising, technology and entertainment – including WPP, Publicis, Sony, Facebook, and Kevin Hart. In 2018, Randolph was named to AdAge’s 40 Under 40 list and Cynopsis’ It List. This year, Randolph was named one of Multichannel News’ Wonder Women in Streaming “Women to Watch.” As the EVP and GM for Laugh Out Loud network, ​Randolph manages day to day business strategy, operations, and P&L Management for Kevin Hart’s comedy brand and multi-platform network. Previously, in her role as SVP, Marketing & Monetization for Laugh Out Loud, Randolph oversaw audience development, brand strategy and ad sales for the network - working with advertisers such as Lyft and P&G on brand-supported content series including ​Kevin Hart: Lyft legend and ​Cold As Balls – which collectively reached more than 225MM views, multiple Streamy and Cynopsis Model D nominations and a Streamy win for ​Lyft Legend ​as best Branded Content Series. Prior to joining Laugh Out Loud, Randolph was a member of Facebook’s Global Marketing Solution’s team. In this role, she managed strategic partnerships and digital transformation initiatives with some of the most innovative marketing and technology agencies in the US. Randolph served as CMO & SVP, Marketing for Sony DADC New Media Solution’s GENERATOR business unit​.Randolph was named one of Black Enterprise’s Leading Women in Advertising and Marketing in 2016 for her work ​transforming Sony Music’s direct-to-consumer (DTC) digital group from an internal cost center to an independent digital marketing and ecommerce service provider. Her efforts attracted 3rd party media and entertainment clients such as ​AMC Networks​, ​A+E Networks​ and ​Universal Music Group​. A seasoned agency executive, Randolph’s experience includes digital leadership roles with WPP (VML) and Publicis (Moxie Interactive) agencies, where she’s provided new media strategy and consultation to world-class brands including Verizon Wireless, Dell, Saks Fifth Avenue, Colgate-Palmolive and Revlon. She holds B.A. in Communications with a minor in Performing Arts at American University and is co-founder of I2AM, a nonprofit she founded with her brother dedicated to increasing educational and cultural access at-risk youth. ​Randolph is frequently invited to speak as an industry thought leader at high profile events such as Digiday’s Content Marketing Summit, Future of Television Conference, The Wrap’s TheGrill, ​Variety’s “Tune In” Summit, Variety’s Inclusion Summit, Adobe’s Digital Marketing Conference, YouTube's Publisher Summit, Digital Hollywood IT Summit, Streaming Media West & BAA’s first-ever Millennial Panel. Zainab Johnson, a stand-up comedian, actress, and writer is quickly being propelled as one of the most unique and engaging performers on stage and screen.  Zainab was named one of Variety’s Top 10 Comics To Watch in 2019, she is currently one of the host for Netflix's new show "100 Humans", she can be seen as a series regular on the new upcoming series from Greg Daniels a half hour comedy titled “Upload” an Amazon original series premiering May 1st, and she made her first late night stand up appearance on NBC's Late Night with Seth Meyers.  Zainab had a breakout appearance on HBO’s All Def Comedy (2017) and has made appearances on NBC’s Last Comic Standing (2014), Arsenio (2014), BET’s Comic View (2014), AXSTV’s Gotham Comedy Live! and just recently starred in a new web series titled Avant-Guardians.  She is a regular at the Improv Comedy Club in LA and the Comedy Cellar in NY.  Zainab has performed in the Montreal Just For Laughs Festival as one of the 2014 New Faces of Comedy and returned numerous times since.  She also had a breakout performance at the Melbourne Comedy Festival in 2018. Always hosted by Marina Franklin - One Hour Comedy Special: Single Black Female ( Amazon Prime), Trainwreck, Louie Season V, The Jim Gaffigan Show, Conan O'Brien, Stephen Colbert, HBO's Crashing, and The Breaks with Michelle Wolf

