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Atlantis: The Lost Empire

Atlantis: The Lost Empire is a 2001 American animated science fantasy action-adventure film produced by Walt Disney Feature Animation and released by Walt Disney Pictures. It was directed by Gary Trousdale and Kirk Wise and produced by Don Hahn, from a screenplay by Tab Murphy, and a story by Murphy, Wise, Trousdale, Joss Whedon, and the writing team of Bryce Zabel and Jackie Zabel. The film features an ensemble voice cast that includes Michael J. Fox, Cree Summer, James Garner, Leonard Nimoy, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Jim Varney, Florence Stanley, John Mahoney, David Ogden Stiers, and Corey Burton. The film is set in 1914 and tells the story of 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 hand-drawn 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 underperformance, 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, re-evaluation in later years has resulted in Atlantis gaining a cult following and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence. A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003.

Plot
In 6,800 BC, a giant explosion sends a megatsunami toward the city of Atlantis. Leaving behind her husband, the King, and their young daughter, Princess Kida, the Queen of Atlantis merges with a floating crystal, creating a protective dome over the city's innermost district as the tsunami sinks the continent and city beneath the waves.

In 1914, archaeologist Milo Thatch fully believes in the existence of Atlantis and is determined to have the Smithsonian Institution fund an expedition to discover it. One day, he meets eccentric millionaire Preston B. Whitmore, an old friend of Milo's late grandfather, Thaddeus. Whitmore reveals that he made a bet with Thaddeus to fund an expedition to Atlantis. Whitmore persuades Milo to join the expedition and gives him the Shepherd's Journal, a book describing the history and path to Atlantis. The expedition is headed by Commander Lyle Tiberius Rourke. The crew includes Lieutenant Helga Sinclair, Rourke's second-in-command and lieutenant; Vinny Santorini, a demolitions expert; Mole Molière, a geologist; Dr. Joshua Sweet, a medical officer; Audrey Ramirez, a mechanic; Mrs. Wilhelmina Packard, a radio operator; Cookie Farnsworth, a mess cook; and dozens of soldiers and sailors. Their submarine, the Ulysses, is attacked and destroyed by a mechanical leviathan guarding the entrance to Atlantis. Following the journal, the crew travels through a dormant volcano and eventually arrives at Atlantis, where they are greeted by Kida, who appears to be a young adult.

Disregarding her father's wishes, Kida enlists Milo to help Atlantis recover its history, as its culture and knowledge have been decaying for centuries. Milo learns that a huge crystal, the Heart of Atlantis, gives the people longevity, and once powered their machines via smaller crystals they wear. However, Rourke and the crew capture him and Kida so they could find and steal the Heart to sell it to the highest bidder, which would also kill the inhabitants of Atlantis as they relied on the Heart for millennia.

When the king refuses to reveal the Heart's location, Rourke severely wounds him. Rourke's crew eventually finds the Heart. Under the crystal's trance, Kida merges with the crystal. Rourke locks the crystal in a crate and prepares to leave. Milo convinces Vinny, Audrey, Molière, Packard, Sweet, and Cookie to turn on Rourke, unwilling to be responsible for the Atlanteans' extinction. Rourke, Helga, and the soldiers head for the surface with Kida and destroy the bridge, trapping the others behind. The King gives Milo his own crystal, explaining that Heart selects a royal host when the city is in danger, and because of its immense power, he tried to weaponize it, which causes Atlantis to sink. He begs Milo to save Atlantis and Kida, who will be lost to the Heart forever if not separated from it soon before he dies.

Milo and his friends rally the Atlanteans to reactivate their flying machines and pursue the mercenaries; they defeat Rourke's soldiers. Rourke and Helga try escaping with the crystal; however, Rourke betrays Helga and throws her off his airship, which contains the crate. As revenge, Helga shoots and damages the airship. While the airship burns, Milo slashes Rourke with a crystal-charged shard of glass, turning Rourke into a enraged beast formed out of crystals. Rourke attempts to reach out and grab Milo, but in doing so causes a shift in weight on the platform they are on, sending him headfirst into the ship's propellers, which kill him. The airship crashes shortly after, which reawakens the volcano.

