Podcasts about Toho

Bývalý ministr zahraničí a někdejší tajemník vládní komise pro přípravu Ústavy Cyril Svoboda kritizuje vyhrocený spor mezi prezidentem Petrem Pavlem a premiérem Andrejem Babišem kvůli zahraniční politice. V podcastu Pavla Štrunce uvedl, že pokud chce prezident skutečně obnovit spolupráci s vládou, měl by nejprve stáhnout kompetenční žalobu podanou k Ústavnímu soudu. Teprve poté podle něj může očekávat ochotu vlády jednat. „Kdyby prezident republiky řekl: stahuji žalobu k soudu, byl to omyl, pojďte se dohodnout, tak tomu rozumím jako velkorysému gestu. Ale nemůžete chtít zároveň vyhrát spor u Ústavního soudu a současně po žalovaném chtít, aby byl velkorysý,“ řekl Svoboda.Podle něj je současný konflikt především důsledkem toho, že prezident a vláda proti sobě vedou soudní spor. „Rozumím vládě, když říká, že nemá o čem jednat, když je žalovanou stranou,“ uvedl.Svoboda zároveň zpochybnil samotný postup Ústavního soudu, který před summitem NATO vydal předběžné opatření umožňující prezidentovi cestu do Ankary. Podle něj se soud do politického konfliktu vůbec neměl pouštět. „Ústavní soud se vůbec neměl nechat vtáhnout do tohoto konfliktu,“ prohlásil. Dodal také, že podle jeho názoru předběžné opatření v kompetenčním sporu nemělo být vůbec vydáno.Bývalý šéf české diplomacie zároveň připustil, že nedokáže odhadnout, jak Ústavní soud nakonec rozhodne. „Moje fantazie je limitovaná. Vůbec netuším, co bude v nálezu napsáno,“ uvedl s tím, že rozhodnutí bude závazné pro všechny státní instituce.A mluvilo se i o summitu NATO v Ankaře: „Summit pro mě skončil hlubokým zklamáním. Nedal odpovědi na klíčové otázky - co s Ukrajinou, co s Blízkým východem nebo jaké jsou skutečné vztahy uvnitř Aliance,“ řekl.Podle něj Západ příliš mluví o zbrojení, ale málo o politickém cíli války. „Počítáme kanóny, letadla a drony. A kdo počítá mrtvé? Válku vedu jen tehdy, když mám strategický cíl. Od summitu jsem čekal, že řekne, čeho chceme na Ukrajině dosáhnout,“ uvedl Svoboda.

Spolupracovník Postoja Michal Novota a redaktor Lukáš Krivošík rozoberajú aktuality i kapitoly z dejín výskumu vesmíru.

CELÝ ROZHOVOR V DÉLCE 57 MIN. JEN NA ⁠HTTPS://HEROHERO.CO/CESTMIR⁠⁠⁠⁠ A ⁠HTTPS://FORENDORS.CZ/CESTMIR „V životě jsem nenapsal mail,“ říká herec Jiří Lábus, který stále používá Nokii 3310, každý den si kupuje noviny a nabídku z Hollywoodu kdysi odmítl, protože chtěl strávit léto na chalupě. O svém mimořádném odkazu nepřemýšlí, těší ho ale, když mu lidé děkují za dětství s Arabelou. Když Rumburaka natáčel, netušil, že seriál jednou uvidí diváci v Peru nebo jiných částech světa. Herectví pro něj dodnes vychází ze stejné dětské fantazie. „Hravost je hrozně důležitá,“ dodává. Vzpomíná na Studio Ypsilon jako na ostrůvek svobody, na improvizaci, z níž vznikaly celé inscenace i na humor, u kterého podle něj publikum okamžitě pozná, jestli funguje. Otevřeně se vrací také ke svým krokům za minulého režimu. Podpis Anticharty zpětně označuje za chybu. „Bezesporu jsem si to uvědomoval, ale zase jsem si říkal, že kdyby to nepodepsala větší skupina lidí, kdo ví, co by bylo s divadlem,“ přiznává s tím, že divadlo, kde tehdy působil, měl velmi rád a jednal proto bezmyšlenkovitě. Lituje také účasti v propagandistickém dílu Majora Zemana o Plastic People, k níž podle svých slov přistoupil bez přečtení celého scénáře. „Naletěl jsem a bylo to mojí vinou,“ dodává. S Oldřichem Kaiserem se podle něj nepotkali náhodou, ale osudově. Přestože jejich spolupráci někdy komplikovaly Kaiserovy problémy, s nikým jiným by na jevišti nebyl raději. Jejich společná chemie se neztratila ani po letech a při novém natáčení improvizovaných Tlučhořových rodinek okamžitě navázali, jako by poslední díl natočili den předtím. Vzpomíná také na vznik představení Ivánku, kamaráde, jehož úspěch nikdo z tvůrců nepředpokládal a vysvětluje, proč může být humor jedním z nejtěžších hereckých žánrů. Lábus zároveň varuje před ztrátou historické paměti a politickým ovládnutím veřejnoprávních médií. Lidé jsou podle něj totálně nepoučitelní, přesto věří, že by se proti zásahu do nezávislosti České televize a Českého rozhlasu ozvali. „Babiš se strašně bojí demonstrací,“ říká o současném premiérovi. Hloupý člověk pro něj přitom nemusí být zlý ani nevzdělaný. Nebezpečným se stává až ve chvíli, kdy začne dělat věci, které ohrožují společnost. Otevřeně o sobě říká, že je egoista a že odpovědnost za rodinu pro něj vždy představovala zátěž. Toho, že zůstal bez vlastní rodiny, však nelituje. Po večerech mezi lidmi se rád vrací do tichého bytu, zároveň ale potřebuje energii divadla a každé představení se snaží odehrát, jako by bylo první. „Teď je teď a teď už zase není teď,“ shrnuje svou životní filozofii. Proč Jiří Lábus chápe lidi, kteří se pod tlakem minulého režimu zachovali špatně? Kde podle něj končí neškodná lidská hloupost a začíná nebezpečí pro celou společnost? A proč se nikdy nechtěl vzdát svobody kvůli rodině? Poslechněte si celý rozhovor.

„Humor je vlastně kalkul. Když ze sebe dělám debila, tak to dělám cíleně,“ tvrdí Štěpán Kozub. A Jiří Krhut dodává, že podstatné je, jak se vtip podá: „Někdo může nekorektní fór podat tak, že máte pocit, že káže.“ Oba v rozhovoru s Liborem Boučkem v olomouckém studiu ocenili přínos festivalu Colours of Ostrava, porovnali pražské a ostravské diváky a zamysleli se nad tím, co vlastně znamená humor.Všechny díly podcastu Host Radiožurnálu můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

„Humor je vlastně kalkul. Když ze sebe dělám debila, tak to dělám cíleně,“ tvrdí Štěpán Kozub. A Jiří Krhut dodává, že podstatné je, jak se vtip podá: „Někdo může nekorektní fór podat tak, že máte pocit, že káže.“ Oba v rozhovoru s Liborem Boučkem v olomouckém studiu ocenili přínos festivalu Colours of Ostrava, porovnali pražské a ostravské diváky a zamysleli se nad tím, co vlastně znamená humor.Všechny díly podcastu Host Radiožurnálu můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

„Humor je vlastně kalkul. Když ze sebe dělám debila, tak to dělám cíleně,“ tvrdí Štěpán Kozub. A Jiří Krhut dodává, že podstatné je, jak se vtip podá: „Někdo může nekorektní fór podat tak, že máte pocit, že káže.“ Oba v rozhovoru s Liborem Boučkem v olomouckém studiu ocenili přínos festivalu Colours of Ostrava, porovnali pražské a ostravské diváky a zamysleli se nad tím, co vlastně znamená humor.

„Bohužel přes naši obec vedou velmi často objížďky, takže se moc netěšíme na ten velký provoz,“ říká Lenka.