Whatcha gonna do? Whatcha gonna do when we come for you?!?!? We decided to talk about the 25 year old action film classic Bad Boys, mainly because the 3rd Bad Boys installment is coming to a theater near you on January 17th. We're trying to help you get your Bad Boys marathon on before going to see Will Smith and Martin Lawrence next weekend!Before we break down Michael Bay's first feature film we chat about the latest movies we've seen, what we've been streaming and our yummiest meals of late.So many tasty takes on this episode, you'll want to hear what we think of Bad Boys.We conclude this pod with a movie game that was suggested by one of our Twitter followers and then we draft our Top 5 Films Featuring an NBA player.Enjoy! 1:17 Bombshell2:56 Uncut Gems6:40 The Marvelous Mrs. Maisel Season 39:11 Watchmen11:50 Buegs' Favorite Meal12:15 Crooked Pint Ale House www.crookedpint.com13:38 Plugarooni's14:25 patreon.com/theavidindoorsmen15:43 Coming Attractions: Booksmart16:41 Bad Boys Plot Synopsis17:44 Rotten Tomatoes18:07 Desson Thomson from The Washington Post18:31 Todd McCarthy from Variety Magazine18:54 Buegs' Hot Take21:34 Rob's Hot Take25:58 The Dude Award27:55 The Tucci Award32:26 The Dingus40:38 Show Me The Money46:55 Buegs' Boo Hoo Moments48:08 Movie Trivia51:56 Judgement Day53:57 Last Man Stanton Movie Game1:05:20 Top 5 Films Featuring an NBA Player Draft

The West Block visits a riding just outside Toronto where Canada's two largest parties are hoping for a win to form the next federal government on October 21st Guests:  Todd McCarthy, Conservative candidate-Whitby, Ontario; Ryan Turnbull, Liberal candidate-Whitby,Ontario; Peter Graefe, McMaster University

CW: During the Coming Soon segment, Jon reads segments from the extremely unsettling Hollywood Reporter review of Dora and the Lost City of Gold by Todd McCarthy. If you want to avoid references to an elderly film critic sexualizing a teenage girl in a kids movie, feel free to skip past that segment. Popcorn Junkie Refilled returns to the theaters for reviews of the Fast and Furious spinoff Hobbs and Shaw and the dark comedy The Art of Self-Defense, plus a Netflix and Chat about the New Looney Tunes shorts.Support the show on Patreon: http://patreon.com/popcornjunkieSupport Popcorn Junkie by donating to the tip jar: https://tips.pinecast.com/jar/popcorn-junkieThis podcast is powered by Pinecast.

Sydney harness racing fans are familiar with Todd McCarthy’s meteoric rise in a few short years. He has had to step out of the shadow of his high achieving father and brothers, and make his own way in a tough game. Todd has succeeded in a spectacular way. He talks about his early days, the influence of his family, and the horses who’ve shaped his career. He pays special tribute to the amazing Tiger Tara.

Todd McCarthy joins Trots Talk hosts Michael Howard and Nims Azoor to talk Tiger Tara on the eve of the Del-Re National A. G. Hunter Cup, when his TAB Inter Dominion winner is favourite for more Grand Circuit success.

In the final show before the NZ Cup, this week's guests are Todd McCarthy, driver of Tiger Tara, Airpark Canterbury sponsored driver Matthew Williamson, the voice of Cup week Mark McNamara and Laurie Goodson regarding the traditional Cup Week gold tournament and Bookmaker Richard Wilson.

Tiger Tara's pilot Todd McCarthy joins Michael Howard and Nims Azoor ahead of Saturday night's Decron Cranbourne Cup, which will be contested by a ripping field.

On this weeks One Out One Back, Cody Winnell and Riley Phelan chat with drivers Todd McCarthy and Greg Sugars ahead of Saturday night's Group 1 Victoria Cup. We preview the Group 1 Bill Collins Trotters Sprint, and look ahead to the Inter Dominion.