Milo and the rest flee back to Atlantis with Kida, who, still merged with the Heart, rises into the sky and awakens ancient Stone Guardians, who create a dome to protect Atlantis from the lava flow. Once the danger is neutralized, the Heart returns Kida, alive, to Milo. Milo decides to stay in Atlantis with Kida, whom he has fallen in love with, while the crew returns to the surface, each gifted with a small Atlantean crystal and a portion of treasure. While reviewing photographs of the adventure taken by Mrs. Packard, Whitmore agrees to the crew's swear to secrecy to preserve Atlantis' safety. Whitmore also receives his own Atlantean crystal enclosed in a note from Milo. Meanwhile, back at Atlantis, Milo and Kida (who becomes the new Queen) orbited a carved stone effigy of Kida's late father, along with those of other past Kings, around the Heart of Atlantis as it once again hovers above the newly restored city.

Voice cast

 * 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.
 * Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert.
 * Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African American and Native American descent.
 * Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command and lieutenant.
 * Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition.
 * Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator.
 * 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.
 * 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.
 * Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole.
 * 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. Stiers had previously voice-acted for Disney in Beauty and the Beast as Cogsworth, Pocahontas as Governor Ratcliffe and Wiggins, and The Hunchback of Notre Dame as the Archdeacon and would do so again in Lilo & Stitch as Jumba.

Development
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, the producer and directors wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting. 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). While primarily utilizing the Internet to research the mythology of Atlantis, 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. 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.

The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise. "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." 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." The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works. Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like." The overall design and circular layout of Atlantis were also based on the writings of Plato, and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea" was influential from the beginning of production. 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).

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. 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. 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.

"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."

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. 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". 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. 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.

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. 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. 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."

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. 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. The Viking prologue is included as an extra feature on the DVD release.

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. 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. 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. 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. 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." 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.

John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character. 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." 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." 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. 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." 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". 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." * 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.

Animation

At the peak of its production, 350 animators, artists and technicians were working on Atlantis at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris). 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 (2.39:1), noting Raiders of the Lost Ark as an inspiration. 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. 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. 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. Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.

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. "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise. Mignola was surprised when first contacted by the studio to work on Atlantis. His artistic influence on the film would later contribute to a cult following. "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."

The final pull-out scene of the movie, immediately before the end-title card, was described by the directors as the most difficult scene in the history of Disney animation. They said that the pullout 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 scene begins with one 16 in 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 in piece of paper composed of many individual pieces of paper (24 in 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.

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. 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. The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork. 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. 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.

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.

Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production. 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.

Release
Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001 and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15. 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.

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. The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film. 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. Frito-Lay offered free admission tickets for the film on specially marked snack packages.

Home media
Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002. During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined. Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003. 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. 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. Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.

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." 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".

With a budget of $100 million, the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters. 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. The film's international release began September 20 in Australia and other markets followed suit. During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada). 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."

Critical response
Atlantis: The Lost Empire received mixed reviews from critics. The review aggregator website Rotten Tomatoes reports that of  professional critics have given Atlantis: The Lost Empire a positive review; the average rating is. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot". Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from mainstream critics; this was considered "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.

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." 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." 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." 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."

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". 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. Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory." 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." 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."

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. 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. In particular, much praise has been given to the character of Kida. 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]". 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". 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!" 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. 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.

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. 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. 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."

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. 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." As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism. 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."

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) 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.

Related works
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. 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.

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. 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.

Soundtrack
The soundtrack to Atlantis: The Lost Empire was released on May 22, 2001. It consists primarily of James Newton Howard's score and includes "Where the Dream Takes You", written by Howard and Diane Warren and performed by Mýa. It was also available in a limited edition of 20,000 numbered copies with a unique 3D album cover insert depicting the Leviathan from the film. A rare promotional edition (featuring 73 minutes of material, compared to the 53 minutes on standard commercial editions) was intended only for Academy of Motion Picture Arts and Sciences voters but was bootlegged and distributed with fan-created artwork.