It's the wildly divisive 50th anniversary movie and Millennium era finale no one expected! Lauren Goodnight returns for a postmodern monster mash and the baby of cult action horror director Ryuhei Kitamura, where a cavalcade of sleek Showa kaiju get taken out by MMA fighter Godzilla while superpowered mutants battle black leather duster-clad aliens in Matrix-inspired fights. Oh, and Don Frye has a sword and gets really sweaty, veteran Toho actors in their 70s are in gunfights, and a British prog rock keyboardist does the score. We talk about the return of the Xiliens, practicality in the suit design, quadrupedal Ghidorah, and how something so stupid can still be hella fun.Find more from Lauren:⁠Twitch⁠ | ⁠Bluesky | InstagramCover art by: Brett PunkBluesky | InstagramThe Zilla shirt we mention is by Eduardo Martinez @doomdino!Check out Glitterjaw's new variety feed, Glitterjaw Presents!⁠⁠Part of⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠The Glitterjaw Queer Podcast Collective⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Cover Art Gallery⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Email: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠skreeonkpodcast@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Theme song:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠"BIO WARS - Synth Cover" by Kweer Kaiju⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sources include: Godzilla: The First 70 Years by Steve Ryfle and Ed GodziszewskiRyuhei Kitamura Interview with Madman.comWikizilla

Ján 4,1-14 1Keď sa Ježiš dozvedel, že farizeji počuli, ako získava a krstí viac učeníkov než Ján, 2hoci Ježiš sám nekrstil, ale jeho učeníci, 3opustil Judsko a odišiel znova do Galiley. 4Musel však prejsť cez Samáriu. 5Dostal sa tak do samaritánskeho mesta menom Sychar, blízko pozemku, ktorý dal Jákob svojmu synovi Jozefovi. 6Tam bola Jákobova studňa. Ježiš bol ustatý z cesty, a tak si sadol k studni. Bolo okolo šiestej hodiny.7Tu prišla žena zo Samárie nabrať si vody. Ježiš jej povedal: „Daj sa mi napiť!“ 8Jeho učeníci totiž odišli do mesta nakúpiť potravu. 9Žena Samaritánka mu na to povedala: „Ako to, že ty, Žid, žiadaš odo mňa, Samaritánky, aby som sa ti dala napiť?“ Židia sa totiž so Samaritánmi nestýkajú. 10Ježiš jej na to povedal: „Keby si vedela o Božom dare a kto je ten, čo ti hovorí: ‚Daj sa mi napiť!‘, ty by si požiadala jeho a on by ti dal živú vodu.“ 11Žena mu povedala: „Pane, ani vedro nemáš a studňa je hlboká; odkiaľ teda vezmeš tú živú vodu? 12Si azda väčší, ako náš otec Jákob, ktorý nám dal túto studňu a pil z nej on, jeho synovia i jeho dobytok?“ 13Ježiš jej povedal: „Každý, kto pije z tejto vody, bude opäť smädný. 14Kto sa však napije z vody, ktorú mu dám ja, nikdy nevysmädne. Ale voda, ktorú mu dám, stane sa v ňom prameňom vody prúdiacej do večného života.“ Odkiaľ zoberieš živú vodu? Čo robíme v lete, keď teplota stúpa a nadobúda tropické hodnoty? Snažíme sa skryť niekde v chládku alebo trávime čas pri vode. – – Je pravé poludnie. Ježiš sedí unavený pri studni a z neďalekého mestečka sa blíži žena. Nesie prázdne nádoby na vodu a chce ich naplniť. A tak sa začína rozhovor. O čom asi? No predsa o vode! – – Už v knihe Prísloví čítame: „Studená voda čerstvá na vyprahlú dušu a dobrá zvesť z ďalekej zeme“ (Prísl 25,25). Ježiš vidí ženu, ktorej duša je vyprahnutá až na smrť. Nechce nikoho vidieť a s nikým sa stretnúť. Ježiš vidí jej potreby, a tak začína rozhovor: „Daj sa Mi napiť!“ Žena sa čuduje, že ju oslovuje cudzí muž a ešte k tomu Žid, ale Ježiš pokračuje ďalej: „Keby si znala dar Boží a vedela, Kto je Ten, ktorý ti hovorí: ‚Daj sa Mi napiť‘!, ty by si bola Jeho prosila, a bol by ti dal živej vody.“ – – To je tá dobrá zvesť pre každú vyprahnutú dušu. Ježiš je tu, vidí tvoje potreby a dáva ti vzácny dar, Seba samého skrze Slovo, skrze rozhovor s Ním. Nikto už nemusí chodiť utrápený a smädný. Poď k Ježišovi a napi sa „z prameňa vody, vyvierajúcej do večného života“. Modlitba: Bože, ďakujem Ti, že Kristus nás dokáže nasýtiť zvnútra! Odpusť, že sa často duchovne sýtim prázdnymi vecami! Daruj mi Kristovu myseľ, nech rozoznávam Tvoje oživujúce bohatstvo! Amen. Pieseň: ES 520 Autor: Ľubica Trusinová-Vecanová Hospodin, prichádza súdiť zem. On bude spravodlivo súdiť svet a národy podľa práva. Žalm 98,9 Ježiš hovorí: „Môj súd je spravodlivý, pretože nehľadám Svoju vôľu, ale vôľu Toho, ktorý Ma poslal.“ Ján 5,30 2.Mojžišova 14,15-22 •  Modlíme sa za: Tomášovce (NoS) Otázky na rozjímanie: Ako dnes žijem z istoty, že „Ježiš je tu, vidí tvoje potreby a dáva ti vzácny dar, Seba samého skrze Slovo, skrze rozhovor s Ním“ — či som ochotný/á prísť k Ježišovi a napiť sa „z prameňa vody, vyvierajúcej do večného života“, alebo som stále plný/á toho, že chodím utrápený a smädný bez toho, aby som sa napil z živú vody? Kde v mojom živote som ako žena, ktorej „duša je vyprahnutá až na smrť“ — či som ochotný/á prijať Božiu lásku, ktorá nás dokáže nasýtiť zvnútra, alebo som stále plný/á toho, že sa často duchovne sýtim prázdnymi vecami? Ako dnes žijem z výzvou „Poď k Ježišovi a napi sa z prameňa vody, vyvierajúcej do večného života“ — či som ochotný/á rozoznávať Tvoje oživujúce bohatstvo a mať Kristovu myseľ, alebo som stále plný/á toho, že nemám Kristovu myseľ a ne rozoznávam Tvoje oživujúce bohatstvo? Aplikácia do života: Dnes si spomeňte na jednu situáciu, kde ste boli ako žena, ktorej duša je vyprahnutá až na smrť (prázdne veci, duchovná smäd, vyprahnutost). Napíšte si modlitbu: „Bože, ďakujem Ti, že Kristus nás dokáže nasýtiť zvnútra! Odpusť, že sa často duchovne sýtim prázdnymi vecami! Daruj mi Christovu myseľ, nech rozoznávam Tvoje oživujúce bohatstvo!“ Potom urobte jeden krok prichádzania k Ježišovi: čítajte Bibliu, modlite sa s úprimným srdcom, alebo nájite čas na rozhovor s Ježišom. Dnes som vďačný za tieto 3 veci: _________________________________ _________________________________ _________________________________ Viac o vďačnosti, čo to je, prečo je dôležité byť vďačný, ako praktizovať vďačnosť nájdeš na blogu

