Podcasts about Alba

In this episode, Brad Onishi sits down with Rev. Alba Onofrio—executive director of Soulforce and host of Teología Sin Vergüenza—for a powerful exploration of faith, queerness, and resistance. Together, they unpack how white Christian nationalism and institutions like ICE perpetuate spiritual violence against marginalized communities, and how Soulforce responds through nonviolent resistance and liberative theology. Rev. Alba shares their own remarkable story—from growing up in Appalachia and coming out, to embracing the name “Reverend Sex” and reclaiming spirituality as a site of freedom rather than shame. The conversation dives into the roots and mission of Soulforce, highlighting its Spirit Resource Library and the movement's commitment to equipping activists with tools for justice and healing. Rev. Alba reflects on the power of queer and trans ancestors, the complexity of belonging for Latinx and mixed-race individuals, and the importance of creating inclusive, full-bodied faith communities. Through Teología Sin Vergüenza, they continue to cultivate space for unapologetic conversations about faith, identity, and justice—challenging listeners to imagine a world where love and liberation guide our spiritual lives. Subscribe for $5.99 a month to get bonus content most Mondays, bonus episodes every month, ad-free listening, access to the entire 850-episode archive, Discord access, and more: https://axismundi.supercast.com/ Linktree: https://linktr.ee/StraightWhiteJC Order Brad's book: https://bookshop.org/a/95982/9781506482163 Subscribe to Teología Sin Vergüenza Subscribe to American Exceptionalism Learn more about your ad choices. Visit megaphone.fm/adchoices

It's the final stretch of the regular season — and emotions are high in Miami

Capítulo 105 de esta temporada dedicado a la IA, de la mano de Santiago Alba Rico Escucha todos los Derroteros aquí: https://spoti.fi/3VrfZrG Haz posible Carne Cruda con tu donación aquí: http://www.carnecruda.es/hazte_productor/

Fluent Fiction - Italian: Digging Deep: A Journalist's Journey to Unearth True Truffles Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2025-10-10-22-34-02-it Story Transcript:It: Alba, nel cuore delle Langhe, è un piccolo gioiello d'autunno.En: Alba, in the heart of the Langhe, is a small jewel of autumn.It: Le foglie degli alberi colorano il paesaggio e l'aria profuma di tartufi.En: The leaves on the trees color the landscape and the air is scented with truffles.It: È il festival del tartufo, un evento tanto atteso.En: It's the truffle festival, a much-anticipated event.It: Fra le bancarelle c'è un'artigianalità autentica, un tripudio di formaggi, vini, e miele.En: Among the stalls, there is genuine craftsmanship, an explosion of cheeses, wines, and honey.It: Il sole filtrava tra le nuvole, riscaldando le persone che si accalcavano per una degustazione.En: The sun filtered through the clouds, warming the people who crowded for a tasting.It: Luca, un cacciatore di tartufi della zona, attraversa la folla con una sicurezza familiare.En: Luca, a truffle hunter from the area, moves through the crowd with familiar confidence.It: Conosce ogni angolo del bosco, ogni segreto delle colline.En: He knows every corner of the woods, every secret of the hills.It: Ama la sua terra e vuole proteggerne le tradizioni.En: He loves his land and wants to protect its traditions.It: Ma in questi giorni, molti turisti affollano Alba.En: But these days, many tourists flock to Alba.It: Sono entusiasti, ma spesso fraintendono la vera essenza di ciò che li circonda.En: They are enthusiastic but often misunderstand the true essence of what surrounds them.It: Gianna è tra loro.En: Gianna is among them.It: Viene da Roma, è una giornalista alla ricerca di storie autentiche.En: She comes from Rome, and is a journalist in search of authentic stories.It: Spera di trovare qualcosa che la ispiri, qualcosa che parli al cuore dei suoi lettori.En: She hopes to find something that inspires her, something that speaks to the hearts of her readers.It: Il festival è affascinante, i colori, i sapori.En: The festival is fascinating, its colors, its flavors.It: Ma Gianna non cerca solo una bella immagine, vuole un racconto che restituisca verità.En: But Gianna is not just looking for a beautiful image, she wants a story that conveys truth.It: Luca nota la donna.En: Luca notices the woman.It: È curioso ma anche scettico.En: He is curious but also skeptical.It: I suoi precedenti con i giornalisti non sono sempre stati positivi.En: His past experiences with journalists have not always been positive.It: Si avvicina, la osserva mentre prende appunti, assapora i prodotti tipici.En: He approaches, observing her as she takes notes, tastes the typical products.It: "Ti interessano davvero i tartufi?"En: "Are you really interested in truffles?"It: chiede, con un tono velato di diffidenza.En: he asks, with a tone faintly tinged with distrust.It: Gianna sorride, cercando di trasmettere sincerità.En: Gianna smiles, trying to convey sincerity.It: "Li trovo affascinanti.En: "I find them fascinating.It: Mi piacerebbe capire come voi li trovate, come li apprezzate."En: I would like to understand how you find them, how you appreciate them."It: Luca, senza troppa convinzione, decide di metterla alla prova.En: Luca, with little conviction, decides to put her to the test.It: "Vuoi scoprire i veri tartufi?En: "Do you want to discover the real truffles?It: Unisciti a me domani.En: Join me tomorrow.It: Ma devi svegliarti presto."En: But you'll have to wake up early."It: La mattina seguente, Gianna si presenta puntuale.En: The next morning, Gianna shows up on time.It: Indossa un paio di stivali robusti ed è pronta a immergersi nel fango dei boschi.En: She wears a pair of sturdy boots and is ready to immerse herself in the mud of the woods.It: Luca, accompagnato dal suo fedelissimo cane, riconosce in lei una determinazione che va oltre l'immagine di giornalista.En: Luca, accompanied by his faithful dog, recognizes in her a determination that goes beyond the image of a journalist.It: Camminano insieme, tra le foglie umide e i profumi del sottobosco.En: They walk together, through the damp leaves and the scents of the undergrowth.It: Mentre si addentrano, Luca inizia a raccontare.En: As they venture deeper, Luca begins to narrate.It: Parla degli alberi, del terreno, del suo legame profondo con la sua terra.En: He talks about the trees, the land, his deep bond with his land.It: Gianna ascolta, prende parte con interesse, dimenticando appunti e registratori.En: Gianna listens, participates with interest, forgetting notes and recorders.It: Il cane si ferma, comincia a scavare con entusiasmo.En: The dog stops, starts digging enthusiastically.It: Luca sorride e si abbassa per curare l'operazione.En: Luca smiles and bends down to oversee the operation.It: Trovano un tartufo bianco, raro e prezioso.En: They find a white truffle, rare and precious.It: Questa scoperta è un evento speciale, un legame con la terra che entrambi sentono intensamente.En: This discovery is a special event, a bond with the land that they both feel intensely.It: Tornati ad Alba, Lucía e Gianna si salutano con calore.En: Back in Alba, Luca and Gianna say their goodbyes warmly.It: Lei ha capito il valore di ciò che ha vissuto.En: She has understood the value of what she has experienced.It: Scrive un articolo con il cuore, descrivendo la tradizione del tartufo, la passione di Luca, la bellezza di Alba.En: She writes an article with her heart, describing the tradition of truffles, Luca's passion, the beauty of Alba.It: Dà credito alla comunità e sottolinea l'importanza di preservare questi tesori culturali.En: She credits the community and emphasizes the importance of preserving these cultural treasures.It: Quando pubblica il suo pezzo, l'interesse che suscita è autentico e profondo.En: When she publishes her piece, the interest it arouses is genuine and deep.It: Luca legge l'articolo e si rende conto che, grazie a Gianna, la storia della sua amata comunità ha trovato le parole giuste.En: Luca reads the article and realizes that, thanks to Gianna, the story of his beloved community has found the right words.It: È felice di averle dato una possibilità.En: He is happy to have given her a chance.It: La diffidenza lascia il posto all'apertura.En: The distrust gives way to openness.It: Luca impara che, con le persone giuste, condividere non significa perdere.En: Luca learns that, with the right people, sharing does not mean losing.It: Gianna trova nuova linfa per il suo lavoro, sentendosi più connessa che mai alla gente e alle storie che racconta.En: Gianna finds new energy for her work, feeling more connected than ever to the people and the stories she tells.It: Il festival del tartufo si conclude, ma il legame tra due anime appassionate inizia a germogliare, proprio come un buon tartufo, nascosto ma prezioso.En: The truffle festival concludes, but the bond between two passionate souls begins to blossom, just like a good truffle, hidden but precious. Vocabulary Words:the heart: il cuorethe jewel: il gioiellothe leaf: la fogliathe festival: il festivalthe craftsmanship: l'artigianalitàthe stall: la bancarellathe tasting: la degustazionethe hunter: il cacciatorethe crowd: la follathe secret: il segretoto protect: proteggereto misunderstand: fraintenderethe journalist: il/la giornalistathe essence: l'essenzafascinating: affascinantethe curiosity: la curiositàskeptical: scettico/athe note: l'appuntothe sincerity: la sinceritàthe determination: la determinazionethe undergrowth: il sottoboscothe bond: il legameto discover: scoprireto narrate: raccontarethe recorder: il registratorethe dog: il caneprecious: prezioso/athe community: la comunitàthe energy: la linfato blossom: germogliare

Miami Herald's legendary reporter Michelle Kaufman drops by SDH AM to break down everything from Messi to Alba to Busquets and the backline...Is Messi playing...? How do you address the issues at the back...? Was Alba's retirement a shock...?All the things to prep IMCF for Atlanta United

Lionel Messi and Inter Miami got back in the win column this past weekend, but they lost all hopes of the Supporters' Shield and will soon lose another star player. Co-hosts Franco Panizo, Jose Armando, and Andrea Yanez discuss Inter Miami's 4-1 win over the New England Revolution, analyze Messi's chances of winning the MLS Golden Boot, talk Jordi Alba's surprise retirement decision, and more in a very fun episode.