0:00:00 - 0:08:11 - INTROS - Also discussed in this section: Snow Crash, 13 Hours, the Jack Reacher making of features, and Valkyrie.   0:08:12 -  0:20:55 - Magic Mike XXL (2015), directed by Gregory Jacobs, edited and shot by Steven Soderbergh, starring Channing Tatum, Joe Manganiello, Mat Bomer, Kevin Nash, Adam Rodriguez, Gabriel Iglesias, Andie MacDowell, Amber Heard, Jada Pinkett Smith, Twitch, Donald Glover, Elizabeth Banks, and Michael Strahan.   Also discussed in this section: Alex Pettyfer, Tony Jaa, Collateral, America's Best Dance Crew, Chuck Norris in Return of the Dragon, Road House, Michael, K-Pax, Phenomenon, Sex Lies and Videotape, Face/Off, The Crow: City of Angels, Gods of Egypt, Run All Night, Rob Zombie, The Firm, Bonfire of the Vanities, Midnight and the Garden of Good and Evil, Tom Hanks, House of Cards, and Ant-Man.     0:20:56 - 0:28:49 - Love (2015), directed by Gaspar Noe, starring Karl Gusman, Aomi Muyock, Klara Kristin, Isabelle Nicouf, and Gaspar Noe.   Also discussed in this section: Je T'aime Je T'aime, Deep Red, Quentin Tarantino, Vincent Cassell, Monica Bellucci, John Carpenter, Epidemic, Celebrity,  Triumph of the Will, Birth of a Nation, Salo, My Name Is Nobody, 2001: A Space Odyssey, John Waters, Enter The Void, Irreversible, and I Stand Alone.   0:28:50 - 0:42:25 - Spotlight (2015), directed by Todd McCarthy, starring Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schrieber, John Slattery, Stanley Tucci, and RIchard Jenkins.    Also discussed in this section: The Big Short, The Cobbler, Trumbo, Hitchcock, Orson Welles, Alan J Pakula, Steven Soderbergh, And The Band Played On, Don't Be A Menace To South Central While Drinking Your Juice In the Hood, The Vatican Tapes, 30 Minutes or Less, T.I., and Prisoners.       0:42:26 - 0:50:08 - Kingsman: The Secret Service (2015), directed by Matthew Vaughn, starring Colin Firth, Samuel L. Jackson, Michael Caine, Mark Strong, Taron Edgerton, and Sofia Boutella.    Also discussed in this section: James Bond, Watchmen, Men In Black, Harry Potter, Michael Caine's acting class, Kick Ass, Samuel L. Jackson, Gogo Yubari, and Captain America: The Winter Soldier.   0:50:09 - 1:04:42 - Revenant (2015), directed by Alejandro Inirratu, starring Leonardo DiCaprio, Tom Hardy, Domhnall Gleeson, Will Poulter, Forrest Goodluck, and Lukas Haas.    Also discussed in this section: Star Wars 7, Scorch Trials, marvel movies, Titanic, Jeremiah Johnson, Paul Thomas Anderson, Jim Bridger, Andrei Rublev, The New World, Passion of the Christ, Saving Private Ryan, Birdman, The Assassin, Training Day, The Grey, The Wolf of Wall Street, and Doom.        1:04:43 - 1:16:26 - Chi-Raq (2015), directed by Spike Lee, starring Nick Cannon, Samuel L. Jackson, Teyonah Parris, Jennifer Hudson, Wesley Snipes, Angela Basset, John Cusack, DB Sweeney, Dave Chapelle, David Patrick Kelly, and Isiah Whitlock Jr.    Also discussed in this section: 25th Hour, Bamboozled, Hamilton, Jungle Fever, Do The Right Thing, Inside Man, Mo Better Blues, Malcolm X, Antonio Fargas, Expendables 3, Wolf Warrior, Kanye West, the Economist, Exorcist II: The Heretic, Spike Lee's Old Boy, He Got Game, She Hate Me, Hoosiers, Blue Velvet, Roger Corman, Bruce Dern, and Anatomy of an Actor: Tom Cruise.  1:16:27 - 1:19:51 - SPECIAL BONUS FEATURE: Deacon's Corner with David Brothers! This is the first of 4 featured segments from David's longest running Blade fancast!   Next Week: The Best Films of 2015.   Our outro music this week: "Miami" by Riz Ortolani from Goodbye Uncle Tom. And our intro, as always, is from Escape From New York. The interstitial music is "Environmental Studies From Gnutella" by Delia Derbyshire. You can download episodes directly from itunes and rss. For a quick look at who has been on the show before and what movies have been discussed in each episode, look at our one-page episode guide. This is a Patreon-supported podcast, subscribing to the show can give you access to monthly criticism from Sean, Tucker, and Morgan.  You can follow the show on twitter, tumblr, letterboxd and facebook. If you like this show, please check out Tucker's other podcast Comic Books Are Burning In Hell (also located at TFO and here), TFO's music podcast Beat Connection with Marty Brown and Nate Patrin (at TFO and here), and Katie Skelly & Sarah Horrock's Trash Twins (located here and here), which Sean edits.  OH NO THE HOUSE

