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from bigfinish website The Big Finish Paul Spragg Memorial Short Trip Opportunity honours the memory of our much-loved colleague and friend, a stalwart of the Big Finish production office who passed away suddenly on 8 May 2014. We're searching for an emerging talent to write a Doctor Who short story that will be released as an audiobook at Christmas – and this year, the topic is "The First Doctor". The competition runs for five weeks, starting today and closing in the middle of June. Commemorating Paul Big Finish's Executive Producer Nicholas Briggs said: "It's always a special time to remember our dear friend Paul. It's particularly exciting for me this year as we're focussing on the First Doctor, who has been something of a passion of mine recently. Can't wait to read the story submissions for this!" The First Doctor Range producer Peter Anghelides said: "In the ten years since we launched this memorial competition, we've never had a winning story featuring the First Doctor. This is the year we're changing that. "We want to read your proposal for a standalone Short Trip with a brand new idea that showcases him in a short story for a single reader that we'll publish at the end of this year. "Your story will be inspired by the character of the First Doctor as we saw him on TV. It's an era when each story naturally offered a new perspective on the continuing series – so we want your proposal to demonstrate that kind of originality and inventiveness. What fresh characters, adversaries, locations, concepts and perspectives can you devise for a compelling short story?" In addition to naming a winner, Big Finish will also identify a shortlist of commendations. "In recent competitions, the standard of entries has been wonderful," said Peter Anghelides. "Although we will have only one winner, we thought it appropriate this year to name and commend other strong contenders." Before you enter the competition, please carefully read the 2026 guidelines below and the accompanying terms and conditions on the Big Finish website. They contain important information that explains eligibility, theme, word count, deadline, and how to submit your story idea. We look forward to reading your entries. Good luck! Helpful advice from previous winners You can get a feeling for what a successful competition entry looks like by checking out the previous ten winners. Recordings of each are available on the Big Finish website as free downloads, along with the final script and the original winning submissions from each year. The Paul Spragg Memorial Short Trip Opportunity 2026 Guidelines The competition is to identify talent, enthusiasm, and ability to write to a specification – so everything you need to know is in these guidelines and the accompanying terms and conditions. Please note that no correspondence will be entered into, either during the entry period or afterwards, and the judges' decision is final. Entry into this competition requires that you have read and accepted the full terms and conditions. By entering, you indicate that you have done so. SUBMISSION PROCESS: All entries must be submitted electronically to [email protected], either as a Word-compatible document or a PDF document, formatted as per these guidelines, and received by Big Finish before 23:59 (UK time) on Thursday 11 June 2026. YOUR EMAIL MESSAGE: Include the entrant's full name and a contact email address only in the body of your email. Include your title (e.g. Attack of the Glurgs) in the Subject line. Don't include any details of your background or previous writing experience – your submission should speak for itself. Attach your anonymised entry document to the email. THE ATTACHED DOCUMENT: The document must consist of two parts in a single document: a one page synopsis that is no more than 500 words, and a one-page excerpt from your story of a further 500 words maximum (prose, not drama script). This is to give an indication of the writer's ability and intentions for a 4,500-word story, which can change if the full story is commissioned. These word count limits for the synopsis and extract are a strict requirement this year. Name the attached file only with your story title (e.g. Attack of the Glurgs.PDF) Do NOT include personally identifying details in your document (for example, name or email address), or the entry will be disqualified. THEME AND CONTENT: Submissions should propose a short story featuring the First Doctor and set at any time in the universe of the Doctor Who television series between An Unearthly Child and The Tenth Planet. THINGS YOU MAY DO: You may use any of the First Doctor's regular companions (or none of them) as they appeared in TV episodes: Susan, Ian, Barbara, Vicki, Steven, Katarina, Dodo, Ben and Polly. Your story should feature the character of the First Doctor as we saw him on TV. We want your proposal to wow us with its originality and inventiveness. So what fresh characters, adversaries, locations, concepts and perspectives can you devise for a compelling short story? THINGS TO AVOID: Do NOT create a new companion for the Doctor, nor use other companions from TV or elsewhere. Do NOT include other Doctors or Time Lords. Do NOT include any established creatures (e.g. Voord, Sensorites, etc.) or established characters (e.g. Mavic Chen, the Toymaker, etc.) or established Doctor Who organisations (e.g. Coal Hill School, Space Security Service, etc.). Do NOT base any fictional characters on any real living person; you may include real historical people as characters, so long as they lived and died before the year 1900. EXAMPLES: If you've never heard a Doctor Who Short Trips story before, we recommend that you listen to some examples, to get a sense of how they sound and what can be done in the format. Each of the previous winning stories is available as a free download. When you add them to your Big Finish account, you also unlock bonus content that includes downloads of the original winning submissions and the final studio scripts. 