Alba a partagé son parcours face à un cancer rare et agressif de l'endomètre, évoquant ses traitements et son cheminement psychologique. Elle a souligné l'importance de l'acceptation et de la méditation pour traverser cette épreuve. Alba a trouvé réconfort et renouveau en Italie, qu'elle considère comme sa thérapie. Chaque soir, en direct, Caroline Dublanche accueille les auditeurs pour 2h30 d'échanges et de confidences. Pour participer, contactez l'émission au 09 69 39 10 11 (prix d'un appel local) ou sur parlonsnous@rtl.fr.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Paul Delair et Caroline Dublanche explorent la thématique de la renaissance après une épreuve. À travers les témoignages de Zina et Alba, qui ont surmonté respectivement un viol conjugal et un cancer rare, l'émission soulève des questions sur la résilience, la transformation personnelle et la force de vivre face à l'adversité. Comment ces épreuves transforment-elles notre regard sur la vie ? Comment trouver le soutien nécessaire pour renaître ? Chaque soir, en direct, Caroline Dublanche accueille les auditeurs pour 2h30 d'échanges et de confidences. Pour participer, contactez l'émission au 09 69 39 10 11 (prix d'un appel local) ou sur parlonsnous@rtl.frHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This week on Skip the Queue, we're stepping into the turret and turning up the tension, as we explore one of the UK's most talked-about immersive experiences.Our guest is Neil Connolly, Creative Director at The Everywhere Group, who have brought The Traitors Live Experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous.So, how do you even begin to transform a TV juggernaut into a thrilling, guest-led experience? Let's find out who's playing the game… and who's about to be banished…Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on LinkedIn. Show references: The Traitors Live website: https://www.thetraitorslive.co.uk/Neil's LinkedIn: https://www.linkedin.com/in/neil-connolly-499054110/Neil Connolly is a creative leader of design and production teams focused on development, production and installation of live theatre, entertainment, multi-media and attractions for the themed entertainment industry worldwide.Neil began his career as a performer, writer, producer & artist in Londons alternative theatre/art scene. It was during this time Neil developed a love and passion for story telling through the platform of interactive playable immersive theatre.Having been at the vanguard of playable & immersive theatre since 2007, Neil had a career defining opportunity in 2019 when he devised, wrote & directed an immersive experience as part of Sainsbury's 150th Birthday Celebrations. Making him the only immersive theatre & game maker in the world to have HRH Elizabeth Regina attend one of their experiences.In a distinguished career spanning 20 years, Neil has brought that passion to every facet of themed entertainment in the creative direction and production of attractions such as; Handels Messiah, Snowman & The Snowdog, Peppa Pig Surprise Party, Traitors Live, The Crystal Maze Live Experience, Tomb Raider Live Experience & Chaos Karts, an AR go-kart real life battle. Other clients and activations include: Harrods, Sainsbury's, Camelot/The National Lottery, Samsung, Blenheim Palace, Land Rover and Warner Brothers.Neil has worked across 4 continents for many years with private individuals; designing, producing and delivering live entertainment on land, sea & air. A world without boundaries requires freethinking.Neil is currently working with Immersive Everywhere on creative development of show and attraction content for projects across U.K, Europe, North America & Asia. Transcriptions:  Paul Marden: This week on Skip the Queue, we're stepping into the turret and turning up the tension as we explore one of the UK's most talked about immersive experiences.Paul Marden: Our guest is Neil Connolly, Creative Director at The Everywhere Group, who've brought The Traitor's live experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous. So how do you even begin to transform a TV juggernaut into a thrilling guest-led experience? Let's find out who's playing the game and who's about to be banished.Paul Marden: So, we're underground. Lots of groups running currently, aren't they? How did you make that happenNeil Connolly: Yeah, so now we're two floors under us. There's a lower basement and some other basement. So the building that we are in, there's a family in the 1890s who owned all of the land around Covent Garden and specifically the Adelphi Theatre.Paul Marden: Right.Neil Connolly: And they wanted their theatre to be the first theatre in the UK to have its lights powered by electricity. So they built their own private power station in this building. Like, literally like, all this, this is a power station. But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this building until the 1980s when the establishment was assumed through the important UK network.Neil Connolly: And then it was sat there empty, doing nothing for 40 years. And so the landlord that is now started redeveloping the building 10 years ago, added two floors onto the top of the building. So now what we're in is an eight-storey structure and we've basically got the bottom four floors. Two of which are ground and mezzanine, which is our hospitality area. And the lower two floors, which are all in the basement, are our experience floors. What we're looking at right now is, if you look off down this way to the right, not you people on audio, but me here.Neil Connolly: Off this side is five of the round table rooms. There's another one behind me and there's two more upstairs. And then I've got some Tretters Towers off to the left and I've got my show control system down there.Neil Connolly: On the floor above me, we've got the lounges. So each lounge is connected to one of the round table rooms. Because when you get murdered or banished, one of the biggest challenges that I faced was what happens to people when they get murdered or banished? Because you get kicked out of the game. It's not a lot of fun, is it? Therefore, for me, you also get kicked out of the round table room. So this is a huge challenge I face. But I built these lounge concepts where you go— it's the lounge of the dead— and you can see and hear the round table room that you've just left. We'll go walk into the room in a while. There's lots of interactivity. But yeah, super fun. Neil Connolly: But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this establishment until the 1980s when the establishment was considered through the important UK network.Paul Marden: Yeah. So we've got 10 million people tuning in to Traitors per episode. So this must be a lot of pressure for you to get it right. Tell us about the experience and what challenges you faced along the way, from, you know, that initial text message through to the final creation that we're stood in now.Neil Connolly: So many challenges, but to quote Scroobius Pip on this, do you know Scroobius Pip? Paul Marden: No. Neil Connolly: Great, he's amazing. UK rapper from Essex.Neil Connolly: Some people see a mousetrap and think death. I see free cheese and a challenge.Neil Connolly: There's never any problems in my logic, in my thinking. There's always just challenges to overcome. So one of the biggest challenges was what happens to people when they get murdered or banished. The truth of the matter is I had to design a whole other show, which happens after this show. It is one big show. But you go to the Lounge of the Dead, there's more interactivity. And navigating that with the former controller, which is O3 Media and IDTV, who created the original format in the Netherlands, and basically designing a game that is in the world and follows the rules of their game with some reasonable adjustments, because TV and live are not the same thing.Neil Connolly: It takes 14 days to film 12 episodes of The Traitors. Paul Marden: Really? Okay. Neil Connolly: So I was like, how do I truncate 14 days of somebody's life down into a two-hour experience and still deliver that same impact, that same power, that same punch?Paul Marden: Yep.Neil Connolly: But I knew from the beginning of this that it wasn't about time. There is a magic triangle when it comes to the traitors, which is time, space, atmosphere. And time was the thing that I always struggled with. I don't have a Scottish cattle show, and I don't have two weeks. No. So I'm like, 'Cool, I've got to do it in two hours.' So our format follows exactly the same format. We do a breakfast scene, then a mission, then a roundtable banishment, then there's a conclave where the traitors meet and they murder somebody. And I do that in a seven-day structure, a seven-day cycle. But it all happens within two hours around this round table.Neil Connolly: I'm the creative director for Immersive Everywhere. We're a vertically integrated structure in the sense that we take on our own venues. So we're now standing in Shorts Gardens in the middle of Covent Garden. So we've leased this building. We've got a lease that is for a number of years and we have built the show into it. But we also identify the IP, go after that ourselves, we capitalise the projects ourselves. We seek strategic partners, promoters, other people to kind of come involved in that journey. But because we're also the team that are licensing the product, we are also the producers and I'm the creative director for that company. So I developed the creative in line with while also getting the deal done. This is incredibly unusual because other producers will be like, 'Hey, I've identified this IP and I've got it.' Now I'm going to approach a creative agency and I'm going to get them to develop the product. And now I've done all of that, I'm going to find someone else to operationally put it on, or I'm going to find a venue to put it on in, and then I'm going to find my ticketing partner.  But we don't do that. We have our own ticketing platform, and we have our own database, so we mark our own shoulders.Neil Connolly: As well as other experiences too. Back, we have our own creative industry, we are the producers, we are the female workers. So we cast it, we hire all the front of house team, we run the food and beverage, we run the bars. The operations team is our operations team because they run the venue as well as the show at the same time. So that's what I mean. We're a vertically integrated structure, which means we do it, which makes us a very unusual proposition within... certainly within the UK market, possibly the world. It makes us incredibly agile as a company and makes us to be able to be adaptive and proactive and reactive to the product, to the show, to the market that we're operating in, because it's all under one roof.Neil Connolly: This show started January 24th, 2023. Right. It's very specific because I was sitting on my sofa drinking a lovely glass of Merlot and I had just watched... UK Traitors, Season One. Yep. Because it came out that Christmas. Immediately I was like, 'Oh my God, this is insane.' And then I got a text message that particular night from our head of licensing, a guy named Tom Rowe, lovely man. And he was like, Neil, I'm at a licensing event with some friends of mine and everyone's talking about this thing called Traitors. I've not watched it. Have you watched it? Sounds like it might be a good thing. And so I sat back and drank my Merlot. And about five minutes later, I text him back and I was like, Tom, get us that license.Neil Connolly: And then I sent him a bunch of other details of how the show in my head would work, both from a commercial standpoint, but also from a creative standpoint, because I'm a commercially minded creative. Right. So I instantly took out my notebook and I started writing down exactly how I thought the show was going to do, the challenges that we would face and being able to translate this into a live thing. But I literally started writing it that night. And then he watched the first episode on the train on the way home. And then he texted me the next morning and he was like, 'I love it.' What do we need to do? And I was like, 'Get us in the room.' Two days later, we were in the room with all three media who own the format globally.Paul Marden: Okay.Neil Connolly: So we sat down and then they came to see one of our other shows and they were like, 'Okay, we get it now.' And then that was like two and a half years of just building the show, getting the deal done and facing the myriad of challenges. But yeah, sometimes it just starts with the text message.Paul Marden: So they get to experience all the key parts of the TV.Neil Connolly: All the key beats. Like right now, I'm holding one of the slates. They're not chalkboard slates. Again, this is... Oh, actually, this is a good challenge. So in the TV show, they've got a piece of slate and they write on it with a chalkboard pen. This seems so innocuous and I can't believe I'm talking about this on a podcast.Neil Connolly: Slategate was like six months of my life. Not in its entirety, but it was a six month long conversation about how we do the slates correctly. Because we do... 48 shows a day, six days a week. And those slates will crack. They will bash. And they're kind of a bit health and safety standards. I was like, can't have them. Also, they write on them with chalk pens, white ink chalk pens. But in the TV show, you only do it once a night. Yeah.Paul Marden: And then you have a producer and a runner.Neil Connolly: They just clean them very, very leisurely and set them back for the next day. And I was like, no, I've got to do a whole bunch of roundtable banishments in two hours. So we talked a lot about material, about style, literal viewership, because if you take a seat at the table. Yeah. If you're sitting at the table here, you'll notice that we've got a raised bit in the middle. If I turn mine around, the other person on the other side can't see it. So I was like, 'Okay, cool.' So we had to do a whole bunch of choreography. But also, the room's quite dark. Yes. At times, atmospheric. Yeah. In that magic triangle time-space atmosphere. So anything that was darker, or even that black slate, you just couldn't read it. And then there was, and then I had to— this is the level of detail that we have to go into when we're designing this kind of stuff. I was like, 'Yeah, but I can't clean off these slates with the white ink because everyone will have to have like a wet cloth chamois. Then I've just got loads of chamois around my venue that I just don't need.' And so then we're like, 'Oh, let's use real slates with real chalk.' And I was like, 'No, because dust will get everywhere.' I'll get chalk just all over my table. It'll just ruin everything. It'll ruin the technology that's inside the table because there's lots of hidden tricks inside of it. Paul Marden: Is there really? Yeah, yeah, yeah.  Neil Connolly: There's loads of hidden tricks inside the table. So after a while, going through many different permutations, I sat down with Christian Elenis, who's my set designer and my art director. And we were, the two of us were nearly in tears because we were like, 'We need,' and this only happened like.Neil Connolly: I would say two, three weeks before we opened. We still hadn't solved how to do the slate, which is a big thing in the show. Anybody who's seen the show and loves the show knows that they want to come in, they want to write somebody's name on the slate, and they want to spell the name incorrectly.Neil Connolly: Everyone does it on purpose. But I wanted to give people that opportunity. So then eventually we sat down and we were like, Christian, Neil. And the two of us in conversation went, why don't we just get a clear piece of Perspex, back it with a light coloured vinyl. And then Christian was like, 'Ooh,' and I'll make it nice and soft and put some felt on the back of it, which is what I'm holding. And then why don't we get a black pen? And we were like, 'Yeah,' like a whiteboard marker. And then we can just write on it. And then A, I can see it from the other side of the table. Thing one achieved. Two. Every marker pen's got an eraser on the top of it. I don't know why everyone thinks this is important, but it is. That you can just rub out like that, and I'm like, 'There's no dirt, there's no mess, and I can reuse this multiple times, like dozens of times in the same show.' And I know that sounds really weird, but that's the level of design I'm going to need.Paul Marden: I was just about to say, and that is just for the chalkboard. Yeah. Now you need to multiply that. How many decisions?Neil Connolly: How many decisions in each game. But also remember that there are eight round tables in this building. Each round table seats 14 people. And we do six sessions a day. So first ones at 10 a. m. Then we do 12, 2, 4, 6, and 8 p. m. So we do 48 shows a day, six days a week.Paul Marden: I love the concept that these are shows. This is not this is not visitor attraction. This is theater repeated multiple times a day for multi audience is concurrently.Neil Connolly: And I've just spent five minutes describing a slate to you. Yeah. But like, I haven't even got— it's like the sheer amount of technology that is in the show. And again, theatrical, like, look above our heads. Yeah. You've got this ring light above every seat. It's got a pin light. There's also microphones which are picking up all the audio in the room, which again is translating to the lounge of the dead. Every single one of the round table rooms has four CCTV cameras. Can you see that one in the corner? Each one of them is 4K resolution. It's quite high spec, which is aimed at the opposite side of the table to give you the resolution in the TV. In the other room. Then you've got these video contents. This is constantly displaying secret information through the course of the show to the traitors when they're in Conclave because everyone's in blindfolds and they took them off. They get secret instructions from that. There's also a live actor in the room. A live actor who is Claudia? They're not Claudia. They're not pastiches of Claudia. They are characters that we have created and they are the host of The Traitor's Game. Right. They only exist inside this building. We never have them portrayed outside of this building in any way whatsoever.Neil Connolly: They are characters, but they live, they breathe— the game of Traitors, the world of Traitors, and the building that we have designed and constructed here. And they facilitate the game for the people. And they facilitate the game for the people. One actor to 14 people. There are no plants, even though everyone tries to tell me. Members of the public will be convinced that they are the only person that's in that show and that everyone else is a plant. And I'm like, no, because that would be insane.Neil Connolly: The only actor in the room is the host.Paul Marden: 14 people that can sit around this table. How many of them are in the same group? Are you with your friends or is it put together where there are other people that you won't know in