The Japanese release has "Crystal Vine", written by DREAMS COME TRUE play during the end credits.

Video games
There are several video games based on the film. Atlantis: The Lost Empire – Search for the Journal and Atlantis: The Lost Empire – Trial by Fire were developed by Zombie Studios and published by Disney Interactive. Both games were released exclusively for Microsoft Windows computers. Disney distributed over 12 million discs with a demo version of Search for the Journal in Kellogg's cereal boxes and other promotional venues. Atlantis: The Lost Empire – The Lost Games was released by Disney Interactive for children ages 5 and up, and was compatible with both Windows and Classic Mac OS computers.

Atlantis: The Lost Empire is an action-adventure game developed by Eurocom Entertainment Software and published by Sony Computer Entertainment for the PlayStation console. The player controls Milo, Audrey, Molière, Kida, and Vinny as they traverse Atlantis, unlocking its secrets. Some features in the game unlock others (such as a movie) by finding items hidden throughout the game. THQ released Atlantis: The Lost Empire for the Game Boy Advance and Game Boy Color. On Game Boy Color, it is a platform game developed by Eurocom Entertainment Software in which the player controls Milo, Audrey, Molière, and Vinny on a quest to discover Atlantis. On Game Boy Advance, it is a platform game developed by 3d6 Games that hinges on searching and collecting crystals.

Legacy
On June 15, 2021, Disney posted on Twitter: "20 years ago today, Milo Thatch journeyed to Atlantis. Happy anniversary to this epic 2001 adventure!" A limited commemorative pin was also released by the company for the anniversary. Cast and crew of the movie also celebrated its anniversary by partaking in a 5-hour livestream on YouTube which had been organized by fans of the film through several platforms as an event and was planned the year before in advance. A year later the cast and crew reunited again on another livestream as part of The Tammy Tuckey Show who had also hosted the previous year's stream.

title: Atlantis: The Lost Empire


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Red crossbill

The red crossbill or common crossbill (Loxia curvirostra) is a small passerine bird in the finch family Fringillidae. Crossbills have distinctive mandibles, crossed at the tips, which enable them to extract seeds from conifer cones and other fruits.

Adults are often brightly coloured, with red or orange males and green or yellow females, but there is wide variation in beak size and shape, and call types, leading to different classifications of variants, some of which have been named as subspecies. The species is known as "red crossbill" in North America and "common crossbill" in Europe.

Description
Crossbills are characterized by the mandibles crossing at their tips, which gives the group its English name. Using their crossed mandibles for leverage, crossbills are able to efficiently separate the scales of conifer cones and extract the seeds on which they feed. Adult males tend to be red or orange in colour, and females green or yellow, but there is much variation.

Identification
The distinctive crossed mandibles eliminate most other species, but this feature is shared by the similar two-barred crossbill, with which it overlaps considerably in range. The two-barred crossbill has two bright white wing bars, while the wings of the red crossbill are entirely brownish-black.

The red crossbill is the only dark-winged crossbill throughout most of its range, but it overlaps at least seasonally with the small ranges of the very similar parrot, Scottish, and Cassia crossbills. These species were formerly considered subspecies of the red crossbill, and though they show very slight differences in bill size and shape, they are very difficult to visually distinguish from the red crossbill and are generally best identified by call. The plumage differences between these four crossbills are negligible, there being more variation between individual birds than between species.

Measurements:

 * Length: 20 cm
 * Weight: 40-53 g
 * Wingspan: 27–29 cm

Breeding and irruption

Red crossbills breed in a variety of coniferous forests across North America and Eurasia. Its movements and occurrence are linked very closely to the availability of conifer seeds, its primary food source. They typically nest in late summer (June–September) when the seeds of most conifer species mature, but may nest at any time of year if they locate an area with a suitable cone crop.

This species is considered nomadic and highly irruptive, as conifer seed production may vary considerably year to year and birds disperse widely to breed and forage when the cone crop in their particular vicinity fails. In many areas of their range they are considered irregular because they may be present in certain years and not in others. The various types of red crossbill (see Taxonomy and Systematics) prefer different types of conifers, and therefore may differ in the regularity, timing, and direction of their irruptions. A few populations, such as the Newfoundland crossbill (North American type 8), are resident and do not undertake significant movements. When they are not breeding, the various types of red crossbill may flock together, and may also flock with other species of crossbill.