2016: Forever Fallen by Joshua Wanisko (Seventh Doctor) 2017: Landbound by Selim Ulug (Third Doctor) 2018: The Last Day at Work by Harry Draper (Second Doctor) 2019: The Best Laid Plans by Ben Tedds (Twelfth Doctor) 2020: Free Speech by Eugenie Pusenjak (Tenth Doctor) 2021: The Lichyrwick Abomination by Joe Vevers (Ninth Doctor) 2022: The World Tree by Nick Slawicz (Eleventh Doctor) 2023: The Hoxteth Time Capsule by Paul Davis (Sixth Doctor) 2024: War Stories by Patrick Ross (Twelfth Doctor) 2025: The Wednesday that Wasn't by Luke Hollands (Thirteenth Doctor)
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https://bbvproductions.co.uk/products/Faction-Paradox-The-Confession-of-Brother-Signet-AUDIO-DOWNLOAD-p389922366 This title was released in May 2026. It will be exclusively available to buy from the Big Finish website until 30 June 2026, and on general sale after this date. The Meddling Monk and the Meddling Nun are stranded on Earth with a broken TARDIS and find themselves involved in a series of odd escapades, each more onerous than expected. But the greatest challenge is still to come... Monky Nuts It's time to host the neighbours for an evening soirée. But is the Monk's fish dish a winner or will their guests prefer the Nun's baby chicken? There's only one way to find out and soon culinary battle has commenced. What could possibly go wrong? Monky Magic There's a big prize to be won at the local talent show. So the Monk and the Nun are soon brushing up their best stage acts in attempt to claim victory and ensure the success of their grand plan. What could possibly go wrong?
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Saknas det avsnitt?
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A villian in venice bu Gilroy-Sinclair avaliable on amazon world wide
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https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 UNIT. Humanity's first and best line of defence against a hostile universe. No matter where. No matter when. 1. Rise of the Valiant by Andrew Smith 2008. The Earth has been stolen and planets fill the sky. With the Doctor otherwise engaged, it falls to UNIT's finest - Colonel Mace, Harry Sullivan, and the retired Brigadier Lethbridge Stewart - to take the fight back to the Daleks. Because deep in the Brazilian rainforest, a secret weapon with a familiar name is waiting. And it's ready to fly. Sound Design: Steve Foxon, Music: Borna Matosic, Director: Samuel Clemens 2. The Indigo Child by Ken Bentley 2017. UNIT has been shut down, its heroes targeted. After an attempt on her life, Kate Stewart fights from the shadows, doing what she can to protect the people of Great Britain. Reunited with Petronella Osgood, Kate goes undercover to save a child refugee with psychic powers. It's a race against time, and a new enemy is determined to win. Sound Design: Steve Foxon, Music: Simon Slater, Director: Ken Bentley 3. The Life and Death of Private Eddie Wise by Hannah Kennedy The dawn of UNIT. Aliens have invaded and Eddie Wise is far from ready. Plagued by nightmares and lying to his fiancé, the beleaguered Eddie becomes embroiled in a plot to bring his workplace to its knees. To make matters worse, there's a journalist on his tail. Because Sarah Jane Smith needs the scoop on UNIT, and Private Wise might just be the man she needs. Sound Design: Andy Hardwick, Music: David Roocroft, Director: Jonathan S Powell 4. Deadstar by Joshua Pruett and Jonathan S Powell 2023. The Toymaker has been vanquished and UNIT stands tall. But when a cutting-edge telescope is brought online, the UNIT skyscraper is plunged into lockdown. Besieged by an impossible foe, Melanie Bush and new recruit Dr Isla Ellis need all their wits to survive. Because the stars have woken up, and something is very wrong with the Vlinx. Sound Design: Thea Cochrane, Music: Borna Matosic, Director: Helen Goldwyn
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https://bbvproductions.co.uk/products/Faction-Paradox-The-Confession-of-Brother-Signet-AUDIO-DOWNLOAD-p389922366 Worlds are about to collide as Winifred Bambera faces the greatest dilemma of her life. Her lost beloved husband Ancelyn is back - and all hell is about to break loose. Facing armies of darkness and the wrath of the mighty Queen Guinevere, can the course of true love run smooth - just this once? 4.1 Deep Water by Georgia Cook Ancelyn is back! But all is not well in the other-dimensional realm of Albion. Magical assassins have been sent across the cosmic rift to do the bidding of the paranoid Queen Guinevere. Can UNIT save their intended victims in time? And just how will Savarin and Rix survive Bambera's rocky reunion with her knight errant husband? 4.2 Storm Over Albion by Felicia Barker Bambera leads UNIT forces on a dangerous mission to face Guinevere in Camelot. But Ancelyn is declared a traitor to the crown, and the mad queen sees any challenge as an act of aggression. The fates of two worlds hang in the balance... 4.3 Shining Armour by Robert Valentine Sleeping dragons wake, knights and fae clash in the streets of London, and the countdown to the end of all worlds begins!