the room? If you book together, you play together.Neil Connolly: Yes. Okay, so if you don't book 14 people... Ah, we also capped the number of tickets that you can purchase to eight. Right. So you can only purchase a maximum of eight tickets unless you do want a full table of 14, at which point you have to then purchase a VIP package because you are booking out a whole table for yourselves. The game doesn't work if there's less than 10 people at the table. So there has to be 10, 11, 12, 13 or 14 people sat at a round table for the show to actually happen, for it to work. By capping the number of tickets that you book for eight, then that guarantees that strangers will be playing together. And that is the basis of strangers. Yeah, yeah. Like, you need to be sat around a table with people you know, you don't know, that you trust and you don't trust. Yeah. Fact of the matter. And do you see people turning on the others in their own group? Every single time. People think genuinely, and I love this from the public, you would think that if you're turning up as a group of eight and a group of four and a group of two, that the bigger group would just pick everybody off to make sure that someone in their group gets through to the end game.Neil Connolly: I'm sure they think that and they probably plot and plan that before they arrive on site. As soon as this game starts, gloves are off and everyone just starts going for each other. We've been open nearly two months now. I have seen, like, children murdered of their mothers.Neil Connolly: Husbands murder their wives, wives murder their husbands. I've seen, like, three generations—like, we get, because it's so intergenerational, like our lowest, the lowest age that you can play this is 12. Right. And then it's upwards. I've seen three generations of family come in and I've seen grandkids murder their own nan.Neil Connolly: Absolutely convinced that they're a traitor. Yeah, yeah, yeah. 100%. Or they banish them. Like, it's just mental. I've also seen nans, who are traitors, murder their grandkids.Neil Connolly: Like, and this is in a room full of strangers. They're just like, 'No, I'm not going to go for Barbara, who I met two hours ago in the bar. I'm going to go for my own grandson. It's mental.'Neil Connolly: The very, very first thing that I always think about whenever I'm creating an experience or whenever I'm designing a show is I put myself in the position of 'I'm a member of the public.' I have bought a ticketNeil Connolly: What's the coolest thing that I am going to do for my money? What is my perceived value of my ticket over actually what is the value of that ticket? I wanted to give people the experience of knowing what it was like to be sitting in one of these chairs at this table and feeling their heart. The pounding in their chest and I mean, the pounding in their chest, that rush of adrenaline from doing nothing— from sitting in a chair and all you were doing was sitting in a room talking to people and your heart is going.Neil Connolly: Because you're either being accused of being a liar. And trying to defend against it. And trying to defend against it. Or you actually are lying and you're trying to whittle your way out of it. And that feeling is the most alive that you will ever feel. Not ever. Like, I'm sure they're... No, no, no. But, like, give people that opportunity and that experience, as well as, like, access to the world of traitors and the law and everything else. But also, it's like any other theme park ride. People go on roller coasters because the imminent fear of death is always there. Yeah. And you feel alive. You're like, you've got such a buzz of adrenaline. Whereas, arguably, we do exactly the same thing as roller coasters, but in a much more longer-drawn format and multiple times. Yeah. And people do feel alive. When people walk out of the show, you see them go upstairs to the bar, and they are... Yeah.Paul Marden: You've said to me already that you don't use the word 'immersive,' but you know, I'm, I'm, I'm sat. The company is called 'immersive' everywhere. I'm sat behind the scenes. Okay. I'm sat in the room and the room is hugely convincing. It's like the highest fidelity escape room type experience that I've ever sat in. It feels like I'm on set, yeah, yeah. Um, I can totally believe that, in those two hours, you can slip. I sat on a game. It was only a two-minute game at iApple, but I was being filmed by one of the team. But within 30 seconds, I'd forgotten that they were there because I was completely immersed in the game. I can believe that, sitting in here right now, you could forget where you were and what you were doing, that you were completely submerged in the reality of the land that you're in.Neil Connolly: Yeah, 100%. Like, the world does not exist beyond these worlds. And for some people, like, I have my own definition. Everyone's got a different definition of what immersive is. I've got my own definition. But... I can tell you right now, as soon as people enter this building, they're in the bar, they're kind of slowly immersed in that world because the bar is a themed bar. It's done to the same, like we designed and built that bar as well. But as soon as they start descending that spiral staircase and coming into the gameplay floors, into the show floors, they just forget the rest of the world exists. And especially when they sit down at this table, it doesn't matter. I'm sat next to you here, but you could be sat at this table with your loved one, strangers, whatever. The gloves come off and just nothing exists apart from the game that you're about to go through.Paul Marden: You've been open now for a couple of months. More success than you were anticipating, I think. So pre-sales went through the roof? Yes. So you're very happy with the results?Neil Connolly: Yeah, yeah, we were. Yeah, well, we still are.Neil Connolly: We were very confident before we'd even started building the show, like the literal structural build, because we did very well. But then that set expectations quite high because I had a lot of people that had bought tickets and I was like, 'OK, I need to put on a good show for these people. And I need to make sure that they get satisfaction relative to the tickets that they bought.' But I don't feel pressure. I do feel anxiety quite a lot. Creatively? Yeah. I mean, I meditate every day.Paul Marden: But you've created this amazing world and you're inviting people into it. And as a creative, you're opening yourself up, aren't you? People are walking into the world that you've created.Neil Connolly: Yeah, this was said to me. This is not something that I came up with myself, and I do say this really humbly, but it was something that was said to me. It was on opening day, and a bunch of my friends came to playtest the show. And they were like, 'Oh, this is your brain in a building.'Neil Connolly: And I was like, 'Yeah, I hadn't thought about that.' But yeah, it is my brain in a building. But also that's terrifying, I think, for everybody else, because I know what happens inside my brain and it's really quite chaotic.Neil Connolly: But, you know, this I am. I'm so proud of this show. Like you could not believe how proud I am of this show. But also a huge part of my job is to find people that are smarter than me at the relative thing that they do, such as the rest of my creative team. They're all so much smarter than me. My job is vision and to be able to communicate that vision clearly and effectively so that they go, 'I understand.' The amount of times that people on the creative team turn around to me and go, 'Neil, that's a completely mental idea.' If people are saying to me, 'No one's ever done that before' or 'that's not the way things are done.'Neil Connolly: Or we can do that, but we're going to have to probably invent a whole new thing. If people are saying those things to me, I know I'm doing my job correctly. And I'm not doing that to challenge myself, but everything that I approach in terms of how I build shows is not about format. It's not about blueprints. It's not like, 'Hey, I've done this before, so I'm just going to do this again because I know that's a really neat trick.' I go back to, 'I made the show because I wanted people's heart to pound in their chest while they're sitting in a chair and make them feel alive.'Paul Marden: Is that the vision that you had in your head? So you're articulating that really, really clearly. Is that the vision that you sold to everybody on, not maybe day one, but within a couple of days of talking about this? No, it was day one.Neil Connolly: It was day one. Everyone went, that's a completely mental idea. But, you know, it's my job to try and communicate that as effectively and clearly as I can. But again, I am just one man. My job is vision. And, you know, there's lighting design, sound design, art direction, there's game logic. We haven't even gotten to the technology of how this show works yet, or how this room works.Neil Connolly: Actually, I'll wander down the corner. Yeah, let's do that. But, like, there's other, like, lots of hidden tricks. Like, this is one of the games, one of the missions. In the world and the lore of the show, the round table is sacrosanct.Paul Marden: Yes.Neil Connolly: Traitors is the game. The game is in other people. I can do so many missions and there's loads of missions and they're really fun in this show. But the game is in other people. It's in the people sat on the other side of the room. But also I wanted to do a thing where people could interact directly with the set. And so I designed one of the missions to be in the round table itself.Neil Connolly: So there's a course of these moon dials, which you basically have to align through the course of it. And there are sensors built into the table so that they know when they're in the correct position. How you find out the correct position is by solving a very, very simple puzzle and then communicating effectively to a bunch of strangers that you just met.Neil Connolly: And the sensors basically read it all. And when that all gets into position, the lights react, the sound reacts, the video content reacts, the whole room reacts to you. So I wanted to give people something tangible that they can touch and they make the room react to them. Yes, it's. I mean, I've designed, I've got background in escape rooms as well, right? Um, so I've done a lot of that kind of stuff as well. So I wanted people to feel in touch, same, but like, there's more tangible props over here. Um, yeah, that is a model box of the room that we are stood in, yeah. Also, there's an exact replica of it on the other side of it. There are very subtle differences between it, and that informs one of the missions. So that is two model boxes in this roundtable room. There's one of these in every single roundtable room. So there's 16 model boxes of the show that you're stood in on the set. And again, theatre. It's a show. But it's one of the missions, because I wanted people to kind of go, 'Oh, there's a live actor in front of me.' I'm having fun. Oh, look at all these lights and all the sound. Oh, there's a model box over here. That's in theatre land and blah, blah, blah. But that is also a really expensive joke. It's a really expensive joke. And there's other, like, lots of hidden tricks.Neil Connolly: Let's go look at backstage. Yeah, yeah, yeah, absolutely.Neil Connolly: I say backstage, like how we refer to it or how I always go. I use 'I' and 'we' very interchangeably. Like right now you're on the set. Like you're on the stage. Yes. We're just wandering around a long corridor. There are round table rooms off to either side. But like, you know, there's a green room upstairs where the actors get changed, where the front of house team are, where the bar team all are. But as soon as they go out onto the show floor, they're on stage—yes, completely. We'll very quickly have a look at the gallery—yes, show control. Hi, Robbo. Do you mind if I stand in your room for the purposes of the audio? I'm talking to the technical manager, Thomas Robson. We're recording a podcast.Paul Marden: Robbo, oh yeah, okay. My mind is absolutely blown. So you've got every single room up on screen.Neil Connolly: Yeah, so that's great. There's 164 cameras—something like that. But every roundtable room has four cameras in it. Each camera is 4K resolution. So we've got cameras on all of them. We've got audio into those rooms. That's two-way, so that if show control needs to talk directly to them, they just press a button here and they can talk directly to the room itself. Mainly just like, stop misbehaving, we're watching you.Neil Connolly: We've then got cameras into all of the lounges, all of the show spaces, all the front of house, all of the bar areas, the mezzanine and back of house. And then you've got QLab running across all of the different shows. We've got backups on all of these screens. So if one... of the computers goes down, we can very quickly swap it in for a backup that's already running. We've got show control, which is, there's a company called Clockwork Dog, who, they're an amazing company. What COGS, their show control system, is doing is pulling in all of the QLab from sound, all of the QLab from lighting, and also we built our own app. to be able to run the show. So there's a whole logic and decision tree based on the decisions that the public do through the course of the game. So yes, there is a beginning, a middle, and an end in terms of our narrative beats and the narrative story of the show that we're telling people. But also that narrative can go in. Hundreds of different directions depending on the actions and the gameplay that the people do during the course of the show. So, you haven't just learned one show— you have to learn like You have to learn a world, and you have to learn a whole game.Neil Connolly: Like, there's the server, stacks, which we had to build. You had to network and cable the entire building. So we have built an entire new attraction, which didn't exist before. And also we're pulling in information from the front of house system which is also going into the show itself because again, you put your name into the iPad when you arrive on site and then you tick a box very crucially to say, 'Do you want to be selected as a trader? Yes or No.' Because in the game, it's a fundamental rule. If you say no, you cannot be selected as a traitor by the host during traitor selection. That doesn't mean you can't be recruited.Paul Marden: By the traitors later on in the game. So you could come and do this multiple times and not experience the same story because there were so many different pathways that you could go down.Neil Connolly: But also, the game is in other people. Yes. The show is sat on the opposite side of the table to you because, like, Bob and Sandra don't know each other. They'll never see each other ever again. But Bob comes again and he's now playing against Laura. Who's Laura? She's an unknown quantity. That's a whole new game. That's a whole new show. There's a whole new dynamic. That's a whole new storyline that you have to develop. And so the actors are doing an incredible job of managing all of that.Paul Marden: Thanks, Robbo. Thank you. So you've worked with some really, really impressive leading IP, Traders, Peppa Pig, Doctor Who, Great Gatsby. What challenges do you face taking things from screen to the live experience?Paul Marden: Challenges do I face? We're wandering here.Neil Connolly: So we are in... Oh, we're in the tower.Neil Connolly: Excellent. Yep, so we're now in Traitor's Tower. Good time for you to ask me the question, what challenges do I face? Things like this. We're now stood in Traitor's Tower. Paul, let me ask you the question. Without the show lights being on, so we're just stood on a set under workers, what's your opinion of the room that we're stood in?Paul Marden: Oh, it's hugely impressive. It feels like, apart from the fact you've punched the fourth wall out of the telly, it does feel like you're on set.Neil Connolly: It's a really faithful reproduction of the set. So that's kind of one of the challenges is managing the public's expectations of what they see, do and feel on site. So that I don't change the show so that people come and play the game that they're expecting to play. But making reasonable adjustments within that, because TV and live are two very, very different things. So first and foremost was making sure that we get the format right. So the game that people play, which informs the narrative of the show and the narrative structure of the show. Breakfast, mission, round table, conclave. Breakfast, mission, round table, conclave. I've designed a whole bunch of new missions that are in this, taken some inspiration from missions that people know and love from the TV shows, whether that's the UK territory or other territories around the world. And also just other stuff is just clear out of my head. So there's original content in there. paying homage and respect to the world that they've built and allowing ourselves to also play and develop and build out that world at the same time. Other challenges.Neil Connolly: This is not a cheap project. No, no. I mean, the production quality of this is beautiful. Yeah, yeah, thank you. It is stunning. When people walk in here, they're like, 'Oh my God, this is... High end.' I am in a luxury event at a very affordable price.Paul Marden: Thank you. And then we're going back upstairs again. Yes. And in the stairwell, we've got the crossed out photos of all of those that have fallen before us.Neil Connolly: No, not quite. All of the people that are in this corridor, there's about 100 photos. These are all the people who built the show.Neil Connolly: So this is David Gregory. He's the sound designer. This is Kitty, who is Immersive Everywhere's office manager. She also works in ticketing. That is Tallulah and Alba, who work in the art department. Elliot, who's our lighting designer. So all of these people are the people who brought the show to life.Paul Marden: Amazing.Neil Connolly: And we wanted to pay homage to them because some of them gave years of their lives to building the show from literally the inception that I had in 2023. Through to now and others are the people who literally spent months of their life underground in these basements building hand-building this set and so we wanted to pay homage to them so we got all of their photos we did the iconic red cross through it yeah and we stuck them all up in the corridor just because we thought it'd be a nice thing to do.Paul Marden: You're in the business of trading and experiences and that ranges from art exhibitions to touring shows. There's always going to be a challenge of balancing innovation and profitability. What is the formula? What is the magic formula?Neil Connolly: I believe, first and foremost, going back to what I was telling you earlier about us being a collaborative organisation. We are not a creative crack that has been used for the show. We are also the producers of the show. And to make my point again, I'm a commercially minded creative. So