Číňania majú veľa prísloví, ktoré obsahujú hlboké pravdy o živote. Jedno príslovie rozpráva o dvoch guliach, ktoré boli úplne rovnaké. Bol medzi nimi však podstatný rozdiel. Jedna bola čisto zo zlata, kým tá druhá mala na sebe zo zlata len tenkú vrstvu. Ležali na polici a neboli nijako chránené. Pozlátená guľa sa úzkostlivo bála a snažila sa udržať v pokoji, aby sa tá pekná vrstva zlata nezničila a neukázalo sa, čo je vo vnútri. Druhá guľa bola v pohode. Nebála sa pádov, nebála sa nárazov. Prvú guľu to tak znervózňovalo, že vykríkla: „Dávaj pozor a negúľaj sa tu kade-tade. Veď si ošúchaš zo seba tú krásu.“ „Akú krásu zo seba zošúcham?“ spýtala sa zlatá guľa prekvapene. Nezamestnávajme sa zovňajškom. Zamestnávajme sa viac vnútorným životom. Každodennou Ježišovou prítomnosťou. Tichom v živote. Životom v nasledovaní Krista. Hľadajme Boha a Jeho prítomnosť nie preto, čo nám môže dať, ale preto, kým On je. Ježiš im riekol: Moje učenie nie je moje, ale Toho, ktorý ma poslal. Keď niekto chce plniť Jeho vôľu, rozozná to učenie, či je z Boha, alebo či sám od seba hovorím. ( J 7,17) Pravé poznanie pochádza z poslušnosti. Všetko ostatné je len informácia. Keď začneme konať v súzvuku s Božím slovom, s tým, čomu rozumieme, začneme vidieť Jeho cestu. Vytvor si pevné zvyky ohľadne Božieho slova, ticha a modlitby. Čítaj slovo. Počúvaj, čo hovorí Biblia. Ži svoj život v súlade s tým, čo čítaš. Rob, čo Biblia hovorí, že je správne. Odvráť sa od všetkého, čo Biblia nazýva hriechom a neprávosťou. Nepodvádzaj a nerob kompromisy. Rob to čestne, bez výhovoriek, keď vidíš, že sa ti nedarí. Keď tak budeš konať, objavíš, kým skutočne v Božom svetle si. Zistíš, že nielen hrešíš, ale máš aj chuť k hriechu a nenávidíš dobro. Ježiš hovorí: „A v tom je súd, že svetlo prišlo na svet, ale ľudia väčšmi milovali tmu ako svetlo, lebo ich skutky boli zlé.“ ( J 3,19) Zistíš, že si Boží nepriateľ. Zistíš, že Božie slovo hovorí pravdu, keď hovorí, že si stratený a potrebuješ spásu. Ak berieš Jeho slovo vážne, nemôžeš prísť k inému záveru. Ako teda byť spasený? Zrazu začínaš tušiť, čo Ježiš myslí, keď hovorí: „Keď niekto chce plniť Jeho vôľu, rozozná to učenie, či je z Boha, alebo či sám od seba hovorím.“ Keď Ježiš hovorí o Božej vôli, nemyslí tým na zákon. Podľa toho vieme, že sme Ho poznali, keď zachovávame Jeho prikázania.(1J 2,3) A toto je Jeho prikázanie: aby sme verili v meno Jeho Syna Ježiša Krista a milovali sa, ako nám prikázal. (1J 3,23) Konanie Božej vôle znamená veriť v Ježiša a utiekať sa k Nemu. Veriť Bohu, keď svedčí o svoje vôli spasiť človeka. Lebo to je vôľa môjho Otca, aby každý, kto vidí Syna a verí v Neho, mal večný život, a ja ho vzkriesim v posledný deň. ( J 6,40) S takýmto učením prichádza Ježiš. Takže keď skutočne chceš konať Jeho vôľu tak rozumej, či je Jeho učenie z Boha, alebo či sám od seba hovorí. Neuveriteľná výzva! Predstav si, že vezmeš Ježiša za slovo. On hovorí, že keď skutočne začneš konať Božiu vôľu nakoľko rozumieš, tak budeš vedieť, či to učenie je od Boha. Božie slovo ma stretlo a odhalilo, že mám zlato len na povrchu. Pán mi ale tiež ukázal, že ma neodhalil, aby ma odvrhol, ale aby ma nanovo postavil a zmenil. Aby som zabudol na svoju podomácky vyrobenú pozlátku a obrátil som sa k Nemu a aby som prijal zlato, ktoré mi On chce dať. On chce konať nové veci v mojom živote. Radím ti: „… kúp si odo mňa ohňom prepáleného zlata, aby si zbohatol, biele rúcho, aby si sa odel, aby sa neukazovala hanba tvojej nahoty…“ (Zj 3,18) Nevadí, či budem narážať, či sa oškriem. Nemám čo skrývať. Môj hriech je ukrytý v Ježišovej krvi a oblečenie spravodlivosti, ktoré som od Neho prijal, je úplne dokonalé. Som ospravedlnený Bohom! To je moja jediná identita: Curt Westman, hriešnik, ospravedlnený Bohom! Curt Westman

Linda Miller, star of King Kong Escapes, shares memories of working with Ishiro Honda, her friendship with Akira Takarada, and acting with Kong himself! Plus on-set shenanigans, her favorite Toho films, and livin' the convention life. And you know we've got plenty of Green Slime talk. Plus, author Thom Shubilla joins the party!It's a special episode with some special people. HUGE thanks to Linda Miller for stopping by Camp Kaiju, HUGE thanks to Thom for making it happen, and HUGE thanks to you all for listening! We hope you enjoy.Follow us on patreon.com/campkaiju, leave a rating and review, follow on Instagram, send an email at campkaiju@gmail.com, or leave a voice message in the ANSWERING MACHINE ZONE at ⁠⁠⁠(612) 470-2612⁠⁠⁠.We'll see you next time for G-Fest content, more King Kong Escapes, and other Kaijuly goodies!TRAILERS AND CLIPS King Kong Escapes (1967); The Green Slime (1968); Gamera, The Invincible (1966); Ghidorah, the Three-Headed Monster (1964); King Kong vs. Godzilla (1962); Alien (1979); Cat People (1942); E.F. Hutton commercial; The Green Slime Theme SongSHOUT OUTS & SPONSORSSubstack ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film Criticism by Matthew Cole Levine⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Plays by Vincent S. HannamKing Kong vs. Godzilla by Thom Shubilla⁠⁠⁠⁠GFest 2026The Video Store MPLS - Fundraiser Link!Camp Kaiju: Monster Movie Podcast. Interview with Linda Miller, Star of King Kong Escapes and The Green Slime. Hosted by Vincent Hannam and Matthew Cole Levine, with Thom Shubilla and Linda Miller © 2026 Vincent S. Hannam, All Rights Reserved.

It's the start of a globetrotting adventure through the Monsterverse! Join Kevin and Kayla as they discuss Monarch: Legacy of Monsters - Episodes 1-2 (2023)Want to support our work and gain access to bonus episodes and our private Discord? Visit our Ko-Fi at https://ko-fi.com/digitalkaijustudiosGorilla Whale is a Godzilla watch-along podcast and production of Digital Kaiju Studios. Gorilla Whale has no official affiliation with Toho, Legendary, or any other companies associated with the Godzilla franchise.Follow us on social media!Bluesky: https://bsky.app/profile/digikaiju.bsky.socialFacebook: https://www.facebook.com/profile.php?id=61557977974729Instagram: https://www.instagram.com/digitalkaijustudios/Tiktok: https://www.tiktok.com/@digitalkaijustudiosTumblr: https://www.tumblr.com/digitalkaijustudiosArt by Ashlee HartMusic: Godzilla Beat by LazaOaza

„Vždycky, když přijde na show, je tam Dat Boy.“ Pražský rapper DARKO DON vydal na začátku léta nový albový projekt, na kterém dokazuje, že i v tuzemsku lze dělat důstojný dancehall. Nejen o něm jsme mluvili v dalším EXCALIBURR rozhovoru.