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https://www.amazon.co.uk/Villain-Venice-Steampunk-Adventure-Expanded/dp/B0GYVW1ZM3/ref=tmm_pap_swatch_0?_encoding=UTF8&dib_tag=se&dib=eyJ2IjoiMSJ9.zAFjvxdIVP0NajbIc-mtzu0FD5ro02XhYTavKJ3P7vs.T9sQrNnsvEeityKLDFJW-mEYohVaxA0jd3pcXRVcAUw&qid=1777810600&sr=1-1-catcorr This title was released in April 2026. It will be exclusively available to buy from the Big Finish website until 31 May 2026, and on general sale after this date. Field of Miracles by Lauren Mooney and Stewart Pringle The Doctor, Tegan and Turlough arrive in the quaint village of Heatherington in 1951. But something strange is happening. In an England of post-war austerity, Heatherington is thriving - the shops are full of produce and everyone seems to have everything they've ever wanted, even if what they've wanted is the dead to return to them. The Doctor and his friends must stop the creeping invasion of the Asteri, wish-granting crystalline organisms of awesome destructive power, before they extract a terrible price from the villagers. Helter Skelter by James Moran When a bio-engineered planet and amusement park undergoes a critical malfunction, the entire planet tears itself apart - and the Doctor, Tegan and Turlough are thrown back to their arrival, trapped in a repeating time loop. But for some reason, only Tegan can see the loop, not the Doctor - it has been hidden from him somehow. So why can Tegan see it, and how is she going to fix it? Land of Fools by Lauren Mooney and Stewart Pringle The TARDIS arrives in London, 1980, but something has gone wrong with the timeline. The city is a quasi-police state, overseen by a mysterious new company, Luqos, which promises miraculous gifts to its followers. As Tegan takes off to reconnect with an old friend, and the Doctor teams up with young activist Zan, Turlough is pulled into the heart of Luqos by the shadowy 'M', where they discover an old enemy at work beneath the city. Please note: the collector's edition CD box set is strictly limited to 1,500 copies Recorded on: 15-17 October 2025 Recorded at: The Soundhouse and The Video Factory, New Zealand Producer Sonny McGann said: "Turlough, Tegan and the Doctor are back! We're returning to Earth, where a new threat has emerged wielding immense psionic power. In an England suffering from post-war austerity, one village appears to have everything they've ever wanted. Some will pay any price to see a wish fulfilled - a choice which may ripple through time. "Meanwhile, when a visit to an amusement park on a bio-engineered planet traps the Doctor and his friends in a time loop, one of our companions will have to step up to prevent the planet from tearing itself apart. Three new stories full of wit, emotion, and good technobabble, according to Peter Davison!" Producer Stewart Pringle, co-writer of the first and third episodes, said: "Tegan and Turlough are just great, aren't they? It's so lovely that this set is coming out around the time of Season 21 landing on Blu-ray because it's such a glorious period of Doctor Who. Field of Miracles is our tribute to The Android Invasion with shades of The Wicker Man." The second episode's writer James Moran added: "I will always refer to this story as Tegan Jovanka's Groundhog Day, which tells you all you need to know up front. It made me endlessly amused that I'd come up with a plot almost custom designed to make Tegan as angry as possible. And that was pretty much deliberate, to see how Janet would run with it!" The box set's other writer Lauren Mooney said: "Land of Fools is the Fifth Doctor in the 1980s with shades of Resurrection of the Daleks, but also a vibe of the Sylvester McCoy years. It's a proper little dystopia in a Back to the Future Part II mould, and it leads somewhere that we hope is unexpected. It's a thrill to write for this TARDIS team – the bickering, friction and lack of bonhomie gives this era such a delicious flavour of its own."