Red crossbill irruptions in the British Isles occur very infrequently, and were remarked upon by writers dating back to the 13th century. These irruptions led in the twentieth century to the establishment of permanent breeding colonies in England, and more recently in Ireland. The first known irruption, recorded in England by the chronicler Matthew Paris, was in 1254; the next, also in England, appears to have been in 1593 (by which time the earlier irruption had apparently been entirely forgotten, since the crossbills were described as "unknown" in England). The engraver Thomas Bewick wrote that "It sometimes is met with in great numbers in this country, but its visits are not regular", adding that many hundreds arrived in 1821. Bewick then cites Matthew Paris as writing "In 1254, in the fruit season, certain wonderful birds, which had never before been seen in England, appeared, chiefly in the orchards. They were a little bigger than Larks, and eat the pippins of the apples [pomorum grana] but no other part of them... They had the parts of the beak crossed [cancellatas] by which they divided the apples as with a forceps or knife. The parts of the apples which they left were as if they had been infected with poison." Bewick further records an account by Sir Roger Twysden for the ''Additions to the Additamenta of Matt. Paris "that in the apple season of 1593, an immense multitude of unknown birds came into England... swallowing nothing but the pippins, [granella ipsa sive acinos]'' and for the purpose of dividing the apple, their beaks were admirably adapted by nature, for they turn back, and strike one point upon the other, so as to show... the transverse sickles, one turned past the other."

Taxonomy and systematics

The red crossbill was formally described by the Swedish naturalist Carl Linnaeus in 1758 in the tenth edition of his Systema Naturae under the binomial name Loxia curvirostra. Linnaeus specified the locality as Europe but this was restricted to Sweden by Ernst Hartert in 1904. The genus name Loxia is from Ancient Greek loxos, "crosswise"; and curvirostra is Latin for "curved bill".

The red crossbill is in the midst of an adaptive radiation into the niches presented by the various species of conifer. There are about 10 North American and 18 Eurasian types so far identified, with many known to affiliate with a particular conifer species or a suite of similar conifer species. While each type may be seen to feed on many different conifer species when not breeding, each has optimal breeding success only in a particular type of conifer forest. This isolates the populations against interbreeding, which over time has resulted in their diverging genetically, phenotypically, and even speciating. Birds of all types are essentially identical in appearance but have slight differences in their vocalizations. Typically they are identified by their single note "chip" calls, which they give frequently and which differ considerably between types. Often computer analysis is used to distinguish the call types, but experienced observers can learn to separate the more distinctive ones by ear in the field.

The different populations of red crossbill are referred to as "types" because they are differentiated by a phenotypic feature (call note) and not all of them have yet been proven to be genetically distinct. Those populations which have been found to be genetically distinct are considered subspecies. Three populations formerly considered to be subspecies of red crossbill are now recognized by most authorities as full species:

 * Scottish Crossbill (Loxia scotica) -- Formerly Eurasian type 3C
 * Parrot Crossbill (Loxia ptyopsittacus) -- Formerly Eurasian type 2D
 * Cassia Crossbill (Loxia sinesciuris) -- Formerly North American type 9

As research into the species has progressed, types are increasingly being found to be genetically distinct and elevated to the subspecies level. It is expected that this trend will continue, and it is also likely that more of these subspecies will eventually be recognized as full species.

Some large-billed, pine-feeding populations currently assigned to this species in the Mediterranean area may possibly be better referred to either the parrot crossbill or to new species in their own right, but more research is needed. These include the Balearic crossbill (L. c. balearica) and the North African crossbill (L. c. poliogyna), feeding primarily on Aleppo pine (Pinus halepensis); the Cyprus crossbill (L. c. guillemardi), feeding primarily on European black pine (Pinus nigra); and an as-yet unidentified crossbill with a parrot crossbill-sized bill feeding primarily on Bosnian pine (Pinus heldreichii) in the Balkans. These populations also differ on plumage, with the Balearic, North African and Cyprus subspecies having yellower males, and the Balkan type having deep purple-pink males; this, however, merely reflects the differing anthocyanin content of the cones they feed on, as these pigments are transferred to the feathers.