Nathan and Scotty discuss Spotlight, starring Michael Keaton, Mark Ruffalo, and Rachel McAdams, directed by Todd McCarthy in an episode about Oscar season, HBO films, political thrillers, The First Amendment, documentary filmmaking, and pose IMPORTANT questions about the future of Hollywood. Plus, Andydrogynous sails the ocean blue and reviews In the Heart of the Sea, directed by Ron Howard, in this week’s Crap Night. Spotlight is the first of many Oscar contenders we will be covering throughout the Winter Season. It's time to get political. This episode is sponsored by Philz Coffee.

David Fincher discussed his career and approach to filmmaking with critic Todd McCarthy in one of our HBO Directors Dialogues at the 48th New York Film Festival in 2010. THE SOCIAL NETWORK had its world premiere on opening night of the festival before going on to win the Golden Globe for Best Motion Picture, as well as Academy Awards for best screenwriting, editing, and score. This podcast is brought to you by The Film Society of Lincoln Center. Film Lives Here. www.filmlinc.org Photo by Godlis

Despite taking in big earnings at the Chinese box office, the 3D computer-animated comedy "Monsters University" is yet another indicator of Pixar's loss of creativity. This forced addition to the Monsters series offers nothing new, except the varying degrees of weirdness in the appearance of the monsters. I guess the happy ending of "Monsters Inc" was an unfortunate inconvenience for the producers, forcing them to focus their limited capacity for creativity on a prequel. So, the story goes back a few years to track the life of young monster Michael "Mike" Wazowski, who dreams of becoming a scarer when he grows up. Through continuous hard work, young Mike eventually lands himself a place as a scare major at Monsters University. There, he meets Sulley, who comes from a talented family of scarers and therefore doesn't have to work hard, relying on his natural scaring ability. Almost immediately a rivalry is formed between the starkly different duo, and that rivalry leads to both being dropped from the scare program. Their only way back into the program is to team up and win an annual scare game, but the odds are not in their favor asthe rest of their team members are not physically scary. Sadly, the film falls into the good student-bad student, teamwork and American dream kind of cliché. Mike's dream of becoming an excellent scarer and his conflict with bad student Sulley make up the main driving force of the story. Teamwork is ultimately what helps the two partners settle their differences and become best friends. Kids may be able to get an idea of college life from the film, but for adult viewers, there is hardly anything to stop them from falling sleep. Without the animated monsters, the movie is no different from any other superficial story about college life. Pixar's creative strength seems to have hit a bottleneck since Cars 2 and Brave; a new monster movie could have been what it needed to redeem its reputation, but "Monster University" has clearly failed to deliver this. Todd McCarthy, with Hollywood Reporter, provices the most apt description for the film, saying: Monsters University almost feels like a film made to fill a slot in a release schedule rather than something that simply had to be made for its own organic reasons. This unnecessary addition to Monsters franchise deserve a five out of ten.