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https://www.amazon.co.uk/Villain-Venice-Steampunk-Adventure-Expanded/dp/B0GYVW1ZM3/ref=tmm_pap_swatch_0?_encoding=UTF8&dib_tag=se&dib=eyJ2IjoiMSJ9.zAFjvxdIVP0NajbIc-mtzu0FD5ro02XhYTavKJ3P7vs.T9sQrNnsvEeityKLDFJW-mEYohVaxA0jd3pcXRVcAUw&qid=1777810600&sr=1-1-catcorr
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https://www.amazon.co.uk/Villain-Venice-Steampunk-Adventure-Expanded/dp/B0GYVW1ZM3/ref=tmm_pap_swatch_0?_encoding=UTF8&dib_tag=se&dib=eyJ2IjoiMSJ9.zAFjvxdIVP0NajbIc-mtzu0FD5ro02XhYTavKJ3P7vs.T9sQrNnsvEeityKLDFJW-mEYohVaxA0jd3pcXRVcAUw&qid=1777810600&sr=1-1-catcorr This title was released in March 2026. It will be exclusively available to buy from the Big Finish website until 31 May 2026, and on general sale after this date. Many years ago, the Palace Theatre burnt down during a performance that accidentally summoned the devil. Now the cast have been invited back to the grand reopening by a mysterious figure. Who is Bilis Manger? Please note: the collector's edition CDs are strictly limited to 1,000 copies each and will not be re-pressed. Robert Bathurst (Roger Cartney) Sarah Douglas (Mathilde Balfour) Cyril Nri (Dermot Lacey) Colin Ryan (Bilis Manger) ecorded on: 11 February 2025 Recorded at: The Soundhouse Director Scott Handcock said: "The influence of Bilis Manger stretches far and wide throughout Torchwood - and Curtain is no exception. It's a play about performances and the masks people wear, consciously and subconsciously, and it was a delight to work with such a talented band of actors on a script about acting! "We had the best of times with Murray Melvin, and I know the idea of one more story with Bilis after he'd gone always tickled him. We all miss him a very great deal." Writer and producer James Goss added: "Curtain's the release you listen to if you want a slice of horror - three people trapped in a haunted theatre with the devil playing deadly tricks on them. "It's a release that we'd have absolutely loved Murray Melvin to be around for; indeed, he suggested the notion of Bilis Manger in a theatre, as he loved lighting up a green room with theatrical anecdotes. Actors adored Murray, and it seemed irresistible to do a story in which Bilis sunk his teeth into three actors - a success, a has-been and a never-quite-was, all broken in their own ways. "Sadly, of course, Murray died before we could get a script ready, and we were left with a corking idea and the burning need to give Bilis a soaring send-off. Bilis was such a great part of the Big Finish Torchwood range, he couldn't just go out without a big bang. And so we came up with the notion of Curtain - there is a character called Bilis Manger in it, but who is he? "The recording was a blast - there's nothing actors love so much as taking the mick out of themselves and each other. Honestly, it's a great curtain call for Bilis Manger, and he truly deserves this one last ovation."
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https://www.amazon.co.uk/Villain-Venice-Steampunk-Adventure-Expanded/dp/B0GYVW1ZM3/ref=tmm_pap_swatch_0?_encoding=UTF8&dib_tag=se&dib=eyJ2IjoiMSJ9.zAFjvxdIVP0NajbIc-mtzu0FD5ro02XhYTavKJ3P7vs.T9sQrNnsvEeityKLDFJW-mEYohVaxA0jd3pcXRVcAUw&qid=1777810600&sr=1-1-catcorr It's Luke's pick this month as we talk a trip back to 1997 and Luc Besson's divisive sci-fi blockbuster The Fifth Element. T-shirts can be found here – https://www.redbubble.com/people/ufocast Email the show – [email protected] he Fifth Element (French: Le Cinquième Élément) is a 1997 English-language French science fiction-action film conceived and directed by Luc Besson, and co-written by Besson and Robert Mark Kamen. It stars Bruce Willis, Milla Jovovich, Gary Oldman, Ian Holm, and Chris Tucker. Primarily set in the 23rd century, the plot involves the survival of planet Earth, which becomes the responsibility of Korben Dallas (Willis), a taxi driver and former special forces major, after a young woman named Leeloo (Jovovich) falls into his cab. Dallas joins forces with her to recover four mystical stones essential for the defence of Earth against the impending attack of a malevolent cosmic entity. Besson started writing the story that was developed as The Fifth Element when he was 16 years old; he was 38 when the film opened in cinemas. Besson wanted to shoot the film in France, but suitable facilities could not be found; filming took place in London and Mauritania, instead. He hired comic artists Jean "Moebius" Giraud and Jean-Claude Mézières, whose books inspired parts of the film, for production design. Costume design was by Jean Paul Gaultier. The Fifth Element received mainly positive reviews, although some critics were highly negative. The film won in categories at the British Academy Film Awards, the César Awards, the Cannes Film Festival, and the Lumière Awards, but also received nominations at the Golden Raspberry and Stinkers Bad Movie Awards. The Fifth Element was a strong financial success, earning more than US$263 million at the box office on a $90-million budget, making it the ninth highest-grossing film of 1997. At the time of its release, it was the most expensive European film ever made, and it remained the highest-grossing French film at the international box office until the release of The Intouchables in 2011. Plot In 1914, aliens known as Mondoshawans meet their contact on Earth, a priest of a secret order, at an ancient Egyptian temple. They take the only weapon capable of defeating a great evil that appears every 5000 years, promising to protect it and return it before the great evil's re-emergence. The weapon consists of the four classical elements, as four engraved stones, plus a sarcophagus containing a "fifth element". In the 23rd century,[a] the great evil appears in deep space as a giant living fireball. It destroys an armed Earth spaceship as it heads to Earth. The Mondoshawans' current human contact on Earth, priest Vito