Diversity

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Red crossbill


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Te Keepa Te Rangihiwinui

Te Keepa Te Rangihiwinui (died 15 April 1898) was a Māori military commander and noted ally of the government forces during the New Zealand Wars. First known as Te Rangihiwinui, he was later known as Te Keepa, Meiha Keepa, Major Keepa or Major Kemp.

Early life
Te Rangihiwinui's father was Mahuera Paki Tanguru-o-te-rangi, a leader of the Muaūpoko iwi (tribe). His mother was Rere-ō-maki, sister of Te Anaua, a leader of Ngāti Ruaka, a subtribe of Te Āti Haunui-a-Pāpārangi. Te Rangihiwinui was probably born in the early 1820s near Opiki in the Horowhenua. His early years were spent under the threat of tribal warfare resulting from the invasion of their tribal land by the Ngāti Toa, led by Te Rauparaha, and the allied Ngāti Raukawa and Te Āti Awa. Keepa's father was an early supporter of New Zealand Company settlement established at Whanganui and served as a constable in the Armed Police Force.

In 1848, Te Keepa was a constable in the Armed Police Force, and was likely serving at Waikane under the command of Major but a few years later was based at Whanganui. Along with other constables, he carried mail between Wellington and the Taranaki region, work that was in addition to their policing role.

Second Taranaki War
In 1864, the Māori tribes on the Upper Whanganui River converted to the Pai Mārire religion and threatened to invade Whanganui town. Te Keepa led the tribes of the lower river to defend the town. The result was the Battle of Moutoa Island and a substantial defeat for the Pai Mārire force on 14 May 1864.

This was the start of six years of warfare for Te Keepa, always fighting on the side of the Pākehā government, usually working closely with Captain Thomas McDonnell. In February 1865, Te Keepa and his force of Whanganui Māori warriors took part in the attack on Ohoutahi Pa, a major Pai Mārire stronghold. Following the murder of the missionary Volkner, they were shipped to the other side of the country, to Opotiki. However they soon returned to Taranaki and were involved in the capture of Wereroa Pa and then the relief of Pipiriki.

Te Keepa gradually built up a personal contingent of between one and two hundred warriors, men who were paid by the government but whose loyalty was to him and his mana as a fighting chieftain. In 1868, he and his men were involved with the insurgency of Titokowaru. Te Keepa commanded the rearguard during the retreat from Te Ngutu o Te Manu after the government forces had been defeated and again in similar circumstances after the Battle of Moturoa. Te Keepa commanded the force pursuing Tītokowaru after he abandoned his pa at Tauranga Ika. It was the first time that British soldiers, officers and men, had served under a Māori commander. By this time Te Keepa had been promoted to the rank of major.

Pursuit of Te Kooti
As soon as Titokowaru ceased to be a threat, Te Keepa and his men were transported to the East Coast to join in the pursuit of Te Kooti. Such was his reputation that the Battle of Te Pōrere near Tongariro was delayed until Te Keepa and his men arrived; they were marching up the Whanganui River in the face of snowstorms and volcanic eruptions.

The final pursuit of Te Kooti through the Ureweras was largely handed over to Te Keepa and another Māori war leader, Ropata Wahawaha. He and his men returned to Whanganui in 1871. Over the following years he was honoured with the Queen's Sword of Honour in 1870, the New Zealand Cross in 1874 and the New Zealand War Medal in 1876.

Later life
In 1871 Te Keepa was appointed as a land purchase officer in Whanganui. He saw this as an opportunity to correct some of the wrongs done to his people during his childhood, a chance to regain some of the land they had lost to the Ngati Raukawa by conquest. This almost brought the tribes to war, Te Keepa threatened to call upon his personal following of warriors if the government did not back up his decisions. There were some violent clashes before the issue went in his favour.