„Pane, chceme vidieť Ježiša!“ Evanjelium podľa Jána 12:21 K Filipovi prišli nejakí Gréci a povedali, že chcú vidieť Ježiša. Mnohí ich nasledovali, niektorí zo zvedavosti, iní aby o Ňom čo-to zistili. Niektorí prišli, lebo vedeli, že Ježiš je jediný, kto dokáže uhasiť smäd a nasýtiť hlad duše. Jediné, čo ti môže pomôcť, je vidieť Ježiša. Zo všetkých strán ťa obklopuje pokušenie a nebezpečenstvo. Nemá zmysel obracať pohľad na všetky tie hrozné veci. Rovnako nie je nič platné pozrieť sa do vlastného vnútra a uvedomiť si svoje slabosti a bezmocnosť. Nie, musíš ísť k Ježišovi. To Jemu sa má otvoriť tvoje srdce. Ako sa to stane? Nestane sa to, keď budeš pracovať so svojou predstavivosťou a budeš sa snažiť vcítiť do Ježišovho utrpenia. Nestane sa to ani vtedy, keď sa budeš pozerať do svojho vnútra, aby si sa s Ježišom stretol cez mysticizmus a extázu. Nestane sa to, ani keď budeš stále dookola spievať tie isté refrény. Ježiša nájdeš v Biblii. Božie slovo Ho vykresľuje pred tvojimi očami. Stretávaš Božieho Syna, skrze ktorého bolo všetko stvorené. Stretávaš Ho ako ľudskú bytosť. Stretávaš Ho na ceste k chorým, bezmocným a vyčerpaným ľuďom. Tiež stretávaš Ježiša ako zabitého Božieho Baránka, ktorý nás všetkých vykúpil pre Boha svojou krvou. V Božom slove stretávaš Toho, ktorého jedného dňa uvidíš tvárou v tvár v sláve. Vstupuje do tvojho srdca s mocou svojej milosti. Vtedy zažívaš podobnú skúsenosť ako učeníci, ktorí boli po Ježišovom vzkriesení za zatvorenými dverami zo strachu pred Židmi. Ježiš k nim prišiel a ukázal sa im. A zaradovali sa učeníci, keď videli Pána. Vidieť Ježiša je jediná cesta k trvalej radosti. Je to tiež bezpečná cesta. Chod‘ po nej bez ohľadu na to, v akej situácii sa nachádzaš! Možno Ho uvidíš cez slzy; stále však platí: ak vidíš Ježiša, On dáva tvojmu srdcu hlbokú tichú radosť uprostred ťažkostí, bolesti a konfliktov. Hans Erik Nissen

It's the MONTH OF DAN!! Our first stop on this Dan curated month is another film from legendary director Ishiro Honda, where he gives us yet another epic kaiju battle of the ages with 1966's THE WAR OF THE GARGANTUAS. Coming hot off of Frankenstein vs Baragon, Honda delivers a new twist on Toho's version of Frankenstein with good vs. evil Gargantuas. Join the crew as they dive deep into what makes this a highly beloved film amongst some other legends of the industry. Strap in! It's time to enter THE MONSTER ZONE and find out!  Like, comment, and subscribe to the channel Mikey's socials: https://x.com/specterm91   / specterm91   https://threads.net/@specterm91 Dissect That Film socials: Go to our Linktree for links to everything (Socials, merch, podcast app links, YouTube channel)  https://linktr.ee/dissectthatfilm Rate and review the show wherever you listen to the show.

In einer Classic-Episode anno Januar 2019 besuchte mich der fabelhafte André Wentzel zum dritten Mal überhaupt im Bahnhofskino und zum ersten Mal, um seine Godzilla-Expertise und -Leidenschaft im Podcast zu Gehör zu bringen ... in diesem Fall zum elften und vermutlich ungewöhnlichsten Godzilla-Film aus den Toho Studios. Und ein geschüttelt Maß an Fachkenntnis wurde damals dringend benötigt, denn ich brillierte angesichts der kenntnisreichen Begeisterung meines Gastes vor allem mit glänzenden Kinderaugen bei maximaler Ahnungslosigkeit. Naja, ganz so schlimm wird es nicht. Und sowieso macht es Yoshimitsu Bannos funky Beitrag zur Godzilla-Reihe allen Monsterfilmfans und solchen, die es werden wollen, leicht, sich in den Titelhelden und dessen schleimig-schlackigen Gegenspieler Hydrox zu verlieben. Nun schnüren wir diese oldie-but-goldie Episode über FRANKENSTEINS KAMPF GEGEN DIE TEUFELSMONSTER (1971) in unsere offizielle BEEzilla-Reihe und hoffen, sie klingt noch ebenso frisch wie vor siebeneinhalb Jahren.

Herce a hudebníka Igora Orozoviče dobře znají návštěvníci Národního divadla i dalších pražských scén, známý je i z filmových a televizních rolí. Naposledy se objevil v miniseriálu Monyová, kde si zahrál manžela a vraha spisovatelky Simony Monyové. Jak těžká to byla role i příprava na ni, prozradil při nedávném koncertě v jabloneckém divadle. Ptala se ho redaktorka Jana Švecová.Všechny díly podcastu Vybrali jsme pro vás můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Jeden z nejvýraznějších českých malířů současnosti a můj dnešní host pracuje nejen s obrazem, ale i s prostorem. Je známý svými realizacemi v architektuře, které zasazuje do veřejného, ale i do sakrálního prostoru. Jeho malba je pevně spjata s monumentální malbou či velkoformátovými instalacemi. Tvorba mého dnešního hosta byla oceněna Waldesovou cenou Europol nebo Grafikou roku. Stal se prvním žijícím Čechem, jehož obrazy opakovaně zařadily aukční síně Christie´s a Sotheby´s do světového výběru nejlepších výtvarných děl 20. a 21. století. V Mostě máme nyní možnost mnohé z jeho úžasných děl vidět v Oblastním muzeu a galerii v Mostě v rámci výstavy Ozvěny přítomnosti až do  do 20. 9. 2026. A milé dámy, i vy se můžete stát jedním z modelů pro jedinečné dílo, které můj dnešní host připravuje.

Greetings listeners! On the scaly heels of my previous episode, I now present the second entry in this "Listening To... " sub-series, covering the music of GODZILLA, the long-lived monster movie series from Japanese film studio Toho. This franchise currently encompasses 38 movies, spanning over seven decades of cinema history and is considered by Guinness to be the longest running continuous film series.   I first focused on the music of revered composer Akira Ifukube, who scored roughly half the movies during this original era of the GODZILLA series, called the Showa era, and now in this episode I will explore music from the guest composers. This includes Masaru Sato, Richiro Manabe, Kunio Miyauchi and Yuji Koseki, who, respectively, wrote scores and songs for beloved and even controversial classics of the series such as EBIRAH, HORROR OF THE DEEP, GODZILLA VS. HEDORAH and GODZILLA VS. MECHAGODZILLA.   How did each of these composers approach scoring a Godzilla movie - was it in deference to Ifukube's style or was something tonally far removed presented? You might be surprised hear the sounds of big band, swing music and surf rock from these guest composers!   Title playtime index: Intro - 00:00 GODZILLA RAIDS AGAIN (aka GIGANTIS, THE FIRE MONSTER) (1955) (Masaru Sato) - 00:03:41 MOTHRA (1961) (Yuji Koseki) - 00:08:00 EBIRAH, HORROR OF THE DEEP (aka GODZILLA VS THE SEA MONSTER) (1966) (Masaru Sato) - 00:10:33 SON OF GODZILLA (1967) (Masaru Sato) - 00:21:27 ALL MONSTERS ATTACK (1969) (Kunio Miyauchi) - 00:31:13 GODZILLA VS HEDORAH (aka GODZILLA VS THE SMOG MONSTER) (1971) (Richiro Manabe) - 00:37:05 GODZILLA VS MEGALON (1973) (Richiro Manabe) - 00:49:05 GODZILLA VS MECHAGODZILLA (1974) (Masaru Sato) - 00:58:54 Wrap up - 01:11:16   Stay safe out there, take care of yourself and each other!    Connect with the podcast on Facebook, Twitter and Bluesky: www.facebook.com/ascoretosettle https://twitter.com/score2settlepod https://bsky.app/profile/score2settlepod.bsky.social   Email the show at ascoretosettlepodcast@gmail.com  

Tonight, Godzilla dies! Steve Mowry of Comic Book Bears⁠ and Bear Cave of Terror⁠ joins us for the grand finale of the Heisei continuity, where Burning Godzilla's nuclear heart disease threatens the planet as much as a devil crab born from the Oxygen Destroyer. We get into this film's big publicity stunt, its ties and callbacks to the original film, and an emotional farewell to the big G. Someone protect poor Godzilla Junior!Find Steve: Bluesky | InstagramCover Art by: ⁠Tanner Wright⁠ (⁠⁠Bluesky⁠⁠⁠⁠⁠ | ⁠Instagram⁠⁠⁠ | InPrint)Derek's piece on Latitude Zero as queer cinema on Kaiju United⁠Check out Glitterjaw's new variety feed, Glitterjaw Presents!⁠Part of⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠The Glitterjaw Queer Podcast Collective⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Cover Art Gallery⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Email: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠skreeonkpodcast@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Theme song:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠"BIO WARS - Synth Cover" by Kweer Kaiju⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Glitterjaw Presents trailer song: ⁠“Happiest Days”⁠ by Three Chain Links. Sourced from ⁠RoyaltyFreePlanet⁠ and used under CC BY 3.0 / Shortened from originalSources include: Godzilla: The First 70 Years by Steve Ryfle and Ed GodziszewskiA Critical History and Filmography of Toho's Godzilla Series by David KalatWikizilla