Cornelius, informs the president of the Federated Territories of the great evil's history and the weapon that can stop it. On their way to Earth, a Mondoshawan spacecraft carrying the weapon is ambushed and destroyed by a crew of Mangalores, alien mercenaries hired by Earth industrialist Jean-Baptiste Emanuel Zorg, who is working for the great evil. A severed hand in metal armour from the wreckage of the spacecraft is brought to New York City. From this, the government uses biotechnology to recreate the original occupant of the sarcophagus, a humanoid woman named Leeloo, who remembers her previous life. Alarmed by the unfamiliar surroundings and high security, she escapes and jumps off a ledge, crashing into the flying taxicab of Korben Dallas, a former major in Earth's special forces. Dallas delivers Leeloo to Cornelius and his apprentice, David, who recognises her as the fifth element. As Leeloo recuperates, she tells Cornelius that the stones were not on board the Mondoshawan ship. Simultaneously, the Mondoshawans inform Earth's government that the stones were entrusted to an alien opera singer, the diva Plavalaguna. Zorg reneges on his deal with the Mangalores for failing to obtain the stones, and kills some of them. Earth's military sends Dallas to meet Plavalaguna; a rigged radio contest provides a cover, awarding Dallas a luxury vacation aboard a flying hotel on planet Fhloston, accompanied by flamboyant talk-show host Ruby Rhod. It includes a concert by Plavalaguna, and learning that Leeloo shares his mission, Dallas lets her accompany him. Cornelius instructs David to prepare the temple, then stows away on the luxury spaceship. The Mangalore crew, pursuing the stones for themselves, also illegally board the ship. During the concert, the Mangalores attack, and Plavalaguna is killed. Dallas extracts the stones from her body and kills the Mangalore leader, causing the others to surrender. Zorg arrives, shoots Leeloo, and activates a time bomb. He flees with a carrying case he presumes contains the stones, but returns when he discovers it is empty. As Zorg's bomb causes the hotel's evacuation, Dallas finds Leeloo traumatised and escapes with her, Cornelius, Rhod, and the stones in Zorg's private spaceship. Zorg deactivates his bomb, but a dying Mangalore sets off his own, destroying the hotel and killing Zorg. As the great evil approaches Earth, the four meet David at the temple. They deploy the stones, but Leeloo, having learned of humanity's history of cruelty, has given up on life. Dallas declares his love for her and kisses her. Leeloo combines the power of the stones, emitting divine light onto the great evil and defeating it. Dallas and Leeloo are hailed as heroes, and as dignitaries wait to greet them, the two passionately embrace in a recovery chamber.
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https://www.amazon.co.uk/Villain-Venice-Steampunk-Adventure-Expanded/dp/B0GYVW1ZM3/ref=tmm_pap_swatch_0?_encoding=UTF8&dib_tag=se&dib=eyJ2IjoiMSJ9.zAFjvxdIVP0NajbIc-mtzu0FD5ro02XhYTavKJ3P7vs.T9sQrNnsvEeityKLDFJW-mEYohVaxA0jd3pcXRVcAUw&qid=1777810600&sr=1-1-catcorr This title was released in April 2026. It will be exclusively available to buy from the Big Finish website until 31 May 2026, and on general sale after this date. There are many stories of the Sontaran-Rutan war. But one hidden thread has yet to be revealed. A tale told across millennia. From before the war to its possible end. As the Doctor is about to discover... On the run from the mysterious organisation called Division, the Doctor has come to the planet Sontar - home of the Kaveetch Empire and their armed forces, the Sontarans. She wants sanctuary... and she's offering the secrets of the Time Lords in exchange. But with the whole of time and space up for grabs, the stakes are high. Can everyone on Sontar be trusted? Please note: the collector's edition CDs are strictly limited to 1,500 copies**
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https://www.amazon.co.uk/Villain-Venice-Steampunk-Adventure-Expanded/dp/B0GYVW1ZM3/ref=tmm_pap_swatch_0?_encoding=UTF8&dib_tag=se&dib=eyJ2IjoiMSJ9.zAFjvxdIVP0NajbIc-mtzu0FD5ro02XhYTavKJ3P7vs.T9sQrNnsvEeityKLDFJW-mEYohVaxA0jd3pcXRVcAUw&qid=1777810600&sr=1-1-catcorr This title was released in April 2026. It will be exclusively available to buy from the Big Finish website until 30 June 2026, and on general sale after this date. The past has broken through into the Powell Estate and not even the Doctor knows what's happening! With more and more historical figures appearing, it's a race to figure out what's behind this, before the past becomes the present and all hell breaks loose... **THIS TITLE IS NOW SOLD OUT ON CD**
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https://www.amazon.co.uk/Villain-Venice-Jane-Steampunk-Adventure-ebook/dp/B0DKB3JDCZ/ref=monarch_sidesheet_title link to Villian in Venice for other editions click see all formats review This title was released in April 2026. It will be exclusively available to buy from the Big Finish website until 31 May 2026, and on general sale after this date. The Meddling Monk and the Meddling Nun are stranded on Earth with a broken TARDIS and find themselves involved in a series of odd escapades. Buying a house; getting a job; having a dinner party... all of these and others prove more onerous than expected. But the greatest challenge is still to come... Monky House A Blinovitch based accident with the TARDIS has curtailed the Meddling Monk and the Meddling Nun's travels together. Now they're trapped on Earth with no means of escape. Or are they? The Nun has a mysterious plan and the first step is for them to buy a house. What could possibly go wrong? Monky Business Our Meddlesome heroes need money to help their plan and so opt to get a job with a local business. But there's only one role available so they soon find themselves at loggerheads competing for the position. What could possibly go wrong?