The same year he contested the Western Maori electorate in the, the second time that elections in Māori electorates were held. Of three candidates, he came second, with Wiremu Parata winning the election and the incumbent, Mete Kīngi Paetahi, coming last. He was one of three candidates in the Western Maori electorate in the 1876 election, when he came second. He was beaten by Hoani Nahe and was ahead of the incumbent, Wiremu Parata.

In 1880, Te Keepa set up a Māori trust to protect Māori land from European buyers. A large area of inland Wanganui was declared off limits to all Europeans. This provoked the government, but Te Keepa's large personal following of warriors meant they were very cautious in dealing with him. In addition, he had the support of some members of the government, including the Native Minister, John Ballance. He unsuccessfully contested the Western Maori electorate in the. Of eight candidates, he came second with 20.1% of the vote.

Land dealings in his later years added stresses and caused debts. He sought to unify the Maori tribes in the Te Kotahitanga (unity of purpose) movement, and force government adherence to the principles of the Treaty of Waitangi. In a speech he made in March 1889 at Ōrākei he urged the government to work with Te Kotahitanga but this was rejected. Te Keepa Te Rangihiwinui died at Putiki, near Whanganui, on 15 April 1898.

title: Te Keepa Te Rangihiwinui


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User:Timbot/Sandbox

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title: User:Timbot/Sandbox


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Talk:Dentistry

Dental nurse & dental manager as part of the dental team and salutation for dentists
I have added minor edits on the page. Thanks! Lakanmalakas (talk) 02:36, 15 August 2023 (UTC)
 * They are not what Wikipedia considers minor edits (which are spelling/grammar edits) and are country-specific (which is highly inappropriate for the lead section, which is supposed to be a summary of an article]]. Please stop; see your user talk page. Graham 87 07:07, 15 August 2023 (UTC)
 * "Letters: Reference Line, Salutation" (PDF). NIH. Archived (PDF) from the original on 3 May 2015. Retrieved 26 March 2017. Sagnikds6 (talk) 10:53, 15 August 2023 (UTC)
 * All around the world Dentist use the title of Doctor Sagnikds6 (talk) 10:56, 15 August 2023 (UTC)
 * https://web.archive.org/web/20150503224718/http://execsec.od.nih.gov/guidelines/docs/Letters_reference%20line%20and%20salutation.pdf Sagnikds6 (talk) 11:12, 15 August 2023 (UTC)

Dental nurse originated from the US and is practiced in other countries such as Philippines. Dental managers manages the flow in the clinic such as appointments, records, appreciation of cases, handling of bills and acts as dental nurse for the patient. ! Lakanmalakas (talk) --Lakanmalakas (talk) 11:20, 15 August 2023 (UTC)

Stomatology
Dentistry aka stomatolgy is a medical speciality. Till 2013 in countries like Spain France Italy Portugal and Austria stomatology was a 3 yr specialisation after medical school. It got separated in US and UK in late 19th century and the rest of europe followed especially after joining European Union. Dentists are specialists of oral and maxillofacial region and no other specialty can deal with it. Sagnikds6 (talk) 10:55, 15 August 2023 (UTC)

 * https://www.omd.pt/content/uploads/2017/12/ced-manual-2015-completo.pdf Sagnikds6 (talk) 11:04, 15 August 2023 (UTC)
 * https://www.adea.org/adeagiesfoundation/william-j-gies-and-gies-report.aspx Sagnikds6 (talk) 11:16, 15 August 2023 (UTC)
 * Please add this information to this article. Sagnikds6 (talk) 11:19, 15 August 2023 (UTC)

Graham 87 12:37, 15 August 2023 (UTC)
 * I've struck out my above comment because it's untrue. I'm still not quite sure what to do with this request or where stomatology should be mentioned ... perhaps ask at Wikipedia talk:WikiProject Medicine or [[Wikipedia talk:WikiProject Dentistry? Graham 87  14:24, 15 August 2023 (UTC)

Wiki Education assignment: IMHOTEP
— Assignment last updated by Relo4x (talk) 18:20, 28 June 2024 (UTC)

title: Talk:Dentistry