The Princess and the Frog

Em: 00:03:27

Hi everyone. I'm Em. And welcome to Verbal Diorama, episode 331, The Princess and the Frog.

This is a podcast that's all about the history and legacy of movies you know, and movies you don't that's got friends on the other side of the world, not the afterlife. Welcome to Verbal Diorama.

Whether you're a regular returning listener, whether you're a brand-new listener to this podcast, thank you so much for being here. Thank you so much for choosing to listen to this podcast. I'm so happy to have you here for the history and legacy of Princess and the Frog.

And if you are a returning listener, thank you so much for continuing to listen and support this podcast. This podcast is very almost seven years old. In fact, the next episodes are going to be the seventh birthday episodes.

That's how close I am to doing this podcast for seven years and as always, I'm just so grateful to you for your support. It really genuinely does mean so much. And no, I don't know how I've done a podcast for seven years.

Like the last seven years has just gone by so quickly, but somehow I have and somehow people still listen to this podcast. So thank you so much and once again, welcome to the sixth annual animation season.

If you've not been a part of this podcast before, if you're new to this podcast, this is something that I do every January and February. This season we've had episodes on Monsters, Inc. KPop, Demon Hunters, Paprika and Teenage Mutant Ninja Turtles. Mutant Mayhem.

A wide variety of animated movies from different studios and different time periods.

I'm a huge fan of animated movies and this podcast is always going to talk about animated movies and I genuinely believe that more podcasts should talk about animated movies because animation is not just for children. Animation is not a genre. It is the perfect art form. And this is really a celebration of animation in all of its forms.

The traditional 2D hand drawn that we see in the Princess and the Frog, as well as stop motion and CGI and a variety of different animation styles.

Animation season remains so important to me and so important to this podcast because I want to highlight incredible animated movies that maybe you've forgotten about, maybe you discounted for whatever reason, but you're missing out on incredible storytelling and incredible visuals. And that's why I love to do this every January and February.

And whether it's the start of the Disney revival era or not, the Princess and the Frog's very existence is ironically down to Pixar, not Disney. But despite it containing the first black Disney princess, it wouldn't be without its many controversies.

Here's the trailer for the Princess and the Frog.

In: 1926

After wishing on a star to find a way, she comes across a frog. And after the childhood stories of the frog prince, she kisses the frog only to be turned into a frog herself.

The frog is Prince Naveen, who has been turned into a frog by the evil shadow man, Dr. Vasilier, and together they must figure out how to break the spell. Let's run through the cast of this movie.

We have Anika Noni Rose as Tiana, Bruno Campos as Prince Naveen, Keith David as Dr. Facilier, Michael-Leon Woolley as Lewis, Jennifer Cody as Charlotte LeBoeuf, Jim Cummings as Ray, Peter Bartlett as Lawrence, Jennifer Lewis as Mama Odie, Oprah Winfrey as Eudora, Terrence Howard as James and John Goodman as Eli Big Daddy LaBeouf the Princess and the Frog has a screenplay by Ron Clements, John Musker and Rob Edwards.

the Princess and the Frog in: 2009

A return to the traditional 2D hand drawn animation that had built Disney's legacy as an animation studio, only to then reverse the decision yet again. How did we get to that point?

Well, as I said, it involves Pixar, who are undoubtedly the cause of the change in the first place, but also the reason Disney returned to 2D animation. So let's talk about it.

After dominating the early to mid-90s with hits like the Lion King, Aladdin and Beauty and the Beast, Disney's animation fortunes began declining.

h of President Frank Wells in: 1994

Starting in around: 2000

Nero and Stitch and Brother Bear were actually financially successful during this period, but generally there were more misses than hits.

While the Emperor's New Groove, Treasure Planet and Atlantis the Lost Empire would later gain cult followings, they were commercial disappointments at the time. The rise of Pixar and DreamWorks CGI films made Disney's traditional animation feel outdated.

tributing Pixar's films since: 1995

In: 2004

Whim on the Range flopped in: 2004

for good between the years of: 2003

However, this decision was deeply unpopular within the company and contributed to a broader crisis. Roy E. Disney, Walt Disney's nephew, led a two year fight to oust Eisner.

In November: 2003

At the: 2004

nimation. At the same time in: 2005

est grossing animated film of: 2005

When he became the new chief creative officer, he ordered the studio to shift its focus towards spinoff films and original productions.