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https://www.amazon.co.uk/Villain-Venice-Jane-Steampunk-Adventure-ebook/dp/B0DZYWQQ6M/ref=monarch_sidesheet_title childrens edition https://www.amazon.co.uk/Villain-Venice-Jane-Steampunk-Adventure-ebook/dp/B0DKB3JDCZ/ref=monarch_sidesheet_title Adult cover edition follow the links to edition you want
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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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https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 This title was released in March 2026. It will be exclusively available to buy from the Big Finish website until 30 April 2026, and on general sale after this date. Summoned back to Earth by the Space-Time telegraph, the Doctor and Sarah Jane find themselves assisting their old friends at UNIT not once but twice. But exactly how willing will a Time Lord be to be stuck in a single place once more? 15.1 The Ministry of Death by Robert Valentine (4 parts) When the Brigadier uses the Space-Time Telegraph to summon the Doctor and Sarah Jane from their travels, they know it'll be for something unusual. But neither could expect something quite this strange. An electronics expert has died after being struck by lightning. But how could this possibly happen in his office? And that's only the first death they discover. A wild scheme is underway. A case of twisted science and revenge. That's about to hit closer to home than they could possibly anticipate. 15.2 The Inhuman Empire by Phil Mulryne (2 parts) Sarah is contacted by an old friend who knows her predilection for 'rum goings on', asking her to investigate unusual activities at the National Museum. Sarah agrees to look into it, with the Doctor tagging along - but they soon discover things are worse than they thought. Because the Museum is host to alien activity - very familiar aliens at that. And if they don't stop these relic hunters quickly, then humanity itself might not survive. Brigadier Alistair Lethbridge-Stewart © Haisman & Lincoln and used under licence. With thanks to Hannah Haisman and Candy Jar Please note: the collector's edition CD box set is strictly limited to 1,500 copies and will not be re-pressed. Recorded on: 23 and 27 October, 3,10, 16 and 30 November, and 14 December 2020 Recorded at: The Soundhouse and Remote Recoding Producer David Richardson said: "Now this is my era! I was 12 years old when the Fourth Doctor, Sarah Jane and Harry were flying out into the universe, and those years remain some of my most treasured Doctor Who memories. "How brilliant that, at last, 15 seasons into The Fourth Doctor Adventures, we can bring those characters back together again for new stories. This season has been sitting 'in the can' for a while now - we made it at the height of lockdown, and it proved the most joyous diversion from bleak times. Imaginative, brilliant escapism - just what Doctor Who should be." The Ministry of Death writer Robert Valentine added: "There is a certain magic to these lead characters of the Fourth Doctor, Sarah, Harry and the Brig. The Fourth Doctor is a far less clubbable personality than the Third Doctor was, and he's this chaotic force who wants to leave, and the Brig is a force of order who wants him to stay. "And stuck between them are Sarah and Harry, who are a very different couple of characters, who nevertheless get on extremely well. But Harry is a throwback to an earlier time, not unlike John Steed in The Avengers, and Sarah is a thoroughly contemporary woman who's bang up to date for the 1970s. Or is it the 1980s?" Actor Christopher Naylor described The Ministry of Death: "It has a real adventure serial feel to it. It moves at a good pace and it's very reminiscent of those early stories in Tom's tenure, like Robot. You can imagine those very brightly lit sets and the jeeps zooming all over the place and lots of colour separation overlay of actors and creatures getting bigger." Sadie Miller, who plays Sarah Jane Smith, agreed: "It's a really fun adventure. It reminds me of Roger Corman movies - that sort of creature feature element, which I absolutely adore, and a gothic spooky element to the sci-fi, with a mad scientist character, which I've always really enjoyed as a viewer and as a listener."