I actually sit down with the producers and go, 'Okay, cool.' There are 112 seats in the show.Paul Marden: Yep.Neil Connolly: Therefore, how many shows do we need to do per day? How many shows do we need to do per week? How many shows do we need to do per year? Therefore, let's build out a P &L. And we build a whole business plan based around that.Paul Marden: By having everybody— that you need in the team— makes it much easier to talk about that sort of stuff. It makes it much easier for you to design things with the end result in mind. You don't have a creative in a creative agency going off— feeding their creative wants without really thinking about the practicalities of delivering on it.Neil Connolly: Exactly. So you've got to think like, literally, from the very, very beginning: you've got to think about guest flow. You've got to think about throughput. You've got to think about your capacities. Then you've got to basically build out a budget that you think— how much, hey, how much really is this going to cost? Yeah. Then you build out an entire business plan and then you go and start raising the money to try and put that on. And then you find a venue. I mean, like the other magic triangle, like the traitor's magic triangle is, you know, time, space, atmosphere. That's how you do a show. Like with my producer's hat on, the other magic triangle is show, money, venue.Neil Connolly: The truth of the matter, like I make no bones about it, I can design shows till the cows come home, but I'm always going to need money to put them on and a venue to put them in. Also, I want to stress this really important. I use the words 'I' and 'we' very interchangeably.Paul Marden: It's a team effort.Neil Connolly: You can see that in that corridor. I am not a one-man band. I am the creative director of a company. I am a cog that is in that machine, and everybody is doing... We are, as a team... I cannot stress this enough. Some of the best in the business are doing what we do. And everyone is so wildly talented. And that's just us on the producing side. That's immersive everywhere, limited. Then I've got a whole other creative team. Then we've got operations. Then we've got... It's just mad. It's just mad, isn't it? This is a job. Who would have thought, when you were at school, this was an opportunity? Not my principal or my maths teacher.Neil Connolly: So, sorry, just to balance the kind of economies of scale. That was the question, wasn't it?Paul Marden: Well, we were talking about what is the formula for making that an investment, but you know, the authority here is the effort you've put in to do this feels high, but at the same time, you have to find this thing. There is a lot of investment that goes into the front.Neil Connolly: But that comes back to creatives. Caring and I'm not saying the creatives don't, but I care. I care about building businesses. Yeah, not necessarily like building my own CV, like there's so many projects that across our desks. I'll be like, 'Yeah, that'd be really fun to work on.' But do I think that I can make that a touring product? Can it be a long-running location-based entertainment sit-down product? Can it be an art shop? Like you've kind of got a balance with what do you think is just creatively cool versus what can we do as a company that is a commercially viable and financially stable product? And so all that comes through in terms of the creative, but also in terms of the activities of how we run the building, how this model realizes. Because if you think about it, let's make Phantom of the Opera run in the West End. Yes. The show is very obvious, with many casts on a room, away, fruit team away, terrace, it's a big activity. If they haven't sold half that away, they have to use the whole show and play all those people.Neil Connolly: But if they haven't sold half that away from one of my shows... I only have to activate four of my rooms, not eight of them. Therefore, I don't have to call in four actors. I don't have to call in a bunch of the other front of house team and I can scale in the operations on the back. It's an entirely scalable process. Flexible, yeah, yeah, yeah. Oh, 100%. But also, like, we've got eight rooms here. If we decide to take this to another territory, and that territory demands a much higher throughput, then instead of eight rooms, I can do 20 rooms, 30 rooms. As long as we know that the market is there to be able to kind of get people through it.Neil Connolly: I love this show and I'm so proud of it. The main reason why I'm proud of it is when the show finishes, let's go into one of the lounges. Have you been into one of the lounges?Paul Marden: I've had a nose around a lounge.Neil Connolly: There are different shapes and sizes. We won't go into that one. We'll go into this one down here. That one, that one. It's always such a buzz when you're stood in the bar and the shows kick out, and you see tables and tables of 14 people going up into the bar.Neil Connolly: Area and before they've even gotten a drink, they will run straight over to their friends, families, strangers, whoever they were playing with in that table of 14, and instantly be like, 'Right, I need to know everything that was going on inside your head, your heart, and your soul over the last two hours of my life because this was my experience.'Neil Connolly: And they'll just go, and they'll be like, 'And this is what I was thinking.' And then I thought it was you because you did this and you touched your nose in a weird way. And then I thought you were sending secret signals. And then everyone's like, 'No, that's not what I was doing.' I was just trying to be a normal person. And they were like, 'Well, why did you say that thing?' It sounded super weird. And they're like, 'That's just what I do.' And it's just totally mental. And then they all get a drink from the bar. And we call it the bar tab chat.Neil Connolly: It's another revenue stream.Neil Connolly: I do talk about this like it's a show. And it is a show. You've walked around, do you think it's a show? Completely. I talk to established houses all the time. Like, you know, the big theatres of the land. Organisations that are national portfolio organisations who receive a lot of Arts Council funding. The thing that they want to talk to us about all the time is new audiences. They're like, 'How do I get new audiences through my door?' What can I do? And I'm like, 'Well, firstly, make a show that people want to go and see.'Neil Connolly: Again, they're like, 'But I've got this amazing writer and he's a really big name and everyone's going to come because it's that name.' And I'm like, 'Yeah, that's wicked. That's cool.' And they can all go pay reverence to that person. That's really wonderful. Whereas when you look at the attractions landscape or the immersive theatre landscape or like anything like... Squid Game, or The Elvis, Evolution, or War of the Worlds, which has also laid reality, or any of that kind of stuff, across the landscape, it is nothing but new audiences. Yeah, yeah, yeah. It is nothing but actual ticket-buying audiences.Neil Connolly: And they come from all different walks of life. And what I love is that they do come in to this experience and we hit them with this like secret theatre.Neil Connolly: And they're like, 'Oh my God.' And often it's a gateway to them being like, 'Oh, I didn't realise that.' Maybe I'll go see a Western show or maybe I will go to the National Theatre and see something. Because that's the level of archery. Because those organisations, I love them and I've worked in a few of them, but those buildings can be quite austere, even though they're open and porous, but it's still very difficult to walk through that threshold and feel a part of it.Paul Marden: Whereas coming in here, coming into an event like this, can feel like a thing that they do.Neil Connolly: Because it's the same demographic as theme park junkies. People who love going to theme parks love going to stuff like this because it's an experience, it's an otherness, it's an other nature kind of thing. Because modern audiences want to play and do, not sit and watch. But we all exist in the kind of same ecosystem. I'm not taking on the National Theatre.Paul Marden: Gosh, no. I always talk about that. I think the reason why so many attractions work together in the collaborative way that they do is they recognise that they're not competing with each other. They're competing with sitting on your backside and watching Netflix.Paul Marden: Yeah, yeah.Paul Marden: Our job for all of us is to drag people away from their screens and drag people off of their sofas to do something. And then that's the biggest challenge that we all face.Neil Connolly: I think then that kind of answers the question that you asked me earlier, which I didn't answer. And I'm very sorry.Neil Connolly: is about identifying different pieces of IP. Like, yes, we largely exist in the world of licensing IP. And how do we identify that kind of IP to be able to translate? Not just how do we do it, but like, actually, how do we identify the right thing that's going to... How do you spot the winner? Yeah, exactly. Yeah. And that is one of the biggest challenges to your point of we're talking directly to people who consume arts, culture and media and technology in a slightly more passive way, whether that's just at home and watching Netflix and then bringing that to life. In a very, very different way. If you have a very clear marketing campaign that tells people what it is that they're buying and what they're expected to see or do on their particular night out, because that's what modern people really care about, what they do with their money. Yeah. And they want to have a good night out. And I'm in the business of giving people a good night out. We also happen to be murdering a lot of people in the course of the show.Neil Connolly: Still a good night out. Still a good night out. But I'm in a place where the dead sit. Yeah, exactly. Lounge of the dead. And like, you know, this is a really cool space. Oh, it's just beautiful. You know, we've got the telephone really works. There's lots of information that comes through that. The radio works, that does different things. The TV screen on the wall, that has the actual live feed into the round table room that you've just left. And there's other little puzzles and hints and tricks in this room, which means that after you've been murdered or banished and you come to the Lounge of the Dead, you're still engaged with the game to a degree. You just don't directly influence the outcome of the game. But you're still involved in it. You're still involved in it. It's super fun. Oh, and you can have a drink in here.Paul Marden: I don't let people drink in the round table. Even more important. What's this?Neil Connolly: The dolls, the creepy dolls. What this is, this is the void. Creatively speaking, this is where all the gold goes when people win or lose it. And the creepy dolls are from the TV show. Ydyn nhw'r un gwirioneddol o'r sioe? Felly, gafodd studio Lambert, sy'n gwneud y sioe tebyg, llawer o brops o'r sioe tebyg i ni eu rhoi ar y ddispleiddio yma. Felly, mae gennych chi'r Dolls Creepy o'r lles 3 yno. Rydyn ni'n mynd i fyny. Yn ôl yma, mae'r peintiwch Deathmatch.Paul Marden: Which is from season three.Neil Connolly: And they get the quill and they write the names and got the quill upstairs. We've also got over here, the cards that they used to play the death match with. Excellent.Paul Marden: So you began your career in theatre. How did that evolve into the world of immersive live experiences?Neil Connolly: Life story. I am the son of a postman and a cook. And if you haven't noticed already, I'm from Ireland. There was no theatre in our lives, my life, when I was growing up. And I stumbled into a youth theatre. It's called Kildare Youth Theatre. And the reason why I joined that is because there was a girl that I really fancied.Neil Connolly: She had just joined this youth theatre and I was like, 'Oh, I'm gonna join that as well' and that kind of opened the world of theatre for me. At the same time, I then got spotted by this guy, his name's Vijay Baton, his real name's Om, but he converted to Hare Krishnanism in the 90s. And he set up a street theatre company in Ireland. He just taught me street theatre. So he taught me stilt walk, he taught me juggling, he taught me how to build puppets. And so I spent years building puppets with him and going around Ireland doing lots of different street theatre while I was a teenager. And doing street theatre and doing my youth theatre and then kind of all of that kind of came to a head when I had to decide what I was going to do with my life. I applied to go to drama school. And I applied to two drama schools. One was Radha. Didn't get in. Didn't even get an audition. And the other one was Rose Bruford. And they took me. And the reason why they took me— I probably wasn't even that good. But on the day that I was auditioning to get into Rose Bruford was the same day as my maths exam for my final exams at school. You call them your A-levels, we call them the leaving certificate.Neil Connolly: And while all of my friends were back in Ireland doing their maths exam, I was in an audition room pretending to be a tree or the colour black.Neil Connolly: Who knows? And they kind of went, 'Well, if I fail my maths exam, I don't get into university in Ireland.' Like, it's just a blanket thing. And so I was like, 'I literally sat across the panel' and I was like, 'eggs, basket.' And they were like, 'cool.' So they let me in based off of that. So I got a classical training. Then what happened is I came out of university. I was living with two of my friends, Natalie and Joe. And we had our own little production company called The Lab Collective. And we just started making shows. In weird ways, we joined a company called Theatre Delicatessen. Let's get away from this. Yeah, yeah, yeah.Neil Connolly: So Theatre Deli was a company set up to take over disused spaces in London and convert them into art spaces.Neil Connolly: Basically legalised squatting. It's the same as like a guardianship. But we weren't living in the buildings. We were just putting on shows and we put on art shows, we put on theatre shows. We did Shakespeare for a while. We wrote our own work and we just did lots of really, really cool stuff. And I worked in music festivals, classically trained actor. So I was trying to do shows. I did a lot of devising. I also joined an improvisation group. And kind of through all that mix, like those years at Delhi, which was making these weird shows in these weird buildings, were very, very formative years for us. The Arts Council wouldn't support the kind of work that we were making. We were like, 'Cool, how do we get space?Neil Connolly: How do we get or make money to support ourselves? And what are the shows? There's the magic triangle all over again. Space, show, money. And that's your apprenticeship, I guess, that brings you to here. Yeah, yeah, yeah. And like, again, I make no bones about it. 10 years ago, I was selling programs on the door of the Royal Festival Hall while doing all of that stuff. So in one of the Theatre Daily buildings, we did a show called Heist, which is you break into a building and steal stuff. That's what the public do.Neil Connolly: And a bunch of us did that. I mean, it's so much fun— kind of doing it. And off the back of that, somebody else basically tried to chase down the crystal maze. And then they went away, and then they called me up and they were like, 'Hey, I've got the rights. Do you want to make the crystal maze?' And I was like, 'Yeah, sounds like fun.' So I got involved with that, did that for a while. And then, from there, this is the end of a very long story. I'm so apologised. Yeah, from there, all of those different things that I've done through the course of my life in terms of operations, designing experiences, being a creative, understanding business.Neil Connolly: Building a P&L, building a budget, talking to investors, trying to convince them to give you money. All of that stuff kind of basically came together. And over the last few years, like the wildest ride is that pre-2020.Neil Connolly: We were just a bunch of people doing a bunch of weird things, making weird shows and weird attractions in kind of different ways. And then that year happened. And I don't know what happened, but literally every single major studio, film, TV production, game designer, licensor in the world, suddenly just went— brand extensions, world extensions, and they all just started calling us. And they were like, 'Hi, I've got this thing.' Can you develop it into a thing? Because I need to extend my brand or I want to build a world and extend that for the public. And we were like, 'Yeah, okay, cool.' And we were just lucky, serendipitously, to be in the right place at the right time. To be those people that people can approach. And we're always, we're very approachable.Neil Connolly: As you can tell, I talk a lot. And, you know, so the last five years, it's just been a mad ride.Paul Marden: So look, Neil, it's been amazing. I have had the most fun. Last question for you. What's next? Are you putting your feet up now because you finished this? Or on to the next? Neil Connolly: Very much on to the next thing. So we're already in production with our new show, which is called Peppa Pig Surprise Party. And that is opening at the Metro Centre in Gateshead next year. Oh, how exciting is that? It's very exciting.Paul Marden: So quite a different demographic.Neil Connolly: The demographic for Peppa Pig is two to five year olds. It's been a really fun show to design and create. To go back to a question that you asked me very early on, there is no blueprint, there is no format. I have embraced the chaos tattooed on my arm. And always when I approach things, any new show or any new creative, I am thinking of it from a ticket buying perspective: 'I have paid my money.' What is the coolest thing that I can possibly do with that money? And so therefore, I'm now looking at families and, like, what's the coolest thing that they can do for that ticket price in the world of Peppa Pig?Paul Marden: Let's come back in the new year, once you've opened Peppa Pig, let's go to Gateshead and see that. That sounds pretty awesome to me. I reckon there's a whole new episode of Designing Worlds for two to five-year-olds that we could fill an hour on.Neil Connolly: Oh yeah, 100%. It's a totally different beast. And super fun to design.Paul Marden: Oh mate. Neil, it has been so wonderful having a wander around the inside of your crazy mind.Paul Marden: If you've enjoyed today's episode, please like it and leave a comment in your podcast app. It really does make it so much easier for other people to find us. This episode was written by Emily Burrows from Plaster, edited by Steve Folland, and produced by Sami Entwistle from Plaster and Wenalyn Dionaldo. Thanks very much. See you next week.  The 2025 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsTake the Rubber Cheese Visitor Attraction Website Survey Report