Can we program the Orthogonal Diagonalizer with the Super Dimension Calculator to transform Archetype? Join Kevin and Kayla as they discuss Godzilla Singular Point - Episodes 10-13 (2021)Want to support our work and gain access to bonus episodes and our private Discord? Visit our Ko-Fi at https://ko-fi.com/digitalkaijustudiosGorilla Whale is a Godzilla watch-along podcast and production of Digital Kaiju Studios. Gorilla Whale has no official affiliation with Toho, Legendary, or any other companies associated with the Godzilla franchise.Follow us on social media!Bluesky: https://bsky.app/profile/digikaiju.bsky.socialFacebook: https://www.facebook.com/profile.php?id=61557977974729Instagram: https://www.instagram.com/digitalkaijustudios/Tiktok: https://www.tiktok.com/@digitalkaijustudiosTumblr: https://www.tumblr.com/digitalkaijustudiosArt by Ashlee HartMusic: Godzilla Beat by LazaOaza

Niekedy veta po anglicky môže byť gramaticky správna, ale tónovo môže pôsobiť príliš tvrdo.Napríklad:You're wrong.Mýliš sa.This is a bad idea.Toto je zlý nápad.Tieto vety nie sú gramaticky zlé.Ale v reálnej komunikácii môžu znieť príliš priamo — hlavne v práci, na meetingu alebo v diskusii.V tejto epizóde si ukážeme, ako po anglicky vyjadriť názor jasne, ale nie arogantne.Nie slabo.Nie neisto.Ale pokojne, prirodzene a s rešpektom.V epizóde sa naučíš napríklad:✔️ ako povedať svoj názor ako pohľad, nie ako rozsudok✔️ ako nesúhlasiť bez toho, aby si znel útočne✔️ ako hovoriť o myšlienke, nie útočiť na človeka✔️ ako zjemniť vetu bez toho, aby stratila význam✔️ ako nechať priestor aj druhej straneUkážeme si praktické frázy ako:I see it a bit differently.Ja to vidím trochu inak.I'm not sure I fully agree.Nie som si istý, či úplne súhlasím.My concern is that…Moja obava je, že…From my perspective…Z môjho pohľadu…What do you think?Čo si o tom myslíš?Cieľ nie je naučiť sa hovoriť opatrne za každú cenu.Cieľ je vedieť povedať svoj názor tak, aby rozhovor pokračoval.Jasne.Pokojne.S rešpektom.

In the spring of 1954, a Japanese fishing vessel called the Lucky Dragon No. 5 sailed into the fallout zone of an American hydrogen bomb test at Bikini Atoll. Its crew came home irradiated, and Japan, a nation still raw from Hiroshima and Nagasaki less than a decade earlier, found itself confronting nuclear terror all over again.Within months, Toho producer Tomoyuki Tanaka, with a collapsed co-production and an empty budget to fill, conceived a monster movie. What emerged from that collision of commercial necessity and national grief was Gojira (aka Godzilla); a film in which director Ishirō Honda, effects genius Eiji Tsuburaya, and a nation's unspoken anguish combined to create something cinema had never quite seen before. The character of Godzilla has evolved over 70 years, embodying contemporary fears and anxieties in a uniquely artistic way.Godzilla was never simply a creature feature. Honda had walked through the ruins of Hiroshima after the war. When his monster surfaced from the Pacific, awakened and mutated by nuclear testing, and reduced Tokyo to ash and radiation, Japanese audiences weren't watching spectacle. They were watching their own grief and trauma on screen. The hospital scenes, the Geiger counters, the dying children: all of it was modelled on the aftermath of atomic destruction. Even the film's resolution; Dr Serizawa destroying his world-ending weapon and himself along with it, posed a moral question about nuclear responsibility that no Western movie of the era came close to asking.As long as countries continue to test and threat with nuclear weapons, as long as that threat persists, so does Godzilla, as a warning to humanity.Support Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app

Ozeáš 13,1-14,1 1 „Keď Efrajim hovoril, nastala hrôza — bol vyvýšený v Izraeli, previnil sa však s Baalom a zomrel. 2 Teraz ešte stále pokračujú v hriechu a zo svojho striebra si vyrábajú liate modly: modly podľa vlastného chápania, diela remeselníkov — všetky z nich; hovoria: ‚Obetujte im!‘ Ľudia dokonca bozkávajú teľatá. 3 Preto budú ako ranný oblak, ako rosa, čo sa hneď stratí, ako plevy odviate z humna alebo ako dym z komína. 4 Ja som Hospodin, tvoj Boh, ktorý ťa vyviedol z Egypta. Iného Boha, ako som ja, nepoznáš a záchranca mimo mňa nejestvuje. 5 Pásol som ťa na púšti vo vyschnutej zemi. 6 Ako som ich pásol, nasýtili sa; nasýtili sa a spyšnelo im srdce, preto na mňa zabudli. 7 Budem teda pre nich ako lev, ako leopard budem číhať na ceste. 8 Napadnem ich ako medvedica olúpená o mláďa a rozorvem im hruď, chrániacu srdce. Zožeriem ich tam ako levica, poľná zver ich roztrhá. 9 Zničím ťa, Izrael, ktože ti môže pomôcť? 10 Kde je tvoj kráľ a tvoji sudcovia, aby ťa zachránili vo všetkých tvojich mestách? Tí, o ktorých si hovoril: ‚Daj mi kráľa a veľmožov!‘? 11 Dal som ti kráľa vo svojom hneve a beriem ho vo svojom rozhorčení. 12 Zviazaná je vina Efrajima a uschovaný je jeho hriech. 13 Bolesti rodičky prišli kvôli nemu; je to syn nemúdry, lebo sa nedostal včas na opustenie jej lona. 14 Vykúpil som ich zo spárov podsvetia, vyslobodil som ich zo smrti. Kde sú tvoje rany moru, smrť? Kde je tvoj osteň, podsvetie? 15 Aj keď sa mu darí medzi bratmi, priženie sa východný vietor, vietor od Hospodina sa zdvihne z púšte a vysuší jeho žriedlo, vysuší jeho pramene. On vylúpi poklad všetkých vytúžených vecí.“ 14, 1 Samária nesie vinu za vzburu proti svojmu Bohu, padne pod mečom: ich deti budú rozsekané na kusy a tehotné ženy budú rozpárané. Naše istoty neobstoja. Prorok Ozeáš svojmu ľudu opakovane pripomína jeho hriechy. Nielen symbolicky, ale aj jasným a dôrazným spôsobom hovorí o jeho veľkých previneniach. Ľud, ktorý sa hlási k spoločenstvu tých, čo na výzvu Hospodinovu opustili egyptskú krajinu a prešli nástrahami púšte, nesmie zabudnúť na Toho, ktorý ho vyviedol z krajiny otroctva a ríše záhuby. Neviera a služba iným bôžikom mu neprinesie trvalú spokojnosť. Aj tak sa raz bude musieť postaviť pred Boha, prísneho Sudcu, ktorý je však zároveň aj verným Ochrancom. Na Neho sa dá vždy spoľahnúť. Pán Svoj ľud nikdy neopustí. Napriek hrozbe súdom a trestom, posledným Pánovým slovom bude moc Jeho lásky. – – Chceme sa vyhnúť sklamaniu? Pri hľadaní pomoci v rôznych ťažkostiach sa nespoliehajme výlučne iba na seba alebo na iných ľudí, hoci by aj mali mimoriadne schopnosti! Rovnako sa nedajme premôcť ani túžbou a lákavými ponukami, ako ľahkým spôsobom získať hmotné výhody, slávu a moc! Jediná správna cesta a pevná istota v našom živote sú vierou prijímané slová Písma o nesmiernej Božej láske, ktorá sa dokazuje „k nám tým, že Kristus umrel za nás, keď sme boli ešte hriešni. O čo skorej budeme teda zachránení od hnevu skrze Neho, keď sme teraz ospravedlnení Jeho krvou“? (R 5,8-9). Modlitba: Bože, ďakujem Ti, že nás upozorňuješ na naše hriechy! Ďakujeme Ti za trpezlivosť s nami! Odpusť, že ju často zneužívam! Veď ma Svojím Duchom, nech sa mi hriechy sprotivia až do krvi! Amen. Pieseň: ES 447 Autor: Ondrej Peťkovský Ty však, Betlehem, Efrata, hoci si najmenší medzi judskými rodinami, z teba Mi vyjde Ten, ktorý je určený za vládcu v Izraeli. Jeho pôvod je v dávnoveku, v odvekých časoch. Micheaš 5,1 Keď sa za čias kráľa Herodesa v judskom Betleheme narodil Ježiš, prišli do Jeruzalema mudrci z východu. Pýtali sa: „Kde je Ten práve narodený židovský kráľ? Videli sme totiž na východe Jeho hviezdu a prišli sme sa Mu pokloniť.“ Matúš 2,1-2 Ján 1,19-28 •  Modlíme sa za: Sucháň (HoS) Otázky na rozjímanie: Ako dnes žijem z istoty, že „Boh Svoj ľud nikdy neopustí“ a posledným Božím slovom je moc Jeho lásky — či som si vedomý/á, že aj keď sa odvrátim od Boha a slúžim iným bôžikom, Boh ma nikdy neopustí, alebo stále sa spolieham na seba alebo na iných ľudí? Kde v mojom živote som ako Efrajim, ktorý si vyrába „liate modly podľa vlastného chápania“ — či som ochotný/á spoľahnúť sa na Boha a na Jeho slovo, alebo stále hľadám ľahký spôsob získať hmotné výhody, slávu a moc? Ako dnes žijem z poznaním, že „jediná správna cesta a pevná istota v našom živote sú vierou prijímané slová Písma o nesmiernej Božej láske“ — či som ochotný/á ne дажdem premôcť túžbou a lákavými ponukami, alebo som stále plný/á vlastnej samospravodlivosti a spoliehania sa na seba? Aplikácia do života: Dnes si spomeňte na jednu situáciu, kde ste sa spoliehali na seba alebo na iných ľudí namiesto Boha. Napíšte si modlitbu: „Bože, ďakujem Ti, že nás upozorňuješ na naše hriechy! Ďakujeme Ti za trpezlivosť s nami! Odpusť, že ju často zneužívam! Veď ma Svojím Duchom, nech sa mi hriechy sprotivia až do krvi!“ Potom urobte jeden krok spoľahlivosti na Boha: čítanie Bibliu, modlitba, alebo vyznanie hriechu pred niekým. Dnes som vďačný za tieto 3 veci: _________________________________ _________________________________ _________________________________ Viac o vďačnosti, čo to je, prečo je dôležité byť vďačný, ako praktizovať vďačnosť nájdeš na blogu