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https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Alice Okoro returns to the Moon having escorted a prisoner, Mitchell Kane, from a Mars waystation. He has confessed to committing a murder on the Red Planet, but Nathan suspects he isn't telling the whole truth. Is Kane the killer? If not, who is? And why would he admit to a murder he hasn't committed? The answer to those questions brings shocking consequences. Recorded on: 5-7 November 2024 Recorded at: The Soundhouse Writer Roland Moore said: "The Star Cops characters are so well drawn, originally by Chris Boucher and then from what script editor Andrew Smith and the rest of the team have done. They've been played so consistently over the years, so getting back into writing for them is quite easy. And, I had great fun with the two guest characters. Mitchell Kane is a man totally out of his depth, and it's fun to see him unravel - Homer Todiwala's portrayal of Mitchell was a joy to hear." Director Helen Goldwyn added: "Mitchell is quite a character, brilliantly played by Homer. He's a really interesting personality type, and it's great to see his evolution. Also joining us on this episode is the fabulous Hannah Bristow, who I had the pleasure of working with in a show the year before; I knew that she had such a distinctive voice and such a naturalistic style, so it was great to come across the role of Samantha and be able to offer that to Hannah." David Calder (Nathan Spring) Trevor Cooper (Inspector Colin Devis) Linda Newton (Chief Superintendent Pal Kenzy) Hannah Bristow (Samantha Curran) Lynsey Murrell (Inspector Alice Okoro) Philip Olivier (Inspector Paul Bailey) Homer Todiwala (Mitchell Kane)
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https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 This title was released in March 2026. It will be exclusively available to buy from the Big Finish website until 31 May 2026, and on general sale after this date. The Doctor and Yaz arrive in the East End of London, 1926. There's grief in the air: not only the years of war and sickness, but a more recent death. A strange message prompts them to investigate the murder of a medium. A young woman whose seances hide deeper secrets - and an unearthly power that threatens the entire city. Please note: the collector's edition CD is strictly limited to 1,500 copies Cover Art by Rafe Wallbank Director Ken Bentley Executive Producer Jason Haigh-ElleryNicholas Briggs Music by Joe Kraemer Producer Noga Flaishon Script Editor Matt Fitton Sound Design by Joe Kraemer Written by Rafaella Marcus Senior Producer John Ainsworth Product Format: 1-disc CD (jewel case) Number of Discs: 1 Duration: 71 minutes Physical Retail ISBN: 978-1-80240-627-6 Digital Retail ISBN: 978-1-80240-628-3 Production Code: BFPDW13TH05 Jodie Whittaker (The Doctor) Mandip Gill (Yasmin Khan) Liv Andrusier (Esther) Joseph Arkley (Kidney / Cat-Caller) Anna Crichlow (Nellie / Waitress) Olivia Marcus (Miriam) David Robb (Maltravers / Ironmonger) Recorded on: 25 June 2025 Recorded at: Fitzrovia Post Interview - Jodie Whittaker answers listeners' questions Writer Rafaella Marcus said: "It's been a thrill to take the Thirteenth Doctor and Yaz to the world of music hall and seances, and bring them face to face with all the strange and murky things that occupy the underbelly of 1920s London. "Speaking to the dead is a dangerous and - quite literally - haunting business, and even more so in this era. I've loved writing Yaz and the Doctor's challenging, loyal, heartfelt dynamic as they investigate both a series of murders and their own losses - I hope listeners enjoy it as much as I did." Lead actor Jodie Whittaker said: "It's a really beautiful script, with ghostly elements explored in a very unique way, and so many different characters of different ages as well - people whose grief is through loss of a family, and young people who've lost someone instantly. And it touches on the Spanish flu, which, now we all know what it's like to live through a pandemic, feels incredibly relevant." Her co-star Mandip Gill added: "When I first read The Violet Hour, I was a bit scared because I'm actually scared of ghosts! But then I got quite excited because we've not touched on this before, and it's exciting to pop back to the East End in the 1920s." And, producer Noga Flaishon said: "Working with Rafaella Marcus was wonderful. I adore their work across theatre and audio, and they were amongst the first writers I pitched for this series. The plot is so suspenseful and spooky, and this was the first - and so far only - time I shed tears in the control room during a recording... the words ripped my heart out on this one."