What if the biggest obstacle to financial success isn't strategy or hard work—but the beliefs you hold about yourself?In this episode, I sit down with Esmeralda Alba to explore the inner work of abundance and how simple mindset shifts can create profound changes in your financial life. She shares her personal journey from struggle to transformation, and how a powerful practice called Intensati helped her rewrite her inner dialogue and step into a new reality of possibility.Esmeralda opens up about moving from a scarcity mindset to one of abundance, showing how even small adjustments in thought patterns and daily practices can unlock growth. She also shares practical tools—from gratitude to intentional language—that helped her transform her relationship with money and opportunity.We dive into the wisdom of her spiritual mentor, Patricia Marino, who taught her that abundance isn't something you chase, but something you cultivate within yourself. Esmeralda's raw and vulnerable stories reveal how doing the inner work can lead to breakthroughs that ripple into every area of life.Whether you're building a business, investing in real estate, or simply seeking more alignment in your personal journey, this episode will inspire you to reset your mindset. Esmeralda's story is proof that financial success starts on the inside—and grows outward from there.HIGHLIGHTS AND KEY POINTS:[01:20] A short introduction about our guest Esmeralda Alba and shares how an exercise class introduced her to the power of affirmations and an abundance mindset[05:19] Esmeralda explains how shifting her money mindset during tough times transformed her family's business journey[09:21] Esmeralda outlines the daily practices she uses to cultivate an abundance mindset and describes how she actively shifts from fear to gratitude when facing life's toughest moments[14:15] How solitude and daily discipline support Esmeralda's shift toward an abundance mindset [16:33] Esmeralda shares how she shifted her money mindset from scarcity to abundance through daily language changes and affirmations[21:26] Esmeralda explains how repeating present-tense affirmations like “I am a money magnet” programs the subconscious to attract financial abundance [25:23] How mindset practices, abundance beliefs, and reframing money stories transformed Esmeralda's life[33:00] Esmeralda credits her late mentor for reshaping her money beliefs and emphasizes that abundance requires consistent daily practice[36:58] How intuition and leaning on a trusted community helps Esmeralda vet opportunities within an abundance mindset [41:47] Esmeralda credits Alicia for pushing her out of her comfort zone and helping her step into the spotlight [43:17] The lightning round Golden Nuggets:"What you put out, or what you say, or even what you think is what you're attracting, these are the things that you're going to attract.”“We're able to set fuel to our fire and power behind ourselves when we train our brain to work for us.”“The more grateful you are for the things that you have, the more abundance that you attract into your life.”“Having an attitude of gratitude helps you, not only again organically begin to see shifts in your life, but it also makes life