So to do so, Lasseter and Catmull decided to rehire the traditional animators who'd been laid off, and with it brought back directors Ron Clements and John Musker. Now, if you don't know who Ron Clements and John Musker are, they were absolutely integral to the Disney renaissance.

Disney animation in the late: 1980

ter Treasure planet Bombed in: 2002

they left Disney in September: 2005

Creative Officer In February: 2006

So the Frog Princess came from merging two separate projects that were in development at Disney and Pixar, both based around the Frog Prince fairy tale. Disney had been trying to do something with the Frog Prince since the early 90s.

And in: 2003

iry tale the frog Prince from: 1812

Additionally, animator Jorgen Klubian claimed that he had a story he was developing at Pixar called the Spirit of New Orleans, which also apparently served as inspiration. And it was this idea for New Orleans that reportedly led to John Lasseter suggesting setting the fairy tale in the city.

And this would be the first Disney animated fairy tale princess movie set in the United States, not the first Disney movie, full stop. One of those we don't talk about.

e Frog princess began in July: 2006

And many of the victims of that hurricane that had been displaced, injured and killed were the city's black residents.

Indeed, the area of the city that the lead character, Tiana, and her mother would call home was based around New Orleans Lower 9th Ward, an area that had been hit the hardest and still to this day hasn't been fully rebuilt or repopulated. Until Hurricane Katrina, the Lower Ninth Ward had the highest percentage of black home ownership in the city.

shareholders meeting in March: 2007

New Orleans was seen as a questionable setting because of the recent devastation.

The name of the lead was announced as Maddy, critics argued it was an unlikely name for a black woman in the early 20th century, according to African American scholars, as well as too similar to Mammy, a derogatory term for black women who were often enslaved. Child care for white children.

Her original job, a chambermaid working for a wealthy white family, was too reminiscent of slavery and inappropriate for Disney's first black princess. Maddy became Tiana and her job became a head chef, which was then changed to a waitress.

Tiana's prince was also questioned as being light skinned and of an ambiguous ethnicity. And the villain, being a black voodoo practitioner, was also questioned.

It's worth mentioning that Disney didn't change either the prince or the villain from their original ideas, but what they did do in getting this feedback from the black community was then hired Oprah Winfrey as a technical consultant.

The directors also brought in supervising animator Bruce W. Smith, creator of the animated Disney Channel series the Proud Family, to assist with character, animation, voices, and also screenwriter Rob Edwards, a veteran television and film writer whose credits included A Different World in Living Colour, Rock, the Fresh Prince of Bel Air and Treasure Planet, who was also instrumental in injecting much needed authenticity.

rience. But this was the late: 2000

She was known as the Queen of Creole cuisine and her restaurant, Dooky Chase, was a gathering place for black people during the Civil Rights movement in the 60s, and she would serve them gumbo and fried chicken. It also contained extensive pieces of African American art.

Leah Chase began working in the kitchen and over time she and her husband took over the street corner stand as it started out and built it into a sit down restaurant, updating the menu to reflect her own family's Creole recipes as well as recipes that were otherwise available only in whites only restaurants, the sort of whites only restaurants that she and her patrons were banned from.

June: 2019

With inspiration for Tiana and a visit to New Orleans, down Muska and Clement set on creating this world.

And for that they looked at previous Disney films like Bambi and Lady and the Tramp, Bambi for creating the Bayou and Lady and the Tramp for the depiction of New Orleans. Not stylized animation, but sophisticated and following classic Disney animation wherever possible.

Because if this is a return to form, you do the best and you bring in the best. A mix of veteran Disney animators and newcomers.

And in a way, the demise of hand drawn animation was a blessing because Musker and Clements had the rare opportunity to put a dream crew together, which couldn't have been done when hand drawn animation was at its peak. Animators were spread far and wide back then between all of the major studios.

But in the late: 2000

Musker and Clements would say they had their pick of dream animators, including veteran Disney animators like Mark Henn, Andreas Deja and Eric Goldberg, along with notable newcomers like Hyun Min Lee, who would go on to work on Wreck It Ralph, Frozen and Zootopia Zootropolis, in addition to current and former Disney animators. The production crew, which topped 300 at its peak, included recent graduates from the California Institute of the Arts.

But there was an immediate problem. The resources to bring a hand drawn animated movie to life, the desks, the equipment had all been either sold or destroyed.