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https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 This title was released in February 2026. It will be exclusively available to buy from the Big Finish website until 31 March 2026, and on general sale after this date. The Doctor and the Brigadier are on the trail of stolen, advanced technology. Sarah Jane Smith is convinced an informant is leading her to a top-secret space tracking station. And Dr Elizabeth Shaw is wearing a metal helmet, covered in tin foil. It's a deadly puzzle, involving a precocious schoolgirl, a Saturday night all-in wrestling star and a high-ranking military officer. There's a plot to control the Earth's weather and somewhere in all this, there's a connection to the constellation of Centaurus. To defeat an enemy with no regard for human life, the Doctor must battle on all fronts, but not before a lethal encounter with the Venusian karate Downward K-klak! Brigadier Alistair Lethbridge-Stewart © Haisman & Lincoln and used under licence. With thanks to Hannah Haisman and Candy Jar PLEASE NOTE: Due to very limited availability, this release can only be purchased on CD as part of a bundle This title was released in February 2026. It will be exclusively available to buy from the Big Finish website until 31 March 2026, and on general sale after this date. The Doctor and the Brigadier are on the trail of stolen, advanced technology. Sarah Jane Smith is convinced an informant is leading her to a top-secret space tracking station. And Dr Elizabeth Shaw is wearing a metal helmet, covered in tin foil. It's a deadly puzzle, involving a precocious schoolgirl, a Saturday night all-in wrestling star and a high-ranking military officer. There's a plot to control the Earth's weather and somewhere in all this, there's a connection to the constellation of Centaurus. To defeat an enemy with no regard for human life, the Doctor must battle on all fronts, but not before a lethal encounter with the Venusian karate Downward K-klak! Brigadier Alistair Lethbridge-Stewart © Haisman & Lincoln and used under licence. With thanks to Hannah Haisman and Candy Jar **PLEASE NOTE: Due to very limited availability, this release can only be purchased on CD as part of a bundle**
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https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496
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https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 This title was released in February 2026. It will be exclusively available to buy from the Big Finish website until 31 March 2026, and on general sale after this date. Captain Lewis Haworth, young hacker MB, dark web operative Cole Smith and marine biologist Clare MacGregor found themselves in a changed world, controlled by the sinister Rakervia. In a secret military base in Arizona, they reactivated the Time Tunnel and set out across history, on a mission to track down the lost scientists Tony Newman and Doug Phillips, and restore the world as it should be. 2.1 Families and Lies - June 28 1969, by Mark B Oliver Cole arrives, alone, in Greenwich Village, Manhattan on Saturday, 28th June 1969, the day before the Stonewall uprising. With Lewis and MB nowhere to be found, he forges new friendships, but they have their own troubles. Inside the Project Tic-Toc Control Room, Clare must persuade Elenya that reuniting her friends is in all their interests. 2.2 Divine Intervention - April 1429, by Lisa McMullin MB and Cole find themselves in 15th Century France, towards the end of the Hundred Years War. It's France versus England but MB and Cole will be lining up on the side of France - alongside the Maid of Orleans herself - Joan of Arc. Is she a witch, a heretic or a feminist revolutionary? 2.3 Rendezvous with Tomorrow - April 15th 1912, by Gary Hopkins MB and Cole follow in the footsteps of Doctors Newman and Phillips aboard the doomed passenger ship Titanic in the year 1912. It seems that, after all, history can be re-written. Clara MacGregor, meanwhile, discovers that the past can be read in different ways. Is it possible that the journey's end is in sight? **Please note: the collector's edition CD box set is strictly limited to 1,000 copies and will not be repressed** Irwin Allen's The Time Tunnel TM & © 2026 Legendary. All rights reserved. Used under license. Based on the original television series "The Time Tunnel" © Legendary and Twentieth Century Fox Film Corporation. Recorded on: 17-19 July and 14-16 August 2024 Recorded at: The Soundhouse Producer, director and script editor Gary Russell said: "The Time Tunnel is one of those great Sixties science-fiction shows that ended too soon and without resolution. Ever since I was six years old, I used to think, what happened to poor Doug and Tony? To finally have the opportunity to restart Project Tic-Toc's computer spools, flashing lights and boot up the Tunnel again - and along the way maybe finally get an answer to Doug and Tony's fate - was simply too good an opportunity to pass up on. "We've had so much support and encouragement too from Legendary and Synthesis - who look after the Irwin Allen properties with so much love and respect - and for that I'm really grateful. They gave us the chance to bring The Time Tunnel into the twenty-first century with a bang." On making her Big Finish debut, Sandra Dickinson said: "It's a part to die for! The woman I'm playing has a rich history of being a very good human being, a loving, caring person, and is a tough cookie, so it was really fun to play, and to use the New York accent, which has been in my mind for a long time. "The 1960s was an amazing time. It's so apt at the moment to be talking about the LGBTQ rights movement. It's really nice to hear how it all started off in New York. And my dear son-in-law, David Tennant, has been standing up for them, bless him! So it's a great one to have done." The first episode's writer Mark B Oliver said: "I did a lot of research into the Stonewall Uprising, and what I found most fascinating were the oral histories that people have recorded over the years. These are people that were there and experienced what exactly happened. And the common thread is that they agreed to disagree about the exact details!" The second episode is scripted by Lisa McMullin, who said: "I've had a real hankering for quite a while to tell a pure historical story, so this was such a treat. It was really enjoyable telling the story of Joan of Arc. I had loads of interest in her before, and I'm always fascinated by how religion can be a real comforter to people but is also used to justify so much horror." And, finale writer Gary Hopkins said: "At the time we were discussing what we might want to do with this episode, I was reading a fantastic book called The Darks and Bounds of a Failing World, all about the tragedy of the Titanic and the Edwardian era. So it all fell into place at just the right time. I'd grown up watching various representations of the Titanic through film and television, but I always wanted to go back to the factual origin."
- Visa fler