Rubén Pozo visita Cuerpos especiales para presentar su nuevo disco, 50town. Jorge Yorya nos habla del Jaffar de internet y Arturo Paniagua, del productor Max Martin. Además, en la mesa de debate Eva, Nacho, Dani y Alba discuten sobre los chihuahuas y Javi Sánchez repasa los lanzamientos musicales más destacados de la semana. 

En este episodio, charlamos con Alba Salas, psicóloga, sexóloga y creadora de la plataforma @Sexorientando, sobre cómo hablar de sexualidad con nuestros hijos sin miedo, vergüenza ni tabúes. Abordamos por qué es tan importante una educación sexual clara, cercana y respetuosa desde casa, y cómo podemos acompañar a nuestros adolescentes en este aspecto tan clave de su desarrollo. Una conversación honesta y necesaria para construir confianza, romper silencios y educar en libertad.RECUERDA:Puedes ayudarme a seguir creciendo con un

"Dicen que las construcciones no solo se levantan con cemento y ladrillos… en muchas obras se esconden secretos oscuros, tragedias y hasta sacrificios humanos. Hoy en Extra Anormal conocerás los relatos paranormales más escalofriantes ocurridos en construcciones y terrenos malditos."En este episodio de Extra Anormal exploramos las historias más oscuras que se esconden detrás de las construcciones:Un albañil que logra salvarse de ser parte de una ofrenda en plena obra.Dos trabajadores que mueren tras mover objetos en un cerro maldito.La creencia de pedir permiso a los aluxes antes de construir.Un departamento construido en un terreno maldito, donde siempre ocurren tragedias.Rituales extraños realizados por un doctor en medio de una obra.Huellas de niños en cemento fresco, provenientes de un kinder donde murieron.Y albañiles que hablan con un jefe en la obra… sin saber que ya había muerto.⚡ Relatos paranormales reales, testimonios escalofriantes y leyendas que confirman que no todos los terrenos son lo que parecen.

Welcome to another edition of The B4 Podcast, brought to you by B4 Bookings… We've got another exclusive mix coming your way for the next hour, this month courtesy of a brand new signing to the agency - a hugely exciting young Spanish DJ, called Alba Franch… Alba is an emerging talent from Madrid, whose sets just radiate energy and personality… Whether she's setting the tone for international headliners or closing out the night with her trademark intensity, she's equally at home… Be it hard groove, hard house, or even trance, she has a deft ability to move between driving techno and harder rhythms, and she always manages to forge a deep and personal connection with the crowd… Earlier this year, she entered the legendary tiled room of HÖR in Berlin to drop an hour of complete fire, she's recently played her second Face 2 Face set at Mondo Open Air, there've been performances across her homeland these last few weeks, and you're gonna be seeing her name increasingly on lineups around Europe…  Some extensive studio sessions have been happening this summer too, with some quality releases coming you way very soon… Put all this together, and she's guaranteed to be wowing audiences far, far beyond her native Spain for the foreseeable future…  So, enough of an intro, as you really need to actually hear what she's all about - in the mix for the next 60 minutes, prepare to be dazzled by some serious skills on the CDJs, and turn it up, for Alba Franch.

Comedian/Pro Wrestling Commentator and Personality Josh Alba talks evolving w/ Cory Kastle.https://www.instagram.com/itsjoshalba/

Derroteros número 103 de esta temporada dedicado al número Doce, de la mano de Santiago Alba Rico Escucha todos los Derroteros aquí: https://spoti.fi/3VrfZrG Haz posible Carne Cruda con tu donación aquí: http://www.carnecruda.es/hazte_productor/

The story progresses a little slower this episode as we witness the many ways in which characters sacrifice on behalf of the ones they love. Are Love's embers glowing for Antonio & Carol Peletier? Is Daryl Dixon's heart softening? Will Justina de Rivera's sacrifice for Alba be the trigger to push Daryl over the edge?

Hoy volvemos a hacer una sesión a base de las últimas novedades de casa con el estreno de "Acción de Gracias", último avance del próximo disco de Lady Banana, que se va a titular "4D" y que se publica el 24 de octubre. Además. Nerea y Alba llaman al rapero Sho-Hi, de los míticos Violadores del Verso para que las acompañe en esta nueva experiencia. Escuchamos a Karavana con su versión de " Baila Sumeria", de Triángulo de Amor Bizarro y a Repion, por fin, con la primera de las canciones de su nuevo disco, "El Sueño Dura Una Semana". LA M.O.D.A, REPION - No Te Necesito Para Ser FelizREPION - El Sueño Dura Una SemanaKARAVANA - Baila SumeriaCARMESÍ - Día TristeMARIA RODÉS- El Parque (Feat. La Bien Querida)BERNAL - Una Amistad PerdidaMERINA GRIS Y GORKA URBIZU - Tesla Bat Sutanstivijoes - Toda una vidaPABLOPLABO - Vida NuevaBESMAYA - Lo Que Nunca FueLady Banana, Sho-Hai - Acción de GraciasIDEALIPSTICKS - Losers & LoversRUBÉN POZO - DispárameSARRIA - Compasión Por MíJUVENTUDE - Ana, mi AmorDANI DICOSTAS - Mucho Para TiSAMURAÏ - Dejándolo PasarLOS INVADERS - Wolfwoman (Peredius Remix)Escuchar audio

En este nuevo episodio de Análisis BIVA Sostenible nos acompaña Alba Aguilar, Directora General del Consejo Mexicano de Finanzas Sostenibles, quien nos habla sobre qué iniciativas tiene el CMFS para acelerar la adopción de finanzas sostenibles en México. María José Berrueta, Gerente de Sostenibilidad en BIVA.

Gallerí Barmur var einstaklega forvitnilegt gallerí sem var starfrækt á árunum 1996-1998. Þetta var farandgallerí sem ferðaðist á barmi mismunandi fólks í formi nælu, og nú eru þessar nælur til sýnis ásamt hinum ýmsu gögnum sem tengjast rekstrinum, í Hönnunarsafninu í Garðabæ. Við ræðum við fólkið á bak við Gallerí Barm í þætti dagsins, hjónin Tinnu Gunnarsdóttur og Sigtrygg Bjarna Baldvinsson. Sigrún Alba Sigurðardóttir gaf nýverið út sína tíundu bók, sem hún segir vera sína stystu en jafnframt þá sem erfiðast var að skrifa. Þegar mamma mín dó, heitir hún, og er persónuleg frásögn um þær sterku tilfinningar sem togast á þegar dauðinn knýr dyra, ást og umhyggju, samviskubit og vanmátt. Sigrún Alba segir okkur nánar frá bókinni í síðari hluta þáttar. Gauti Kristmannsson rýnir í skáldsöguna Ég heyrði Ugluna kalla á mig, eftir Margaret Crave, í þýðingu Gunnsteins Gunnarssonar.

En CADENA 100, "Buenos días, Javi y Mar" comienza con música de Lady Gaga y presenta el tiempo, marcando el inicio del otoño con temperaturas frescas en varias ciudades y lluvias previstas para el norte y el sureste. Las noticias internacionales destacan que varios países reconocen Palestina, y la ONU celebra su Asamblea General abordando Gaza, Ucrania y Venezuela. Se informa de un ciberataque que afecta a aeropuertos europeos y de noticias de celebridades como Angelina Jolie. Melendi y Alejandro Sanz animan a los oyentes a compartir confesiones, y Choni gana un juego respondiendo con la letra 'L'. Se debate sobre la elección de actividades extraescolares para niños. La programación musical incluye a David Guetta y OneRepublic, Amaral, Avril Lavigne y Bruno Mars. José Real informa sobre el Día Sin Coche y el inicio del otoño. Alba sugiere nombres divertidos para ex-parejas. El programa también presenta opiniones de niños sobre sus vecinos y más música.

La película documental sobre la vida del artista a través de los ojos de su hija se estrena el 23 de septiembre en el festival de San Sebastián

El Departamento del Tesoro de Estados Unidos vuelve a poner contra las cuerdas al crimen organizado en México. El experto en crímenes financieros Salvador Mejía analiza la visita de John K. Hurley, subsecretario del Tesoro, y las sanciones que congelaron bienes de 22 personas y empresas vinculadas al Cártel de Sinaloa, incluyendo a una diputada de Morena señalada por colusión con el narco. Con León Krauze revisamos el golpe a la libertad de expresión en Estados Unidos tras la cancelación del programa nocturno de Jimmy Kimmel, apenas tres días después de su comentario sobre el joven líder trumpista asesinado, Charlie Kirk. En el estudio, Rebecca de Alba comparte detalles de su tradicional venta anual del 26 al 28 de septiembre, dedicada a apoyar a pacientes con cáncer. Y con el Dr. Fernando Guerrero Burgos, cirujano plástico del Hospital Ángeles Pedregal, hablamos de las últimas técnicas y esfuerzos médicos en la atención de quemaduras y reconstrucción estética, un tema de alto impacto para la salud. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

El Departamento del Tesoro de Estados Unidos vuelve a poner contra las cuerdas al crimen organizado en México. El experto en crímenes financieros Salvador Mejía analiza la visita de John K. Hurley, subsecretario del Tesoro, y las sanciones que congelaron bienes de 22 personas y empresas vinculadas al Cártel de Sinaloa, incluyendo a una diputada de Morena señalada por colusión con el narco. Con León Krauze revisamos el golpe a la libertad de expresión en Estados Unidos tras la cancelación del programa nocturno de Jimmy Kimmel, apenas tres días después de su comentario sobre el joven líder trumpista asesinado, Charlie Kirk. En el estudio, Rebecca de Alba comparte detalles de su tradicional venta anual del 26 al 28 de septiembre, dedicada a apoyar a pacientes con cáncer. Y con el Dr. Fernando Guerrero Burgos, cirujano plástico del Hospital Ángeles Pedregal, hablamos de las últimas técnicas y esfuerzos médicos en la atención de quemaduras y reconstrucción estética, un tema de alto impacto para la salud. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Alba Melendo y Raquel F. Sobrín son dos amigas en Fashion Sucks, un podcast en el que analizan con humor y sin filtros las luces y sombras del universo de la moda. Alba es estilista y Raquel periodista de moda. Charlamos en el Hotel sobre alquimias, alianzas extrañas, las hermanas Olsen, Phoebe Philo, viajar con 18 maletas, santos con pistolas, brujas, desfiles, puzles, poder, Giorgio Armani, coleccionar minerales, libros, creatividad y encontrar lo que te entusiasma.Libros mencionados:— The Fashion Conspiracy - Nicholas Coleridge— Vita Prada - Gian Luigi Paracchini

Se conmemoran 4 años de la erupción del volcán Cumbre Vieja en La Palma. Testimonios de locales, como Naira, Alba y Álvaro, revelan el impacto duradero en cementerios (tumbas arrasadas por la lava), escuelas y la compleja reconstrucción. El cráter sigue siendo un símbolo imponente. En política, el Tribunal Supremo mantiene a Santos Cerdán en Chirona, y la Guardia Civil confirma la autenticidad de audios. Junts anuncia que no apoyará los presupuestos generales del Estado, cuestionando la estabilidad de la legislatura de Pedro Sánchez. Alemania se opone a la oficialidad del catalán en Bruselas por falta de unanimidad. Otras noticias incluyen una cuarta víctima mortal en un incendio forestal en León, y la activación del nivel 2 de alerta por fuego en Lugo, interrumpiendo el tráfico de trenes. Francia afronta nuevas huelgas contra los recortes. Una biografía del Papa León XIV aborda su postura sobre la familia, la comunidad LGTB+, los abusos en la Iglesia y la inteligencia artificial. ...