Decades of history vanished and Then a glimmer of hope. Christopher Hibler, the manager of operations, was the grandson of Disney legend Winston Hibbler. Winston Hibbler was a camera operator at Disney.

He was the screenwriter of Cinderella, Alice in Wonderland, Peter Pan and Sleeping Beauty, as well as a songwriter on Peter Pan and Sleeping Beauty.

And his grandson Christopher Hibler had stashed away several of the original animation desks, basically saving them from destruction and giving them to the production of the Princess and the Frog. And when it came to casting this movie, the cast came together quickly with the most important role being Tiana herself.

And the actors needed to also be able to sing. Alicia Keys was very keen on the role and auditioned for Tiana three times. Apparently Beyonce refused to audition but was considered.

Her Dreamgirls co star Jennifer Hudson was also really interested. Even supermodel Tyra Banks was considered.

But in the end, the role went to the third dream girl, Tony award winning Anika Noni Rose, who burst into tears during her final audition for the character. Just knowing the impact a black princess would have on of little black children.

s the voice of Tiana in April: 2007

And Rose was incredibly important to the design of Tiana, ensuring she wasn't just a white princess model with black skin, but requesting she be dark skinned, have dimples, have a similar nose to herself, as well as be left handed like herself. If they were casting live action, Tiana Rose would be perfect. And she remains incredibly proud of being the first black Disney princess.

And that Tiana is inspiring not just little black children, but children of all races and ethnicities.

She would say in an interview with the Hollywood Reporter, quote, when I'm thinking of black or brown skinned adults, we spend so much time growing up trying to fit into another standard of beauty. And now at this point, those children, these new children, are comfortable within themselves in different ways.

They don't think anything of putting on their Tiana dress. You can't tell them they're not Tiana. It's not about the fact they're not brown. They still feel like they're Tiana, unquote.

Three months after the announcement of Anika Noni Rose, Keith David was announced as the voice of Dr. Facilier, one of Disney's most menacing villains. With a great song and also more controversy.

There's actually a great video on YouTube by a black creator called JoJo who talks about the lack of positive black male representation in the Princess and the Frog, where he points to the fact that having a black male villain and no corresponding good black male role model, or at least one that does die early on, is reinforcing negative stereotypes against black men. I'll pop a link to that video in the show notes but Dr. Facilier does make a very good villain.

The way he works with the shadows is fascinating the and genuinely creepy. But then there's the voodoo hoodoo thing.

Voodoo is an actual religion with its own rituals, leaders, teachers and religious services originating from traditional African religions of the Fon and Uwe people.

Voodoo, by contrast, is not a religion but rather a set of magical practices, a form of folk magic practiced by individuals called root doctors or root healers. Hoodoo focuses on practical magic for healing, protection and personal empowerment using herbs, roots and charms.

Dr. Facilier sings I got voodoo, I got hoodoo as if they are simply different tools at his disposal, and this muddles the distinction between a legitimate religion and folk magic practices.

The Loa, the spirits in voodoo, are portrayed as evil entities hungry for souls rather than the protective and guiding spirits they actually are in the religion. Voodoo is nothing to do with death.

It's just unfortunate that centuries old Hollywood stereotypes perpetuate to demonize an actual living religion practiced by real people. But where this movie shines is Tiana and the beautiful animation, A true return to Disney's former glory.

In the: 1980

departments were scrapped in: 2004

When John Lasseter reopened the 2D animation teams, rather than return to CAPS, which was outdated, they instead decided to use Toon Boom animations Toon Boom Harmony and instead of using a paperless approach with Harmony and Wacom Syntek pressure sensitive tablets, the character animators decided to use traditional paper and pencil drawings which were then scanned into the systems.

The visual effects and background for the film were created digitally using Syntek tablet displays because it was quicker than building everything from scratch, and the backgrounds were painted digitally using Adobe Photoshop, which means they were drawn or inked or painted one stroke at a time. The painters applied every brush stroke as if they would with a regular painting.

The one Exception to the new Toon Boom Harmony pipeline was the Almost There dream sequence, which utilised an Art Deco graphic style based on the art of Harlem Renaissance painter Aaron Douglas and is wholly based on the movie's concept art supervised by Eric Goldberg and designed by Sue Nichols. The Almost There sequences plan developed out of Nichols design research for the Princess and the Frog.

She was looking at art from the twenties to get ideas including Art Deco design, poster art and the Harlem Renaissance, which represented an explosion of black culture across America during that era, not just in visual art but also in poetry and music.

Aaron Douglas was a painter known for his expressive silhouette driven depictions of black pride and struggle, and Nichols adapted his lineless geometric style. The character animation was done on paper without going through the cleanup animation department and scanned directly into Photoshop.

The artwork was then enhanced to affect the appearance of painted strokes and fills, combined with backgrounds using Adobe After Effects. For the first time, the directors used something that was common at Pixar layout animatics.

They filmed the storyboards and added the dialogue track to see the film, but also added staging and lighting. 3D was kept to a minimum, but it is there. There are some fireflies and some vehicle wheels that are 3D and some 3D doors.

Another thing they did on this movie was being more efficient.

They were rewriting the movie throughout the course of making the film, fixing problems and making things work better before cells were painted so no color scenes were left on the cutting floor and they could stay ahead of production. Speaking of racially ambiguous princes, it's time for the obligatory Keanu reference of this episode.

of all of our dreams. And in: 2019

He was Prince Charming, he was also Aladdin, and he was also depicted as Prince Naveen. And Prince Naveen is fine, but I think we can all agree Keanu would be the better choice for such an ambitious, strong willed young woman like Tiana.

In fact, Keanu would be the better choice for all of us. Let's move on to the music though, because Alan Menken, who was the go to guy for Disney animated musicals, was scoring Enchanted at the time.

And so John Lasseter decided to hit up his longtime friend Randy Newman, because he was a jazz composer and he grew up in New Orleans.

And this for me is a movie with two standout songs, the aforementioned Almost There and Friends on the Other side, the first song in almost a decade after the Hellfire from the Hunchback of Notre Dame to continue the tradition of Disney villains in newer Disney films having their own signature song, Newman composed, arranged and conducted the music for the film, a mixture of jazz, zydeco, blues and gospel styles performed by the voice cast members for their respective characters and R and B singer songwriter Ne yo wrote and performed the end title song Never Knew I Needed, which is basically referring to the romance between Tiana and Levine.

stumes sold out for Halloween: 2009

th October: 2009

November: 2009

Because of its limited release, it opened the 25th and would rise to number one in its fourth week when it went wide and it didn't have much competition until one week later when Avatar released the highest grossing movie in the entire world and still is also released that week was Alvin and the Chipmunks, the Squeakquel and the Princess and the Frog dropped to third. The Princess and the Frog stayed in the US top 10 for five weeks, not including its first three on its 105 million dollar budget.

The Princess and the Frog grossed $104.4 million domestically and $162.6 million internationally were a total worldwide gross of $267 million.

est grossing animated film of: 2009

It has an 86% of rotten tomatoes, with the site's general consensus saying the warmth of traditional Disney animation makes this occasionally lightweight fairy tale update a lively and captivating confection for the holidays.

The Princess and the Frog was nominated for the Academy Award for Best Animated Feature, where it lost to up and twice for the Academy Award for Best Original Song, but it lost to Crazy Heart. It was nominated for the Best Animated Feature at the Golden Globes, also losing to Up. It was also nominated for eight Annie Awards and won three.

tinued around this movie into: 2018

In the first trailer, Disney contacted Anika Noni Rose and the advocacy group Color of Change to redesign Tiana for Ralph Breaks the Internet to make sure she more closely resembled her actual appearance, which was revealed in the second trailer. Rose released her own statement on the matter.

Quote they explained how CGI animation did different things to the characters color tones in different light compared to hand drawn original characters and I was able to express how important it is to the little girls and let's face it, grown women who felt represented by her that her skin tones stay as rich as it had been and that her nose continued to be the little round nose that Mark Henn so beautifully rendered in the movie. The same nose on my very own face and on many other little brown faces around the world that we so rarely get to see represented in fantasy.

End quote. In December: 2020

A first look was revealed in: 2021

In March: 2023

I'm sure that you can, but there was a remake of Splash Mountain.

south and it was announced in: 2020

To be honest, the attraction storyline takes place after the events of the film with Tiana hosting a party for the people of New Orleans during Carnival season.

Due to a mix up, her celebration is missing a band and she needs the guests help to find one as they joined her and Lewis on a trip to the Bayou to search for critter musicians.

June: 2024

th September: 2023

rting with Winnie the Pooh in: 2011

Winnie the Pooh was being developed at the time of the Princess and the Frog's release, and it would be the last traditionally hand drawn Disney animated movie.

The Princess and the Frog was blamed for the demise in 2D animation, as well as the catalyst for the renaming of Rapunzel into Tangled and the switch of the traditionally animated Snow Queen into the CGI Frozen. Ed Catmull would look back and suggest Disney had mistakenly marketed the Princess and the Frog.

Their marketing department had warned Disney Animation that the word princess in the title would lead moviegoers to think the film was for girls only, but management insisted on keeping the princess title because they believed that film's quality and hand drawn animation would bring in all the quadrants anyway. Nowadays it might be called Bayou or Frog or something similarly random.

t apparently not together. In: 2022

According to Goldberg, current plans for 2D projects include Legacy originals, hybrids as well as both features and series.

In: 2021

for the craft. As recently as: 2025

Jared Bush, co director of Zootopia, director of Encanto and Zootopia 2, hinted at the 2D animation revival during interviews at the Annecy International Animation Film Festival. So there is hope that one day soon Disney may return to 2D hand drawn animation.

And if and when they do, we need to support it, because if we don't, I fear that it will disappear again. And it is truly one of the most majestic and wonderful crafts that exist in the world.

And the Princess and the Frog is a movie rooted in fantasy and reality. A real city set during a real time period with real music, arts and culture, but also where the lead characters turn into frogs.

So there was a little artistic license here.

the American south during the: 1920

legal in all of the US until: 1967

And Naveen himself comes from a fictional country with an ambiguous racial background on purpose, because they couldn't have him be white, but they also couldn't have him be black because that might alienate white audiences.

And then there's the whole you finally get an African American princess and she's smart and ambitious and isn't looking for a man to save her and a great role model for everyone, especially little black children. And then you make her a frog for most of the movie. This movie is so brilliant and so progressive in many ways, but in others it's not.

And I fully understand there are people who love this movie completely because they finally saw a black princess.

But then there are others who can see the racial politics that are clearly involved, none of which are justified by having white directors and screenwriters and a mostly white creative team and their idea to set the movie in New Orleans. And from that, make Tiana African American is important and it is to be praised that they would be so forward thinking.

But when you are representing minorities, you need to be mindful of the high expectations and critical concerns and avoiding those stereotypes. I think Tiana is wonderful as a character, as a princess, as just the representation sorely needed.

But everything around her is just almost there to coin her own song.

Even the white characters around her are ever so slightly problematic in that it's clear Tiana and her mother Eudora are paid employees for the labeouf family. Eudora may be the best seamstress in town, but otherwise her daughter and Big Daddy's daughter wouldn't otherwise be friends.

The labeoufs live in the Garden District, wealthy, opulent and white. And Eudora and Tiana live miles away in the poorer black neighborhood. Charlotte isn't the stereotypical white adversary. She's supportive of Tiana.

But are they friends because they're friends or friends because Tiana can supply Charlotte and Big Daddy with her foodstuffs? Even an invite to that party is kind of on the condition that Tiana serve food rather than be a guest in her own right. And I'm a white person.

I am super white. And as much as I love this movie, there are parts that don't quite sit right with me.

But I honestly do think it is a beautifully animated return to Disney's animation heyday. I can't express enough how much I adore Tiana as a character, that she's ambitious, hard working and a great role model.

I think Charlotte is hilarious and I do love their friendship and how pure it is. I even appreciate the playboy that is Naveen just for being a hot prince. And the visuals.

Drawing friends on the other side is worth the price of admission alone. And just on Naveen and the ambiguity surrounding him. We know so little about him and his country.

I know he's the prince and that he doesn't matter, but he also does matter. And this was a great opportunity to have perhaps an African prince. There are many countries in Africa that have royal lineages.

Or like, in coming to America, they could have created something like Zamunda instead of having a brown prince with a South Asian name voiced by a Brazilian doing a French accent from a fictional European sounding country called Maldonia. Nevertheless, the New Orleans and bayou settings are stunning. The jazz music is wonderful. There's so much rich detail.

It feels so magical and fairytale, like despite being set in real places. And the colors are vibrant and rich.

This is like the culmination of traditional 2D hand drawn with digital assistants coming together just so beautifully that often you can't tell what's digital and what's not.

But if you have this groundbreaking movie with the first black Disney princess, you need her to be an incredible African American woman for more than just 17 minutes. This film's total runtime is 97 minutes, which means Tiana spends less than 18% of her own movie in human form. The rest of the time she's a frog.

But I keep saying, but every word of criticism does not and cannot take away from the immense impact the film had on children, especially black girls who finally saw themselves as a Disney princess. People love Tiana so much because she's so vitally important.

So when Disney got it wrong and lightened her skin for another movie, it's right that people should be up in arms. Tiana is valuable and her values of hard work, never giving up and doing what's right are universal.

August: 2011

Speaking of Ariel, the second black Disney princess was Ariel in her live action remake and in my opinion perfectly cast Halle Bailey. But again, she was better than the movie around her.

The Princess and the Frog is a beautiful movie with an engaging, albeit frustrating story, vivid characters, some good laughs, some terrible ones, and a few really touching moments. I love the New Orleans setting and the film captures the atmosphere of New Orleans, but also makes it magical.

This movie feels more hidden than other princess movies. It feels like its controversies have weighed it down somewhat, but Tiana rises above all of that.

She just deserved a little better than this movie and despite a couple of hiccups, this movie deserves way more respect.

Whether you think it started the Disney revival era or not, this is clearly a labor of love and I for one hope Disney do resurrect hand drawn animation again one day.

And if this has opened the door for more animated black folklore stories, that can only be a good thing in the hands of people who know what those stories actually mean. As I said, this movie it's almost there. Thank you for listening.

As always, I would love to hear your thoughts on the Princess and the Frog and thank you for your continued support of this podcast. If you want to show your support in multiple different ways, you could leave a rating or review wherever you found this podcast.

You could tell your friends and family about this podcast or you can find me and follow me on social media and you can share the podcast that way. I am at Verbal Diorama. You can share posts like posts, comment on posts.

It all helps really to get the word out there and to hopefully get other people to know this podcast and know what I've been doing. I genuinely love doing this podcast and anything you could do to help would be so so appreciated.

If you like this episode on the Princess and the Frog, there are also many previous episodes on Disney movies, but I wanted to highlight A few that I think are very important to this conversation. The first is episode 36, A Long Time Ago on Treasure Planet, which tells the story of Musker and Clement's passion project.

as the movie that started the: 2000

Episode 198, Tangled, the movie that came after this movie and this movie obviously changed that movie in so many respects.

e cult following in the early: 2000

As always, give me feedback, let me know what you think of my recommendations and if you've watched the movies and if you've listened to the episodes.

So the next episode, there's actually going to be three episodes because it's this podcast's seventh birthday and traditionally for the birthday of this podcast, I tend to do a batch of episodes together. And this is really no exception. But I'm gonna need you to bring your tissues because these episodes are on every millennial kid's VHS obsession.

And I can guarantee it was always at least one of these movies on Repeat during your 80s or 90s childhood.

And it's a return to this podcast for the great Don Bluth and two of his collaborations with Steven Spielberg sandwiched between previous episodes of this podcast, the secret of NIMH and Anastasia, his 80s heyday with an American tale, the Land Before Time and All Dogs Go to Heaven, which we're actually coincidentally returning to New Orleans for. So that's fun, isn't it? As I said, these episodes are going to be coming out quite close to each other within kind of a week's period.

So please join me for the next three episodes for this podcast's seventh birthday, where I'm going to be talking about the history and legacy of an American tale, the Land Before Time and All Dogs Go to Heaven.

A huge thank you to the amazing patrons of this podcast to Simon, Laurel, Derek, Kat, Andy, Mike, Luke, Michael, Scott, Brendan, Ian, Lisa, Sam, Jack, Dave, Stuart, Nicholas, so Kev, Danny, Stu, Brett, Philip M. Xenos, Sean, Rhino, Philip K, Adam, Elaine, Kyle, Aaron, and brand new patron Steve. Thank you so much for joining the Patreon, Steve, you are so very welcome here, pull up a chair.

I'm just so happy to have you here and to welcome you to the Verbal Diorama Patreon.

If you want to get in touch, you can email verbaldiora@gmail.com you can also go to the website verbaldiorama.com and you can fill out the contact form. You can say hello, you can give feedback or you can give suggestions. I would genuinely love to hear from you.

You can also DM me on social media as well. I really love to hear from people and I always try to respond as quickly as possible. I'm hugely grateful to you all for your support.

And finally Bye.