Co jsme si měli odnést z ideové konference ODS? A proč zrovna euro? Martin Kupka chtěl stranu nastartovat. Místo toho nasvítil dlouhodobé rozpory ODS. Ví ještě, koho chce oslovit? Proč loví voliče tam, kde už dávno stojí STAN? Je cosi shnilého ve státě českém, když lidé z nejvyšších pater politiky a státní správy končí u problémů s městskými byty. Přežije Ondřej Prokop kauzu uvnitř strany? Uspěje byznysově projekt Václava Moravce, nebo budeme svědky typického příběhu českých médií?Partnerem podcastu je advokátní kancelář ROWAN LEGAL a mezinárodní poradenská společnost RSM.

Join Montag and a whole slew of kaiju fans – Billy DuBose, Jedi Grand Velle, Donny Winter, and Dr. Tarr – as they continue their discussion of the Showa era of Toho movies that don’t showcase Godzilla!

V profesionálnom športe nie je vôbec pravidlom, že úspešný hráč dokáže plynule prejsť do roly špičkového funkcionára. Bývalý slovenský reprezentant Peter Sedmák je žiarivým príkladom toho, že tvrdá práca a odhodlanie fungujú nielen na palubovke, ale aj v manažérskom kresle. Svoju hráčsku kariéru vymenil za oblek a v súčasnosti pôsobí ako generálny manažér prvoligového Hradca Králové.O náročnom prerode z lídra kabíny na šéfa klubu, o nevyspytateľnom svete športového biznisu, ale aj o zákulisí vyjednávania s hráčmi či budovaní vzťahov so sponzormi, prišiel úspešný funkcionár porozprávať do najnovšej epizódy podcastu Pod košom, ktorým sprevádza Tomáš Kotlárik.Prechod na manažérsku stoličku nebol pre rodáka z Popradu úplne priamočiary, no do novej úlohy sa zahryzol s rovnakou vervou, s akou kedysi bojoval pod košmi. V rozhovore priznáva, že kým hráč sa stará primárne o svoje telo, herný režim a výkony, manažment žije v neustálom strese, keďže musí zabezpečiť chod celej organizácie.Na otázku moderátora, či je náročnejšie ubrániť na ihrisku útočiaceho súpera, alebo presvedčiť investora, aby podporil basketbal, má zocelený Slovák jasnú odpoveď. „Určite investora. Toho protihráča v obrane môžete faulovať a zabrániť tak košu, ale presvedčiť v dnešnom svete niekoho, aby dal svoje peniaze do klubu, je zložité,“ vysvetľuje Peter Sedmák úskalia svojej každodennej profesie.V diskusii sa nevyhol ani porovnaniu svojej hráčskej generácie s tou súčasnou. Ako typický pracant, ktorý si svoje miesto vždy musel tvrdo vybojovať, nikdy nevyhľadával žiaru reflektorov a sústredil sa výlučne na čiernu robotu pre tím. Dnes, z pozície manažéra, ktorý spolu s trénerom skladá káder a analyzuje potenciálne posily, vníma obrovský vplyv sociálnych sietí.Tie podľa neho neraz skresľujú realitu a niektorým mladým hráčom dávajú pocit falošnej hviezdy bez adekvátnej driny. „Dnes to majú chalani do istej miery zadarmo a basketbal pre nich nie je takou prioritou. Niektorí majú pekný Instagram, ale keď sa na nich pozriete a viete, ako reálne vystupujú a hrajú, tak to úplne nie je ono,“ hodnotí s úprimnosťou bývalý pivot.Pre basketbalových fajnšmekrov bude určite mimoriadne atraktívna aj pasáž, v ktorej Peter Sedmák spomína na svoj netradičný angažmán v Spojených arabských emirátoch. Dozviete sa aj, prečo mu vážne zranenie kolena v exotike paradoxne zmenilo prístup k vlastnému telu a predĺžilo kariéru o 8 rokov, prečo odmietol lukratívnu ponuku zo Švajčiarska, a aké má smelé vízie s hradeckým klubom po vzore veľkých európskych značiek.Na záver rozhovoru odhalí aj svoje myšlienky o blížiacom sa sviatku slovenského basketbalu v Spišskej Novej Vsi a taktiež naznačí, či ho v budúcnosti uvidíme pracovať aj vo farbách slovenskej reprezentácie. Ak chcete spoznať realitu riadenia profesionálneho klubu a vypočuť si inšpiratívny príbeh muža, ktorý tomuto športu zasvätil celý život, neváhajte a pustite si mimoriadne pútavú najnovšiu epizódu podcastu Pod košom na ŠPORT.sk.

Zdena Mašínová to v české společnosti neměla lehké. Z mnoha ohlasů na její úmrtí (10. června 2026) by se mohlo zdát, že ve věku dvaadevadesáti let odešla dlouhodobě a všeobecně vážená postava veřejného života. Pravda však je, že i po pádu komunismu stála v důležitých otázkách proti (nejen politické) většině, že mnoha lidem tak trochu překážela.

Zdena Mašínová to v české společnosti neměla lehké. Z mnoha ohlasů na její úmrtí (10. června 2026) by se mohlo zdát, že ve věku dvaadevadesáti let odešla dlouhodobě a všeobecně vážená postava veřejného života. Pravda však je, že i po pádu komunismu stála v důležitých otázkách proti (nejen politické) většině, že mnoha lidem tak trochu překážela.Všechny díly podcastu Příběhy 20. století můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Zdena Mašínová to v české společnosti neměla lehké. Z mnoha ohlasů na její úmrtí (10. června 2026) by se mohlo zdát, že ve věku dvaadevadesáti let odešla dlouhodobě a všeobecně vážená postava veřejného života. Pravda však je, že i po pádu komunismu stála v důležitých otázkách proti (nejen politické) většině, že mnoha lidem tak trochu překážela.

What's a Singular Point? Is Kumonga a Singular Point? Join Kevin and Kayla as they discuss Godzilla Singular Point - Episodes 7-9 (2021)Want to support our work and gain access to bonus episodes and our private Discord? Visit our Ko-Fi at https://ko-fi.com/digitalkaijustudiosGorilla Whale is a Godzilla watch-along podcast and production of Digital Kaiju Studios. Gorilla Whale has no official affiliation with Toho, Legendary, or any other companies associated with the Godzilla franchise.Follow us on social media!Bluesky: https://bsky.app/profile/digikaiju.bsky.socialFacebook: https://www.facebook.com/profile.php?id=61557977974729Instagram: https://www.instagram.com/digitalkaijustudios/Tiktok: https://www.tiktok.com/@digitalkaijustudiosTumblr: https://www.tumblr.com/digitalkaijustudiosArt by Ashlee HartMusic: Godzilla Beat by LazaOaza

With the 2026 FIFA World Cup just around the corner, Dan Orlowitz re-joins the Krewe to preview Japan's tournament outlook. We break down Samurai Blue's final roster, key players to watch, group-stage matchups, and what a successful World Cup would look like for Japan. Plus, Dan shares his predictions for the tournament's biggest surprises, disappointments, and who he thinks will be lifting the trophy when it's all said and done. Whether you're a diehard soccer fan or a once-every-four-years World Cup viewer, this episode is the perfect primer before kickoff. ------ About the Krewe ------ The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy! ------ Support the Krewe! Offer Links for Affiliates ------ Use the referral links below & our promo code from the episode! Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season! Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan!  ------ Past KOJ Sports-Related Episodes ------ Bridging Communities Through MLB Players Trust ft. Amy Hever & Chris Capuano (S6E18) Japanese Soccer on the World Stage ft. Dan Orlowitz (S6E6) Meet the J.League ft. Dan Orlowitz (S6E4) Kendo: The Way of the Sword ft. Alexander Bennett, 7th Dan in Kendo (S4E16) The Life of a Sumotori ft. 3-Time Grand Champion Konishiki Yasokichi (S4E10) Talking Sumo ft. Andrew Freud (S1E8) ------ About Dan Orlowitz ------ Dan's Socials & Writings J-Talk Podcast ------ JSNO Upcoming Events ------ JSNO Event Calendar Join JSNO Today!

Byrd, Kevin and Lux discuss Toho's live action adaptation of 20th Century Boys, the beloved manga by Naoki Urasawa (Monster, Pluto).  It tells a story over several decades of a group of childhood friends that reunite when they realize a doomsday cult led by a masked leader named Friend is using elements from a story they wrote as children to carry out mass murder and position himself as a false savior of humanity.  Throughout the trilogy, as Friend gains power and influence in the world, our heroes try to learn his true identity and stop him from world domination.  There's giant robots, airborne viruses, underground freedom fighters, plenty of kaiju and tokusatsu references, and more!  We'll talk about how the trilogy compares to the manga, the challenges of adapting such a sprawling story into film, and some of the real life events and cultural shifts that influenced the story. But first we discuss the recent passings of author Koji Suzuki, actor Kenji Ohba, and director/effects artist Yoshihiro Nishimura.  Relax and enjoy the show!

Anguirus vs. Jet Jaguar vs. Boring Exposition! Join Kevin and Kayla as they discuss Godzilla Singular Point - Episodes 4-6 (2021)Want to support our work and gain access to bonus episodes and our private Discord? Visit our Ko-Fi at https://ko-fi.com/digitalkaijustudiosGorilla Whale is a Godzilla watch-along podcast and production of Digital Kaiju Studios. Gorilla Whale has no official affiliation with Toho, Legendary, or any other companies associated with the Godzilla franchise.Follow us on social media!Bluesky: https://bsky.app/profile/digikaiju.bsky.socialFacebook: https://www.facebook.com/profile.php?id=61557977974729Instagram: https://www.instagram.com/digitalkaijustudios/Tiktok: https://www.tiktok.com/@digitalkaijustudiosTumblr: https://www.tumblr.com/digitalkaijustudiosArt by Ashlee HartMusic: Godzilla Beat by LazaOaza

„Co uděláme během jedné dvoutýdenní mise, je o řád jinde, než co se povedlo za posledních třicet let,“ říká Aleš Svoboda, který by se na Mezinárodní vesmírnou stanici mohl podívat už na konci příštího roku. Na stanici pomůže zkoumat mikrořasy, protobuňky i nanoroboty. Proč by mohl mít let do vesmíru pro Česko zásadní přínos? Jak přemýšlí český astronaut o strachu? A v co věří? Poslechněte si nový díl podcastu Bedny s pilotem Gripenu a astronautem Alešem Svobodou.Všechny díly podcastu Bedny můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

„Co uděláme během jedné dvoutýdenní mise, je o řád jinde, než co se povedlo za posledních třicet let,“ říká Aleš Svoboda, který by se na Mezinárodní vesmírnou stanici mohl podívat už na konci příštího roku. Na stanici pomůže zkoumat mikrořasy, protobuňky i nanoroboty. Proč by mohl mít let do vesmíru pro Česko zásadní přínos? Jak přemýšlí český astronaut o strachu? A v co věří? Poslechněte si nový díl podcastu Bedny s pilotem Gripenu a astronautem Alešem Svobodou.

Vrátiť sa do práce po materskej je jedna vec. Vrátiť sa so sebavedomím je úplne iná.V tejto epizóde sme privítali Žofiu Prokop - mamu dvoch detí, bývalú tvár konferenčného sveta v Slido a dnes súčasť projektu Speaking Heroes, ktorý učí ľudí rozprávať na verejnosti bez stresu a bez pocitu, že na to „nemajú talent“.Rozprávali sme sa o tom, prečo väčšina ľudí nevie rozprávať pred ľuďmi nie preto, že by na to nemali talent, ale preto, že sa to nikdy nenaučili. Prečo tréma nie je slabosť, ale prejav toho, že nám na niečom záleží. A aj o tom, ako si nájsť odvahu ozvať sa - v práci, na pohovore alebo v skupine ľudí, ktorých nepoznáme.Otvorili sme aj tému impostor syndrómu, pochybností, s ktorými ženy často vstupujú do pracovného sveta, a toho, ako veľmi nás ovplyvňuje to, čo si o sebe myslíme.A rozprávali sme sa aj o tom, že večerné improvizovanie rozprávok deťom možno rozvíja podobný skill ako prezentovanie v boardroome.

JFD returns just in time to spoil your Memorial Day weekend with a trio of cult flicks, two loosely connected to the world of Archie Comics and one that is decidedly not.Up first, is Hot Times (AKA A Hard Day For Archie), a raunchy sex comedy from 1974 with characters roughly modeled after Archie and his gang but instead of Riverdale, they live in grimy 70's New York City. Directed by celebrated underground director Jim McBride, the plot (as it is) follows Archie as he tried to get laid on New Year's Eve.Next, we have the sprawling, methodical Lake of Illusions from 1982. A Toho release about a young woman working in a history-themed bath house who loves to run and loves her dog but finds her world turned upside down when he canine companion is killed.And finally, early 2000's pop culture is on full display in Josie and the Pussycats from 2001 starring Rachel Leigh Cook, Rosario Dawson and Tara Reid as a pop-punk band who finds themselves in the middle of a capitalist conspiracy when they are inexplicably signed to a major label and marketed as the next big thing.All this plus Obsession chat, Kevin's adventures in the Motor City, 70's Brazilian cult cinema debuting stateside, Sam Raimi gets into dolls, more flicks from Indonesian horror icon Suzanna to own and so much more!LISTEN NOW:MP3 Direct DonloydAlso, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll keep this podcast going with your love and support.

Almost exactly one year after Season 6's Expo 2025 deep dive with Sachiko Yoshimura, the Krewe closes the loop with two people who were actually there. Lea Disimone & Bridget McCarthy served as Youth Ambassadors at the US Pavilion during Expo 2025 Osaka, and they share what the program was really like from the inside, from a day in the life to the lasting impact it left on them. Two New Orleans connections, one world's fair, and a conversation worth the wait. ------ About the Krewe ------ The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, Threads: @kreweofjapanpodcast & the Krewe of Japan Youtube Channel). Until next time, enjoy! ------ Support the Krewe! Offer Links for Affiliates ------ Use the referral links below & our promo code from the episode! Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season! Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan!  ------ Past KOJ Episodes ------ Expo 2025: Japan on the World Stage ft. Sachiko Yoshimura [S6E2] Hanging Out In Hyogo ft. Rob Dyer of The Real Japan [S5E14] Checking Out Miyagi ft. Ryotaro Sakurai (Guest Host, William Woods) [S5E5] Explore Matsue ft. Nicholas McCullough [S4E19] Travel Hiroshima ft. Joy Jarman-Walsh [S4E4] Travel Aomori ft. Kay Allen & Megan DeVille [S3E17] Hungry For Travel ft. Shinichi of TabiEats [S3E15] Henro SZN: Shikoku & the 88 Temple Pilgrimage ft. Todd Wassel [S3E12] ------ JSNO Upcoming Events ------ JSNO Event Calendar Join JSNO Today!

Období nízkých sazeb skončilo. Je guvernér České národní banky připraven držet tvrdou měnovou politiku i za cenu pomalejšího ekonomického růstu? Je připraven zabránit návratu vysoké inflace? Čím vším se má veřejný sektor inspirovat u ČNB? Jsou drahé hypotéky novou normou? Je Aleš Michl skutečně „navždy jestřáb“? Proč je koruna pro českou ekonomiku tak klíčová? Bude ČNB dál investovat do krypta? A jak hodnotí svůj veřejný mediální obraz?Partnerem podcastu je advokátní kancelář ROWAN LEGAL a mezinárodní poradenská společnost RSM

Godzilla comes back to anime (and Netflix)! Join Kevin and Kayla as they discuss Godzilla Singular Point - Episodes 1-3 (2021)Want to support our work and gain access to bonus episodes and our private Discord? Visit our Ko-Fi at https://ko-fi.com/digitalkaijustudiosGorilla Whale is a Godzilla watch-along podcast and production of Digital Kaiju Studios. Gorilla Whale has no official affiliation with Toho, Legendary, or any other companies associated with the Godzilla franchise.Follow us on social media!Bluesky: https://bsky.app/profile/digikaiju.bsky.socialFacebook: https://www.facebook.com/profile.php?id=61557977974729Instagram: https://www.instagram.com/digitalkaijustudios/Tiktok: https://www.tiktok.com/@digitalkaijustudiosTumblr: https://www.tumblr.com/digitalkaijustudiosArt by Ashlee HartMusic: Godzilla Beat by LazaOaza

Aj keby dostalo pokutu 1500 € tisíc stánkov s langošmi, našej ekonomike, ktorá takmer nerastie, by to nepomohlo. Slovensko čaká už mesiace no nové vládne opatrenia na pomoc občanom a ekonomike. A europarlament vyzval Európsku komisiu aby nám zmrazila eurofondové miliardy.Medzitým sa na súde otvorila a hneď aj prerušila kauza Očistec, kde ako obžalovaní vystupujú aj podpredseda parlamentu za Smer, bývalý špeciálny prokurátor či oligarcha z Nitry a Smer sa už tretí krát pokúša zmeniť pravidlá pre kajúcnikov. A Progresívne Slovensko stále zaneprázdňuje kauza matky jeho predsedu.Aké sa teda dnes na Slovensku vlastne máme? Ako čakanie na vládne opatrenia vnímajú občania a čo od štátu skutočne potrebujú? Môže Slovensko prísť o eurofondy? Ako sa to všetko odzrkadľuje na našich preferenciách? Zaujíma nás vôbec popri tom všetkom korupčná kauza Očistec?Braňo Závodský sa rozprával so sociológom a vysokoškolským pedagógom Michalom Vašečkom.

Join Montag and a whole slew of kaiju fans – Jedi Grande Velle, Dr. Tarr, Billy DuBose, and Donny Winter – as they talk about the Showa era of Toho’s non-Godzilla movies!

Sailor Noob Crystal is the podcast where a Sailor Moon superfan goes episode by episode through the 2014 Sailor Moon reboot series!An all-new season of Sailor Noob starts right here as we begin our journey through Sailor Moon Crystal! Usagi is 14, a crybay, you know the drill. But how is she going to deal with e-mail and smartphones? It's been 20 years since the first Sailor Moon series, and Usagi and friends are back for an all-new adaptation of her manga adventures!In this episode, Kal taks about chiki neko and nora neko, Tama the Station Master cat, and Nekonomics. Plus, poor Pluto, breaking your coccyx, the return of Naked Usagi, inventing mornings, color pedantry, being the Lilly Moscovitz, Is Naru rich?, black-tie Count Chocula, arcade chairs, Not Mom, pre-war cop slang, "Bad Mom, Worse Brother", study nap confirmed, getting Toho in your Toei, 20/20 retroactive clairvoyance, Moon Meow, screaming your attack, Clubbin' Janet Van Dyne, and being a cat with two jobs! #pinkgoblinGive the gift of a Sailor Noob Patreon subscription to your favorite noob!https://www.patreon.com/sailornoob/giftWe're on iTunes and your listening platform of choice! Please subscribe and give us a rating and a review! Arigato gozaimasu!https://podcasts.apple.com/us/podcast/sailor-noob/id1486204787Leave us a comment on Spotify!Become a patron of the show and hear our live-action PGSM, Animedification, Utena, Ghibli, and Evangelion podcasts!http://www.patreon.com/sailornoobPut Sailor Noob merch on your body!http://justenoughtrope.threadless.comSailor Noob is a part of the Just Enough Trope podcast network. Check out our other shows about your favorite pop culture topics and join our Discord!http://www.twitter.com/noob_sailorhttp://www.justenoughtrope.comhttp://www.instagram.com/noob_sailorhttps://discord.gg/7E6wUayqBuy us a coffee on Ko-Fi!https://ko-fi.com/justenoughtrope

Is XBOX back? Its making the right moves, hopefully it sticks to them. PlayStation causes an overhyped uproar, but should we still be worried? Michael dominates the box office, despite not moonwalking the critics, class is out on Gen V at Amazon after 2 seasons. And Sony is exploring a Django & Zorro Team up movie, im all in.

1. S ruskou ekonomikou je to ako so správami z Kremľa 2. Slovensko si požičiava drahšie než pred vojnou s Iránom, pomáha mu však euro 3. Ako sa v četbotoch umelej inteligencie objavuje reklama 4. Krátko o nezamestnanosti, otrávených výživách a železničnom tendri

In this episode of the Fan2Fan Podcast, Bernie, Pete, and Jon stomp back into their childhoods with Godzilla! The trio revisit the origins of Toho's radioactive King of the Monsters. They reflect on what it was like growing up on Godzilla marathons, when local TV stations turned entire afternoons into city-crushing must watch television. From the somber nuclear allegory of the original film to the wild monster mash-ups of the Showa era, they explore how Godzilla evolved from cautionary tale to pop-culture icon. Along the way, Bernie, Pete, and Jon also tap into the toy chest of nostalgia. They review Shogun Warriors figures, namely the massive Godzilla figure. It's a conversation about fandom, Saturday creature features, and the enduring legacy of a giant radioactive force of nature. For more info about the Fan2Fan Podcast, visit https://fan2fan.libsyn.com

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]

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