Alba Cardalda nos enseña una habilidad clave: cómo poner límites de manera firme pero educada. ¡Aprende el arte de decir “no” con elegancia! Conéctate en Tamara con Luz en MVS, de lunes a viernes, de 10:00 AM a 12:00 PM por MVS 102.5 FM See omnystudio.com/listener for privacy information.

What does success really mean in academia? Is it the number of papers you publish, the size of your lab, or the awards you collect or is the vision of success in academia biased? In this final episode, Jonathan and Renaud bring together four scientists: Dr. Rachael Dangarembizi (South-Africa), Dr. Michaela Fenckova (Czech Republic), Dr. Harmit Malik (USA), and Dr. Srikanth Ramaswamy (UK), to challenge the traditional views of academic success. Through their stories, they reveal the pressures of publish or perish, the invisible weight of systemic inequalities, and the cost of chasing recognition. But they also offer alternative compasses to guide you in this journey. From preserving your mental health to redefining how success is measured, this last episode invites you to rethink not just where you're going, but how you choose to travel through the ocean of academia.

Avui als jardins del Prado es presentarà 'No t'espantis Llucifer, sàtira i història local en els versos satírics del ball de diables i del Drac (1979-2025)', el llibre que parteix del treball d'Alba Gràcia que, l'any 2019, guanyà el premi de folklore Jofre Vilà impulsat pel Casino Prado. Fou el 1979 quan la colla Jove de diables edità el primer tríptic amb els versos, i el 1982 s'hi afegiren la colla Vella i la de l'ABPS. El llibre incorpora la relació dels prop de 1500 versos declamats fins avui, amb la incorporació de codis QR que dirigeixen a tot un seguit d'informació complementària, entre la qual hi ha els àudios dels versos publicats al web de Ràdio Maricel. Amb l'Alba hem conversat sobre els trets fonamentals de l'obra que aquesta tarda presentarà en companyia d'en Joan Ignasi Gómez. L'entrada Alba Gràcia presenta el treball més exhaustiu sobre els versos dels Diables i del Drac ha aparegut primer a Radio Maricel.

Segunda entrega de"Sección Oficial", nuestro nuevo programa realizado en colaboración con Film&Co en el que charlaremos con Alba Sánchez-Serrano, compositora de efectos visuales en ILM

Lolita Flores ha pasado por los micrófonos de Julia en la Onda para presentarnos el último espectáculo teatral que está protagonizando: Poncia, basado en la novela de Federico García Lorca La Casa de bernarda Alba. Y también ha revelado algunos datos desconocidos de su vida, como por ejemplo, que vive de alquiler, que desearía tener a su lado un hombre joven o que su sobrina Alba Flores está preparando un documental sobre Antonio Flores.

Lolita Flores ha pasado por los micrófonos de Julia en la Onda para presentarnos el último espectáculo teatral que está protagonizando: Poncia, basado en la novela de Federico García Lorca La Casa de bernarda Alba. Y también ha revelado algunos datos desconocidos de su vida, como por ejemplo, que vive de alquiler, que desearía tener a su lado un hombre joven o que su sobrina Alba Flores está preparando un documental sobre Antonio Flores.

"Il pappagallo muto" di Maurizio de Giovanni e "Come sale sulla pelle" di Anna PavignanoTorna il personaggio di Sara Morozzi, creato dalla penna di Maurizio de Giovanni e che era comparsa per la prima volta nel 2018, prima in un racconto e poi nel romanzo "Sara al tramonto". Sara è una ex dei servizi segreti, dove aveva lavorato per anni, distinguendosi per una sua capacità particolare: riuscire a interpretare il cosiddetto linguaggio non verbale e leggere le labbra. Ha grandi dolori alle spalle, lo ricordiamo la morte di Massimiliano, il grande amore della sua vita, e anche la morte del figlio. Dopo anni di lavoro insieme alla collega Teresa, ora è in pensione e passa molto tempo ai giardinetti con l'amato nipotino, ma i servizi hanno bisogno nuovamente di lei. Bisogna effettuare un'intercettazione particolare: è previsto un incontro fra persone che hanno a che fare con gli assetti petroliferi internazionali. Si potrebbero utilizzare le nuove tecnologie, ma ci sarebbero contromisure per schermare le intercettazioni. Per questo torna in campo Sara Morozzi. Tutto questo accade nel romanzo "Il pappagallo muto" di Maurizio de Giovanni (Rizzoli).Nella seconda parte parliamo di "Come sale sulla pelle" (Piemme) di Anna Pavignano che ha sceneggiato, lo ricordiamo, tutti i film di Massimo Troisi da "Ricomincio da tre" a "Il Postino", per il quale fu candidata all'Oscar. Un romanzo che parla di discriminazione per circostanze e situazioni diverse. Siamo vicino ad Alba, in Piemonte, alla fine dell'Ottocento. Camilla da bambina ha un incidente e i genitori devono prendere una decisione difficile: farle amputare una gamba per garantirle la sopravvivenza. Camilla sarà così discriminata per la sua disabilità. Discriminati e isolati anche i suoi genitori, colpevoli, secondo i compaesani, di non aver voluto rispettare il volere di Dio e il destino, dando appunto il consenso all'amputazione. Camilla fortunatamente ha un carattere forte e determinato e risponde spesso a tono a chi la discrimina o a chi critica la sua storia d'amore con Felice, uno studente di medicina di una famiglia che si è arricchita. La discriminazione sarà anche quella che subirà lo stesso Felice quando, cacciato dai genitori che si oppongono al matrimonio con Camilla, andrà a lavorare nelle saline in Francia, dove gli italiani sono visti come nemici.

Derroteros número 101 de esta temporada dedicado al número diez, de la mano de Santiago Alba Rico Escucha todos los Derroteros aquí: https://spoti.fi/3VrfZrG Haz posible Carne Cruda con tu donación aquí: http://www.carnecruda.es/hazte_productor/

Aquí, cada episodio es una oportunidad para descubrir historias fascinantes y chismes emocionantes. Te traemos entrevistas exclusivas y compartimos anécdotas que seguro te harán sonreír. Además, ¡nos divertimos con juegos e interacción con los oyentes! Prepárate para disfrutar de una buena dosis de diversión y mantenerte al día con todo lo que está pasando en el mundo del entretenimiento.See omnystudio.com/listener for privacy information.

Tenemos entrevista en cabina con Rebecca de Alba, quien nos platica de su nueva fundación para las personas que padecen cáncer entérate de todos los detalles de este evento de fin de este mes. ¡No se lo pierdan!See omnystudio.com/listener for privacy information.

What if you pursue copywriting and realize … this still isn't the right path? After getting laid off, Jeanette launched her copywriting business (in an impressive 30 days!). But six months in despite hitting her goals, she realized something still didn't feel right. So, she pivoted again. On this episode of the Build Your Copywriting Business podcast, Jeanette was generous enough to share how she used the skills she learned as a copywriter to launch her very own business. Owning her identity as an introvert has led Jeanette to the most fulfilling work of her life (so far!), running a business aimed at supporting introverts like herself. Whether you're mid-pivot or post-panic in your copywriting career, Jeanette's story will inspire you to go for more. ------------ Mentioned in the Episode Jeanette website: jesuisjeanette.comCan an Introvert Be a Successful Copywriter?Why Brand Voice Matters in Copywriting Related Links Ep. 232: From Copywriter to Product Marketer (And Homeowner in Spain!) – Alba's StoryEp. 225: What Jobs Can I Do As a Copywriter? --------------- Get Free Copywriting Training here

In this episode, George Vaz is joined by Norbert Opitz, a cornerstone of Alba Berlin's youth development program. With over 20 years of experience, Norbert shares how Alba fosters player growth through representative practices, decision-making, and long-term development over short-term wins. He explains why Alba avoids “on-air” drills, how they use constraints to guide learning, and the importance of empowering players to play freely while building confidence in their shooting. Bio:Norbert Opitz is more than a coach—he's a cornerstone of ALBA Berlin's developmental philosophy. With deep expertise in youth development, a strong emphasis on mental and physical growth, and a record of on-court achievements, Opitz continues to mold Berlin's next generation of elite basketball players and coaches. Chapters: 01:00 – Norbert's coaching journey and philosophy at Alba Berlin04:00 – What sets Alba apart: representative learning environments 05:00 – Using constraints to mirror real game challenges08:00 – Building confident shooters and daily shooting focus 11:00 – Teaching decision-making and advantage creation 14:00 – Balancing freedom with guided coaching 16:00 – Integrating offense and defense in practices21:00 – Generating quality shots against compact defenses26:00 – Transformative tip Level up your coaching with our Amazon Best Selling Book: https://amzn.to/3vO1Tc7Access tons more of evidence-based coaching resources: https://transformingbball.com/products/ Links:Website: http://transformingbball.com/Twitter: https://twitter.com/transformbballInstagram: https://www.instagram.com/transformingbasketball/YouTube: https://www.youtube.com/@transformingbasketballFacebook: https://www.facebook.com/transformingbasketball/TikTok: https://www.tiktok.com/@transforming.basketball

For this episode, we are joined by Nicky Omohundro of Little Family Adventure and the Untethered and Wanderwise podcast to talk about some of our favorite fall getaways. With over 15 years creating digital content and as a USA Today 10Best family travel expert, Nicky Omohundro operates a nationally syndicated travel website, Little Family Adventure, and award-winning podcast, Untethered & Wanderwise. As a licensed travel advisor and empty-nester with international trips planned, she inspires women over 45 to reclaim their wanderlust and travel independently. Episode Highlights Here are a mix of road trips, international getaways, and local staycation ideas for the fall. Eureka Springs, Arkansas in the Ozark National Forest. Eureka Springs is a cute Victorian town in the heart of the Ozark Mountains. It is a pretty drive and peak fall color is late October. If you like haunted history, the Crescent Hotel is supposed to be one of the most haunted hotels in the country. Vermont is quintessential New England charm and beautiful fall color. You have beautiful country inns and bed and breakfasts. Top towns include Stowe, Woodstock, and Manchester. Hotels book up very early for peak weekends and prime foliage is late September - early October. Victoria, British Columbia is easy to access from the Victoria Clipper from Seattle. The harbourfront is beautiful and Butchart Gardens. It is also a unique wine region. September is a great time to go. Piemonte in Northern Italy. Fall is white truffle season and wine harvest season. You do need to book hotels in advance, especially near Alba because of the Alba White Truffle Market, but otherwise the towns aren't crowded. Portugal is an amazing destination in October, including the Porto and Douro Valley wine region. For sunshine, head to Alentejo where it has started to cool off and you can enjoy wine tasting and relaxation. Oklahoma City - right in the middle of the country but often overlooked, it makes a great weekend getaway. Pumpkinville is one of the best pumpkin patches in the country. You also have great food, art, and history including western and indigenous culture. Next year is the 100 year anniversary of Route 66 and Oklahoma City has the longest stretch of the highway. The old Santa Monica Pier Ferris Wheel is now set up in Wheeler Park in Oklahoma City. Finger Lakes, New York - it is beautiful in the fall with cute small towns, wine trails, and special events. The area also has a lot of agritourism including apple farms, pumpkin patches, cheese makers, dairies, and even alpaca farms. Boone, North Carolina on the Blue Ridge Parkway. Great scenic drives or hiking on Grandfather Mountain and a mile-high swinging bridge. You can fly into Asheville and drive to Boone. It is also a fun college town. West Coast road trip along Highway 1 from the Washington / Oregon coast, through the sand dunes and into the Redwoods. Some of the small shops in the tourist towns may close during the week as it gets later into the fall. Related Episodes New England travel Portugal girls trip to Douro Valley and Porto Piemonte in Northern Italy West Coast road trip

This time the boys jump in to the world of Alba: A Wildlife Adventure with Andy Robertson. Alba is a 'chillectathon' on a fictional Spanish island where you are tasked with cataloging the local wildlife as well as fixing up the nature reserve, and other attractions, to their former glory. The game started life on iOS and was developed in the UK, but has since been ported to pretty much every single modern platform. Ludocene: https://www.ludocene.com/ Follow Andy on Bluesky: https://bsky.app/profile/geekdadgamer.bsky.social Mentioned in-depth development article: https://medium.com/@ustwogames/the-environment-art-of-alba-a-wildlife-adventure-6bddd8b56955 Click here for the list!  SUPPORT US ON PATREON: https://patreon.com/thebonuspoints [£3/$4 tier = TBP Discord, Extra Credit Podcast and behind the scenes content] [£5/$6 tier = Early access, name in video of podcast, TBP Discord, Extra Credit Podcast and behind the scenes content] Blue Sky: https://bsky.app/profile/thebonuspoints.bsky.social Tiktok: https://tiktok.com/@thebonuspointsyt

====================================================SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1======a==============================================DEVOCIÓN MATUTINA PARA ADULTOS 2025“CON JESÚS HOY”Narrado por: Exyomara AvilaDesde: Bogotá, ColombiaUna cortesía de DR'Ministries y Canaan Seventh-Day Adventist Church ===================|| www.drministries.org ||===================01 de SeptiembreLuz Para el mundo«Vosotros sois la luz del mundo» (Mat. 5: 14a).Viganella es un pequeño pueblo italiano escondido en el fondo del valle de Antrona (Alpes del Piamonte) que carece por completo de luz solar directa durante casi todo el invierno. Concretamente, el sol deja esa localidad el 11 de noviembre y regresa el 2 de febrero, lo que supone que durante más de ochenta días al año Viganella no ve ni por un solo momento los rayos del sol.A Giacomo Bonzani, un arquitecto y diseñador de relojes de sol, que vive en un pueblo de montaña cercano a Viganella, se le ocurrió una idea para que ese «desgraciado» pueblo dejara de estar sumido en la oscuridad durante tantos días de invierno. Y diseñó un espejo de paneles capaz de reflejar la luz solar sobre el pueblo. Muy lejos de allí, la ciudad de Huelva es uno de los lugares con más horas de luz solar de España. Al enterarse un técnico local de que en Italia existía un pueblo que, durante tres largos meses de invierno, no recibía luz solar ni un solo instante, decidió ayudar como fuera para hacerle llegar algo de luz. Y se prestó a construir el prodigioso espejo, allí en Huelva.El espejo mide 40 metros cuadrados de superficie (8 metros de ancho por 5 de altura) y fue colocado con la ayuda de un helicóptero a unos 870 metros por encima de la localidad, en una montaña de más de 1.200 metros de altura. El espejo está controlado por un programa informático que rastrea el sol y hace que sus paneles se inclinen y giren, de manera que los rayos sigan al sol siempre y lo reflejen hacia el pueblo.El día 17 de diciembre del año 2006, a las 11 en punto de la mañana, una niña de Huelva, llamada Alba (bonito sinónimo de «amanecer» r»), apretó un botón en un ordenador y el sol brilló por primera vez en la historia, en medio del invierno, en la localidad de Viganella.Esta anécdota me impactó porque tiene para nosotros una hermosa enseñanza. Es emocionante que ciudadanos de dos poblaciones distantes más de dos mil kilómetros hayan unido sus esfuerzos y se hayan puesto de acuerdo para que una localidad que estaba largos periodos de tiempo casi en tinieblas gozara todo el año de «luz solar». En ellos se cumplía literalmente la Palabra inspirada: «El pueblo que habitaba en tinieblas vio gran luz, y a l los que moraban en región de sombra de muerte, luz les resplandeció» (Mat. 4: 16).¿Qué puedo hacer hoy, Señor, para contribuir a la tarea de aportar algo de tu luz a los que viven en tinieblas? 

AICM estrena módulo 11; Sheinbaum y Marina encabezan inauguración  Fovissste anuncia 100 mil viviendas para quienes ganan menos de 13 mil pesos  ALBA lanza advertencia: presencia militar de EU desestabiliza el Caribe Más información en nuestro Podcast

She left her hairstylist job one day … and landed an agency copywriting role the next. Her portfolio when she landed the job? 100% spec ads. She's never stepped foot in an office. And right now? She's working remotely from Morocco, contracting with agencies around the world. To say we're in awe of Katherine's path is an understatement. After more than a decade behind the chair, she knew it was time to make the emotional decision to move on. And if you're feeling that same pull—even if you love your current career—Katherine's story is one you need to hear. Katherine was kind enough to spend some time sharing her story on the Build Your Copywriting Business podcast, including the strategies that helped launch her copywriting career. As someone who loved her job, she's offering deep insight into how she knew it was the right time to make a change. ---------------- Mentioned in the Episode Ep. 100: Take Advantage of the Digital Nomad LifestylePortfolio Examples That Wow ClientsBreak Into New Copywriting Industries Using Spec Ads Related Links Ep. 232: From Copywriter to Product Marketer (And Homeowner in Spain!) – Alba's StoryBONUS – Laser Coaching: How Can I Work Remotely from Anywhere in the World? --------------- Get Free Copywriting Training here

Sean Ross Sapp and Jon Alba talk the wrestling news of the week and answer your questions! Including the Raja Jackson assault on Syco StuEXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/fightful Try it risk-free now with a 30-day money-back guarantee! A MUST HAVE for wrestling fans! Watch all WWE shows with one Netflix subscription!You can check out the betting odds for this week, courtesy of MyBookie, below. If you want to bet on Wrestling, or any other sport, check out our new partner where we get ALL of our odds! https://mybookie.website/joinwithFIGHTFUL and use the promo code FIGHTFUL. Deposit $100, get $50. Go in with $200, and they'll make it $100Our Sponsors:* Check out Hims: https://hims.com/FIGHTFUL* Check out Mint Mobile: https://mintmobile.com/fwpSupport this podcast at — https://redcircle.com/fightful-pro-wrestling-and-mma-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Join us for daily coverage of the Vuelta a España recorded on the road as the race makes its way from Turin to Madrid. Our daily coverage features race analysis, interviews and daily postcards from  Spain. OUR SPONSORS, LLOYDS The Cycling Podcast is proudly supported by Lloyds. Last year, Lloyds began a multi-year partnership with British Cycling, which includes becoming  title sponsors of the Lloyds Tour of Britain races for men and women. Lloyds also sponsors the Great Britain team and National Championships across a range of disciplines – road racing, track cycling, mountain biking, BMX and cyclo-cross. Thanks to sponsorship from Lloyds, The Cycling Podcast will be covering the Lloyds Tour of Britain Men with daily episodes for the first time. Check out the full route of the race on the British Cycling website. Follow us on social media: Twitter @cycling_podcast Instagram @thecyclingpodcast Friends of the Podcast Sign up as a Friend of the Podcast at thecyclingpodcast.com to listen to new special episodes every month plus a back catalogue of more than 300 exclusive episodes. The Cannibal & Badger Friends of the Podcast can join the discussion at our new virtual pub, The Cannibal & Badger. A friendly forum to talk about cycling and the podcast. Log in to your Friends of the Podcast account to join in. The 11.01 Cappuccino Our regular email newsletter is now on Substack. Subscribe here for frothy, full-fat updates to enjoy any time (as long as it's after 11am). The Cycling Podcast is on Strava The Cycling Podcast was founded in 2013 by Richard Moore, Daniel Friebe and Lionel Birnie.

Today I welcome Isabel Canas to the show to discuss her newest book, THE POSSESSION OF ALBA DIAZ. It's a beautifully lush story with her signature cinematic storytelling. We discuss writing about possession in our current political climate, what possession means in the context of motherhood, and we get to the root of her core story. We also chat about genre blending between horror and romance, which you all know is my favorite combination. Links and shownotes available at https://www.sheworeblackpodcast.com/

En Ivoox puedes encontrar sólo algunos de los audios de Mindalia. Para escuchar las 4 grabaciones diarias que publicamos entra en https://www.mindaliatelevision.com. Si deseas ver el vídeo perteneciente a este audio, pincha aquí: https://www.youtube.com/watch?v=F3VgAgPFUcM Cris Alba te acompaña en el proceso de duelo, guiándote a reconocer las señales del más allá que pueden surgir en momentos de pérdida. A través de la consciencia, la presencia y la apertura del corazón, es posible transitar el dolor y descubrir que el amor no termina con la partida. Cris Alba Coach Certificada por ICF, especializada en coach de Duelo por LTCT (EEUU) y Terapeuta de Técnica Estructural. Actualmente es mentora de Duelo, con 4 años de ejercicio como Coach de Duelo. Ha acompañado a más de 400 personas. #MásAllá #DueloConsciente #Consciencia Más información en: https://www.mindalia.com/television/ PARTICIPA CON TUS COMENTARIOS EN ESTE VÍDEO. -----------INFORMACIÓN SOBRE MINDALIA--------- Mindalia.com es una ONG internacional, sin ánimo de lucro, que difunde universalmente contenidos sobre espiritualidad y bienestar para la mejora de la consciencia del mundo. Apóyanos con tu donación en: https://www.mindalia.com/donar/ Suscríbete, comenta positivamente y comparte nuestros vídeos para difundir este conocimiento a miles de personas. Nuestro sitio web: https://www.mindalia.com SÍGUENOS TAMBIÉN EN NUESTRAS PLATAFORMAS Facebook: / mindalia.ayuda Instagram: / mindalia_com Twitch: / mindaliacom Odysee: https://odysee.com/@Mindalia.com *Mindalia.com no se hace responsable de las opiniones vertidas en este vídeo, ni necesariamente participa de ellas.

BREAKING: Tyler Cameron's joining the Ryan Serhant real estate team!The Cavinder Twins are getting (matching) boob jobs! The Foster Sisters (not twins) are giving us nothing! Brian Littrell is suing the police for beach access! Sarah Michelle Gellar and Jennifer Love Hewitt are *still* NOT in a feud!!!! Francia Raisa can't escape the Selenators! Crystal Hefner is dropping the Hefner! Charli's married! Alba's dating! Sia's not (dating Harry Jowsey)! Joy Corrigan is having a baby with... Todd Kraines???????????/ Plus, Rita is *not* going on tour with JoJo Siwa! Don't be fooled! As always, call in at 619.WHO.THEM to leave questions, comments & concerns for a future episode of Who's There?. Get a ton of bonus content over on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon.com/WhoWeekly⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices