Podcasts about Blenheim Palace

Hayley Beer-Gamage, CEO of Experience Oxfordshire, talks with Jeanie Fang of Insider Travel Report at Destination Britain in Playa del Carmen, Mexico about why Oxfordshire is the perfect base for travelers seeking both English heritage and modern comfort. Beer-Gamage highlights must-see attractions like Oxford University, Blenheim Palace and its literary landmarks, as well as new hotels, countryside resorts and resources for travel advisors. For more information, visit www.experienceoxfordshire.org.  All our Insider Travel Report video interviews are archived and available on our Youtube channel  (youtube.com/insidertravelreport), and as podcasts with the same title on: Spotify, Pandora, Stitcher, PlayerFM, Listen Notes, Podchaser, TuneIn + Alexa, Podbean,  iHeartRadio,  Google, Amazon Music/Audible, Deezer, Podcast Addict, and iTunes Apple Podcasts, which supports Overcast, Pocket Cast, Castro and Castbox.  

Wir springen in dieser Folge ins 18. Jahrhundert, und sprechen über Lancelot Brown, jenen Mann, der das Antlitz Englands für immer verändern wird. Weg von den streng reglementierten Gärten der vorherigen Jahrhunderte, wird "Capability" Brown, wie er in die Geschichte eingehen wird, die Natur zum Vorbild der aristokratischen Gärten heranziehen. Dabei scheut er auch nicht davor zurück, Sümpfe trockenzulegen, ganze Seen anzulegen und zehntausende Bäume zu pflanzen. Ein Umstand, der ihn zwar zum Revolutionär des englischen Gartens macht, aber wie bei Revolutionen so üblich, nicht immer ohne Widerspruch. //Erwähnte Folgen - GAG173: Der gefährliche Garten von Vaux-le-Vicomte – https://gadg.fm/173 - GAG464: Die Entstehung des Central Parks – https://gadg.fm/464 //Literatur - Jane Brown. Lancelot „Capability“ Brown, 1716-1783. Random House, 2013 - Steffie Shields. Moving Heaven and Earth. Unicorn Publishing Group, 2017 Das Episodenbild zeigt einen Teil der großen Brücke von Blenheim Palace. //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte // Wir sind jetzt auch bei CampfireFM! Wer direkt in Folgen kommentieren will, Zusatzmaterial und Blicke hinter die Kulissen sehen will: einfach die App installieren und unserer Community beitreten: https://www.joincampfire.fm/podcasts/22 //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer Becher, T-Shirts oder Hoodies erwerben will: Die gibt's unter https://geschichte.shop Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt! Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

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

Live from Blenheim Palace at the European Eventing Championships, Catherine Austen and Georgie Wood set the scene on cross-country morning with buzzing crowds, standout dressage performances, and anticipation for Mark Phillips' first Blenheim track. EquiRatings Eventing PodcastFollow the EquiRatings Eventing Podcast for more data-led insight, top-tier guests, and everything you need to keep up with the 2025 season on Instagram and Facebook. A big thank you to Connolly's Red Mills, Carr & Day & Martin and Foran Equine for supporting our European Championships coverage. From fueling top-level horses to backing the sport, they're a huge part of the eventing community.

For the latest episode of the A is for Architecture Podcast, I spoke to architectural historian, writer and curator, Sir Charles Saumarez Smith CBE about his forthcoming book, John Vanbrugh: The Drama of Architecture, which is due out with Lund Humphries in November this year. Sir John Vanbrugh (1664–1726) was an English dramatist turned architect, best known for designing Castle Howard and Blenheim Palace, two of the most ambitious Baroque buildings in Britain. A member of the Whig elite and the Kit-Cat Club, Vanbrugh's work can be read through the social forms of his times but, as Sir John suggests, more importantly in the context of his unique theatrical imagination as it was revealed through his collaborations with professional architects, like Nicholas Hawksmoor. Mocked in his own life, Vanbrugh is now celebrated as one of England's most original and daring architects.Sir Charles was chief executive of the Royal Academy of Arts (2007-2018), director of the National Gallery (2002 – 2007) and before that, director of the National Portrait Gallery (1994 – 2002). He can, as such, be found everywhere online. You may seek him on LinkedIn and his personal website. The book is linked above.In our own time we are #blessed with #Heatherwick. But back then, they had #Vanbrugh.+Music credits: ⁠Bruno Gillick 

Welcome to the Europeans Preview Show, presented by Connoly's Red Mills. Blenheim Palace takes centre stage, the ground could be influential, and all eyes are on London 52 vs. fisherChipmunk. JL Dublin is right there too, with Germany lining up Michael Jung alongside some newer championship names. Add in team tactics, pathfinder debates, and a bit of Eventing Manager strategy, and the stage is set for a proper championship. Highlights Conditions first: Likely good-to-soft. Softer ground = closer dressage scores, cross-country time expensive. The big three: London 52, fisherChipmunk, JL Dublin. Different routes here, same pressure to deliver on Saturday. Team chess: Brits still the benchmark. Germany strong behind Jung, bronze very much alive for Ireland, France, Switzerland. Profiles that travel: Susie Berry/Clever Trick and Pádraig McCarthy/Pomp and Circumstance both suited to a grafty Blenheim track. One to watch: Bubby Upton with It's Cooley Time—reliable jumper, efficient pace, podium potential if conditions bite. Guests Nicole Brown – host Sam Watson – rider and analyst Diarm Byrne – EquiRatings co-founder Spike "the spicy vet" Milligan – equine vet and podcast regular Eventing Manager 2.0 is live for the Europeans. Pick your five-horse team with a 10 million budget, score points across all three phases, and compete in public or private leagues. It's free to play—just head to manager.equiratings.com and get your team locked in before the first dressage test. EquiRatings Eventing PodcastFollow the EquiRatings Eventing Podcast for more data-led insight, top-tier guests, and everything you need to keep up with the 2025 season on Instagram and Facebook. A big thank you to Connolly's Red Mills, Carr & Day & Martin and Foran Equine for supporting our European Championships coverage. From fueling top-level horses to backing the sport, they're a huge part of the eventing community.

Burghley is in the books, Cornbury has wrapped, and the Agria European Championships at Blenheim Palace are around the corner. Perfect timing to lift the lid on a big push behind the scenes. Nicole sits down with BETF chair Sian Rodway and British Eventing's Rosie Williams to unpack the British Eventing Training Foundation's new officials campaign, why it matters for safety and fairness, and how anyone from fence judges to future course designers can climb a clear pathway. Nicole gives us a Stats Centre update, and we finish with a masterclass segment from Philip Surl and Alec Lochore on the TA and course designer partnership, control tents, and what “gold standard” really looks like on the ground. Episode Highlights Why a dedicated training foundation safeguards education when budgets get tight What the new officials pathway actually is and how you get on it The roles explained in plain English: stewards, TAs, scorers, controllers, fence judges Training the trainers and testing under pressure so standards stay high Fundraising targets, course walks with legends, and how to get involved Season check-in: Cornbury, Agria European Championships, and the young horse pipeline Guests Nicole Brown, host Sian Rodway, Chair, British Eventing Training Foundation Rosie Williams, Chief Executive, British Eventing Philip Surl, British Eventing Technical Advisor Alec Lochore, International Course Designer and Technical Delegate Check out the BE Stats Centre here. Follow @britisheventing on Instagram to stay up to date with all the action.  Want to find out more about BETF? Visit their webpage here. Eventing Manager 2.0 is live!

In this episode of CAREER-VIEW MIRROR, we're celebrating the career to date of Daveena Saranna.Daveena is the EV Campaigns Manager at Green.TV Media, where she heads up Top Women in EV—making waves in both sustainability and media. With a career that includes Everything Electric, EZOO, Blenheim Palace, and the England Men's & Mixed Netball Association, she's mastered the art of blending content, sustainability, and being a 25-year-old woman with a big passion for what she does.In our conversation, we talk about Daveena's entrepreneurial family story, beginning with her grandfather moving to the UK from India and her father going on to establish Europe's largest independent Porsche dealership. We explore her early exposure to the family business, and how her parents' complementary skills shaped her understanding of leadership and teamwork.We also cover her personal journey through education, including the challenges of dyslexia and a later autism diagnosis, and how she turned setbacks into determination—securing her place at Warwick University and becoming the first woman in her wider family to graduate with a first.Daveena shares her perspective on the importance of role models, particularly women in STEM, and how she's creating community and visibility through Top Women in EV. We also hear about the mentoring and coaching that have helped her embrace her achievements, as well as her academic path to Oxford and her ongoing projects across sustainability and media.Connect with DaveenaLinkedInWebsiteAbout AndyI'm a business leader, coach, and the creator of the Fulfilling Performance framework—designed to help people bring more of themselves to what they do and experience greater fulfilment and performance as a result.Over the past 25+ years, I've led and developed businesses including Alphabet UK, BMW Financial Services in the UK, Singapore, and New Zealand, and Tesla Financial Services UK. Alongside this, I've coached individuals and facilitated leadership development programmes in 17 countries across Asia, Europe, and North America.In 2016, I founded Aquilae to support leaders and teams in the mobility sector and beyond. Through workshops, coaching, and peer mentoring, we enable high performance that's also fulfilling—for individuals, teams, and organisations.Learn more about Fulfilling PerformanceCheck out Release the Handbrake! The Fulfilling Performance HubConnect with AndyLinkedIn: Andy FollowsEmail: cvm@aquilae.co.ukJoin a peer mentoring team: Aquilae AcademyThank you to our sponsors:ASKE ConsultingEmail: hello@askeconsulting.co.ukAquilaeEmail: cvm@aquilae.co.ukEpisode Directory on Instagram @careerviewmirror  If you enjoy listening to our guests career stories, please follow CAREER-VIEW MIRROR in your podcast app. Episode recorded on 20 August, 2025.

In this episode of the Anglotopia podcast, host Jonathan Thomas speaks with Carmen Alvarez, the collections and conservation manager at Blenheim Palace. They discuss the significance of Blenheim Palace, its new exhibitions, the challenges of conserving historical garments, and the evolution of public engagement in heritage conservation. Carmen shares insights into the Ladies of Blenheim exhibition, the legacy of Winston Churchill, and future projects aimed at enhancing visitor experiences. Links Blenheim Palace Official Website Ladies of Blenheim Exhibition Meet the Collections Team Great British Houses - Blenheim Palace John 1st Duke of Marlborough Great Britons Winston Churchill Takeaways Blenheim Palace is a UNESCO World Heritage Site and a significant historical landmark. The Ladies of Blenheim exhibition highlights the fashion and stories of remarkable women in the palace's history. Conservation of historical garments requires meticulous care and innovative techniques. Public engagement has evolved significantly over the past 75 years at Blenheim Palace. Winston Churchill's connection to Blenheim is deeply rooted in his family history and personal experiences. The conservation team faces unique challenges due to the palace's living environment. Blenheim Palace aims to make exhibitions accessible and engaging for all visitors. Future projects will focus on immersive experiences to enhance visitor understanding of history. The palace's collection includes unique items that reflect its rich heritage and history. Carmen Alvarez's journey from welcome team supervisor to conservation manager showcases the importance of passion and dedication in heritage conservation. Sound Bites 1. The Lost Dress Discovery (26:15-26:45) "Everyone thought it was lost, but it was in there all along. Just everyone was picturing it white. And because of course the silk with the time and damage, light damage and everything has turned that ivory color... So I found the lost dress. So for me that is something that I hope to be remembered by." 2. The Reused Coronation Gown (5:53-6:10) "After the war, the country was coming out, the clothes rationing. So she didn't want to spend too much money on new garments and everything around it. So she decided to repurpose and reuse what was worn by Consuelo Vanderbilt in 1911 and worn twice." 3. Conservation Challenges (8:08-8:25) "We will never be a museum. We are a living space. So as much as you want to control the environment, environmental levels, like the temperature, humidity, the light levels... When it's hot, we need to open windows." 4. The "Angriest Curator" Method (15:12-15:19) "Normally people say that the best way of conserving things is having the angriest curator shouting at people. So maybe that helps as well." 5. First Thing After Closing (28:43-28:50) "The first thing, hoovering, to be 100% honest. This is so important, actually. The guides... they grab the hoovers and they hoover the whole palace." 6. Winston's Best Decisions (35:53-36:05) "He said that he made the two best decisions of his life, that Blenheim would want to be born and the other one to marry, because he proposed to Clementine, his wife, at the Temple of Diana at Blenheim Palace." 7. Heritage Belongs to Everyone (39:04-39:15) "I'm a believer that heritage does not belong to one single person or a group of people. Heritage is something that is a witness of the past, of the history of a group, a nation." 8. The Roof Reality Check (40:28-41:03) "You walk into the building and you think, my God, this place is incredible. It's so well preserved... But you would never know how many buckets were holding the leaks, the water filtration coming from the actual roof." 9. The Strong 10th Duchess (11:52-12:05) "It's funny because her husband wrote that she was a female general while he was only a captain. I think that represents her character. She was very much involved with the family, with the local community, with the charity." 10. Making History Accessible (45:27-45:40) "We want to do it in a way that we know our guests are gonna enjoy... how can we share the history of Blenheim in different ways. Rather than a printed board, let's do it in a different way." Chapters 00:00 Introduction to Blenheim Palace and Carmen Alvarez 02:51 The Ladies of Blenheim Exhibition 05:39 Challenges in Conserving Historical Garments 08:50 Environmental Control in Heritage Conservation 11:35 The Meet the Collections Experience 14:33 Conservation of Tapestries at Blenheim 17:44 Carmen Alvarez's Journey at Blenheim Palace 20:39 Unexpected Discoveries in the Collection 25:34 Rediscovering Lost Treasures 27:13 A Day in the Life at Blenheim Palace 29:23 Behind Closed Doors: Life After Hours 30:28 75 Years of Public Access: A Conservation Journey 33:35 Unique Treasures of Blenheim Palace 36:03 Winston Churchill's Legacy at Blenheim 38:48 The Significance of UNESCO World Heritage Status 40:04 The Roof Project: A Major Conservation Effort 44:22 Future Projects and Visitor Experiences 47:54 anglotopia-podcast-outro.mp4 Video Version

In this episode of Carioca Connection, Alexia and Foster discuss the history and attractions of Blenheim Palace. The conversation includes Foster's ongoing battle with pronouncing "borboleta" (butterfly), complete with syllable-by-syllable coaching from Alexia, and their encounter with the adorable ducks and swans around the palace lakes. They share their personal experiences and discoveries, offering insights into cultural nuances and language challenges encountered along the way. As always, this episode is packed with real-life Brazilian Portuguese that you won't find in textbooks or apps. Enjoy!E agora em português…

Lancelot 'Capability' Brown is known throughout the world as the master of the English landscape garden. A visionary who created carefully curated, idyllic and natural-looking landscapes at many of the greatest country houses in England, Brown is one of those true 'greats' after whom a whole style is named; the 'Brownian' landscape continues to inspire and entrance gardeners, landscape designers and punters alike.But Brown's style wasn't without controversy... many felt that his reckless sweeping away of traditional formal gardens and parterres (replacing them with lawns, ha-has and rolling parks) was the height of vandalism.In this episode, Geoff gives Rory a whistle-stop overview of the life of Capability Brown from his humble birth to sudden death. We discuss the controversies surrounding Brown's style, and reflect on his extraordinary genius and long-term legacy.Please join us for a 'walk in the [Capability Brown] park' and if you like this episode please like it and write us a review. Please also send in questions for our soon-to-be-resurrected Q&A episodes!

"A lot of my current work includes text so I was drawn towards this recording of a sound installation of people talking. I edited the original audio so that most of the sound between the speaking was removed. I then put that file through the software that I developed for an earlier work that chops the original audio up into smaller sections and plays those sections back at random times, volumes and positions in the stereo field.  "I have then processed the final recording to make it sound more like a surveillance recording through a small speaker and added a drone that runs through the piece."  Bowler hat exhibit at Blenheim Palace reimagined by Simon Belshaw.

In this weeks episode Lou and Sally discuss online shopping, their experiences at a Kylie Minogue concert, family lunch at Blenheim Palace, mushroom gummies and daytime TV habits If you want to get early access to the episodes, chat with Lou and Sally, send in your own drunk stories and much more then head over to www.patreon.com/spitorswallowpodcast It's only £4 a month and it's a great way to support us so come and join the fun! Follow us on instagram @louandsally Learn more about your ad choices. Visit podcastchoices.com/adchoices

They shot 5,000 rabbits in one day in Shropshire and 7,000 in one day at Blenheim Palace in Oxfordshire. The rabbit has had a relatively short but dramatic history in the UK, from Roman food source through population explosions, and becoming one of the most prized quarry species of the great Victorian shots. Shooting writer Simon Reinhold tells the animal's story to Charlie Jacoby at the Carter Jonas Game Fair Theatre 2024. For more from Simon, visit SimonReinhold.co.uk For more ways to listen to this, go to FieldsportsChannel.tv/fieldsportschannelpodcast110

"To start with I was mostly interested in seeing if I could extract the typewriter and morse code sounds and use those rhythms to trigger snippets of Churchill's voice. I wanted to re-code the existing code and tried a variety of techniques including EQ, AI Stem Splitting, Gates, Envelope Followers, distortion and reverb.  "I started to make some overlapping rhythms with the morse code and typewriter sounds and then used a stem split version of Churchill's voice to refocus the piece and make it about his love of riding. I stretched and pitched his voice down 3 semitones to make it sound even fuller - and a bit funnier, and got into the humour of Churchill in a bowler hat riding on ponies around the grounds reminiscing about the war, and his regiment, whilst galloping along at high speed.  "Towards the end of the composition I reintroduced some of the history of the location with the train sound (referencing the 19th century aristocrat, Consuelo Vanderbilt, who married into the family and saved the palace from ruin with her own funds) and the sound of a toilet flushing (referencing the robbery, in September 2019, of an 18-carat gold toilet worth 4.8 million that had been installed by Maurizio Cattelan as part of his "Victory is not an option" exhibition)." Winston Churchill exhibition, Blenheim Palace reimagined by David Henckel. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

Blenheim Palace was the birthplace of Britain's most famous Prime Minister, Winston Churchill, and throughout the property there are plenty of reminders of this, including a dedicated permanent exhibition to his life. Attention has been paid to sound in the exhibition, which variously includes mockups of Churchill's voice telling stories about his childhood, Morse code to mark his years in the military, a typewriter to represent his authorial life, and excerpts from his political speeches. This recording is a walkthrough of the exhibition, taking in all of these sounds, on a tour of Churchill's life.  UNESCO listing: Blenheim Palace. Recorded by Cities and Memory. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

Crows nesting high in the trees in the ground of Blenheim Palace, being very vocal on a Sunday afternoon, as we also hear one of the regular joggers in the grounds going past us. UNESCO listing: Blenheim Palace Recorded by Cities and Memory. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

"The inspiration for this fugue-like piece was the imagined relationship between the crows - possibly Rooks by their call - and the Blenheim gamekeepers. One of judgement and mutual dislike, or perhaps literally a game. "The rising cello slides were suggested by what I suspect is an accelerating car in the original sound clip around at around the 1:10 mark – just before the jogger runs past.  "The title is a misquote of Sylvia Plath." Crows at Blenheim Palace reimagined by Adam Leonard. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

The mystery of one of Britain's weirdest art heists begins at an exhibition party at Blenheim Palace, Oxfordshire, in September 2019.A £5 million solid gold toilet, created by Italian artist Maurizio Cattelan, is centre-piece at the exhibition. Hours after partygoers leave it is stolen by a masked gang.The events are a shock for the palace staff who witness the heist and its aftermath, including guest services manager Eleanor Paice and Chief Executive Dominic Hare.Presenter: Clodagh Stenson. Producer: Jonathan Eden, with assistance from William McLennan. Sound Designer: Meic Parry. Story Consultants: Graham Russell and Jack Kibble-White. Executive Producers: Peter Cooke and Peter Cook. Online Producer: Rachael Smith. Commissioner: Al Miskin. Image: Getty.

Morse code transcription: vvv vvv Gold toilet Man guilty over 4.8m Blenheim Palace heist Prince Harrys US visa documents unsealed after drug claims At a glance Key changes to benefits in welfare shake up Putin agrees in Trump call to pause Ukraine energy attacks but no full ceasefire Gaza war Netanyahu says fighting has resumed in Gaza with full force Germany votes for historic boost to defence and infrastructure spending Former Putin appointed governor on trial for breaching UK sanctions Joshlin Smith disappearance Missing girl was wanted for her eyes and skin Liz Kendall promises to fix broken benefits system Harshita Brella murder Pankaj Lambas parents arrested

Morse code transcription: vvv vvv Joshlin Smith disappearance Missing girl was wanted for her eyes and skin Prince Harrys US visa documents unsealed after drug claims Putin agrees in Trump call to pause Ukraine energy attacks but no full ceasefire Liz Kendall promises to fix broken benefits system Gaza war Netanyahu says fighting has resumed in Gaza with full force Harshita Brella murder Pankaj Lambas parents arrested Germany votes for historic boost to defence and infrastructure spending At a glance Key changes to benefits in welfare shake up Former Putin appointed governor on trial for breaching UK sanctions Gold toilet Man guilty over 4.8m Blenheim Palace heist

Morse code transcription: vvv vvv Putin agrees in Trump call to pause Ukraine energy attacks but no full ceasefire Liz Kendall promises to fix broken benefits system Prince Harrys US visa documents unsealed after drug claims Germany votes for historic boost to defence and infrastructure spending Former Putin appointed governor on trial for breaching UK sanctions Gaza war Netanyahu says fighting has resumed in Gaza with full force Gold toilet Man guilty over 4.8m Blenheim Palace heist Joshlin Smith disappearance Missing girl was wanted for her eyes and skin At a glance Key changes to benefits in welfare shake up Harshita Brella murder Pankaj Lambas parents arrested

Morse code transcription: vvv vvv Gold toilet Man guilty over 4.8m Blenheim Palace heist At a glance Key changes to benefits in welfare shake up Joshlin Smith disappearance Missing girl was wanted for her eyes and skin Putin agrees in Trump call to pause Ukraine energy attacks but no full ceasefire Harshita Brella murder Pankaj Lambas parents arrested Gaza war Netanyahu says fighting has resumed in Gaza with full force Prince Harrys US visa documents unsealed after drug claims Germany votes for historic boost to defence and infrastructure spending Former Putin appointed governor on trial for breaching UK sanctions Liz Kendall promises to fix broken benefits system

A story of art, mystery and a solid gold, fully plumbed in toilet stolen from a British palace.With behind-the-scenes access at Blenheim Palace, we explore the inside story of the heist and its fallout. Installed as part of an art exhibition, the £5 million toilet was notorious prior to its theft. Those behind the burglary remained a mystery for years. In 2025, with reporting restrictions lifted, we finally reveal their identities and the criminal past that led them to the toilet. It's a tale of art and wealth but also security failures, ruthless criminals and missing millions.Presenter: Clodagh Stenson. Producer: Jonathan Eden, with assistance from William McLennan. Sound Designer: Meic Parry. Story Consultants: Graham Russell and Jack Kibble-White. Executive Producers: Peter Cooke and Peter Cook. Online Producer: Rachael Smith. Commissioner: Al Miskin. Image: Getty

This was a debut crossword by Jared Cappel, and it was a fine one. The theme was sharp, and surrounded by a bevy of equally keen non-themed clues: the result was, as previously noted, fine.A few clues that didn't make into the podcast, but worthy of shoutouts, include: 62A, Compliment on the green, NICEPUTT (fore!); 6D, "I.e.," spelled out, IDEST (Mike's favorite phrase!); and 44A, Perplex, BEMUSE (Jean's favorite answer).In addition to the crosswords, we have a terrific Triplet Tuesday segment, and a fascinating theory as to why Blenheim PALACE (62A) doesn't get more visitors.Show note imagery: Blenheim PALACE, in all its royal gloryWe love feedback! Send us a text...Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

In this fifth episode, Caroline and Jack bring you the evidence of the second defendant, Fred Doe, who is accused of trying to broker a sale for the stolen golden toilet. Fred Doe told the court that he had no idea the gold was stolen and expressed regret for ever getting involved with the “idiot” burglar who was in the gang that smashed their way into Blenheim Palace. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this fourth episode, Caroline and Jack have more of the evidence from the man on trial for his involvement in the burglary of the solid gold toilet. Michael Jones insisted his visits to Blenheim Palace in the days before were innocent and he was there, not to carry out reconnaissance missions, but because he was interested in the exhibitions. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this third episode, Caroline and Jack have the evidence of one of the defendants in the case. Michael Jones told the jury he was not carrying out reconnaissance missions at Blenheim Palace in the days before the theft of the solid gold toilet. He said he was visiting the exhibitions because he found the art intriguing. We also heard that the artist who created the loo was behind a piece of art which featured a banana duck-taped to a wall. It sold for over £5million. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today's episode of the Trial of the Golden Toilet Caroline and Jack have the CCTV footage which shows the moment the heist takes place on Blenheim Palace. In dramatic footage a gang armed with sledgehammers and crowbars can be seen driving up to the main entrance and breaking in. Less than 6 minutes later they can be seen rolling the toilet away before dumping it into a car and speeding away. Three men are now accused of being involved either in the burglary or in selling off the gold. The defendants all deny the charges. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Morse code transcription: vvv vvv Five key takeaways from the German election Scottish businessman Campbell Scott found dead in Kenya Bristol M4 death investigated after predator sting Blenheim Palace 2.8m gold toilet stolen in minutes, court hears Inadequate information released by authorities after Southport attack, says terror law reviewer UK fooled by faith in international law, says Badenoch Lucy Letby inquiry Hospital boss felt nurse was innocent Ex surgeon admits despicable acts in Frances largest child abuse trial Why is Ukraine negotiating a minerals deal with the US Luton shooting Man admits murdering mum and two siblings

Morse code transcription: vvv vvv Luton shooting Man admits murdering mum and two siblings UK fooled by faith in international law, says Badenoch Why is Ukraine negotiating a minerals deal with the US Scottish businessman Campbell Scott found dead in Kenya Five key takeaways from the German election Blenheim Palace 2.8m gold toilet stolen in minutes, court hears Bristol M4 death investigated after predator sting Lucy Letby inquiry Hospital boss felt nurse was innocent Inadequate information released by authorities after Southport attack, says terror law reviewer Ex surgeon admits despicable acts in Frances largest child abuse trial

Morse code transcription: vvv vvv Why is Ukraine negotiating a minerals deal with the US Five key takeaways from the German election Luton shooting Man admits murdering mum and two siblings UK fooled by faith in international law, says Badenoch Blenheim Palace 2.8m gold toilet stolen in minutes, court hears Scottish businessman Campbell Scott found dead in Kenya Ex surgeon admits despicable acts in Frances largest child abuse trial Inadequate information released by authorities after Southport attack, says terror law reviewer Bristol M4 death investigated after predator sting Lucy Letby inquiry Hospital boss felt nurse was innocent

Morse code transcription: vvv vvv Blenheim Palace 2.8m gold toilet stolen in minutes, court hears Ex surgeon admits despicable acts in Frances largest child abuse trial UK fooled by faith in international law, says Badenoch Lucy Letby inquiry Hospital boss felt nurse was innocent Why is Ukraine negotiating a minerals deal with the US Five key takeaways from the German election Inadequate information released by authorities after Southport attack, says terror law reviewer Bristol M4 death investigated after predator sting Luton shooting Man admits murdering mum and two siblings Scottish businessman Campbell Scott found dead in Kenya

In the first episode of The Trial of the Golden Toilet Caroline and Jack hear the prosecution's case against three men. One of them is accused of being involved in a heist on Blenheim Palace and stealing a 4.8m solid gold toilet. The other two are accused of helping to sell off the gold. The jury have heard how five men broke into Blenheim Palace in two cars, armed with sledgehammers in 2019. Within 5 minutes they had snatched the toilet and driven away. The loo was never recovered and the prosecution case is the gold was somehow sold on. The defendants all deny the charges. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Geoff & Rory are joined in-person at Blenheim Palace by Henrietta Spencer-Churchill to discuss Easton Neston.

They've conquered Storm Bert and they've (almost!) hit the halfway mark, Nicole catches up with Alistair Wilson and Tommy How at the end of day #5. Cycle4Caroline is a charity cycling event established in memory of Caroline March, a talented event rider who tragically passed away in March 2024 following life-changing injuries from a cross-country fall in 2022. The initiative aims to raise funds for two organizations close to Caroline's heart: the British Eventing Support Trust and Spinal Research. Cycle 4 Caroline The event spans 1,100 kilometers, commencing at Blair Castle in Scotland on November 20, 2024, and concluding at The Savoy Hotel in London on November 30, 2024. The route includes notable eventing venues such as Bramham Park, Chatsworth House, Burghley House, Blenheim Palace, and Badminton House. Click here to donate

Join Nicole as she catches up with Ian Stark and Holly Woodhead at the end of Day #2 on the Cycle4Caroline challenge. Cycle4Caroline is a charity cycling event established in memory of Caroline March, a talented event rider who tragically passed away in March 2024 following life-changing injuries from a cross-country fall in 2022. The initiative aims to raise funds for two organizations close to Caroline's heart: the British Eventing Support Trust and Spinal Research. Cycle 4 Caroline The event spans 1,100 kilometers, commencing at Blair Castle in Scotland on November 20, 2024, and concluding at The Savoy Hotel in London on November 30, 2024. The route includes notable eventing venues such as Bramham Park, Chatsworth House, Burghley House, Blenheim Palace, and Badminton House. Click here to donate

Lady Henrietta Spencer-Churchill, the only daughter of the 11th Duke of Marlborough, has by any measure led an extraordinary life. As a girl she moved from the family home in Oxfordshire to Blenheim Palace, the family seat and — by any measure — one of the finest buildings not just in Britain, but the world (it has UNESCO World Heritage Site status to prove it). Listen to Country Life podcast on Apple PodcastsListen to Country Life podcast on SpotifyListen to Country Life podcast on AudibleEver since then, first as a resident, then as a world-renowned interior designer who has played a leading role in the conservation of this 18th century masterpiece, her life has revolved back and forth around Blenheim, and we were thrilled that she agreed to talk to James Fisher on the Country Life Podcast this week.Living at Blenheim, as she explains, brings great privilege: she tells how her father bought a speedboat, and taught Henrietta and her brother to waterski on the lake. Yet living in a house of global stature, and which opens its doors to visitors every day of the year, also brings unique pressures: everything from where to park and struggling to find a spot of lawn on a sunny day, to wondering how on earth they'll raise £10 million to replace a leaking roof that is three centuries old. Lady Henrietta also discusses Woodstock Designs, her hugely successful interior design company, and talk about her latest book, Blenheim: 300 years of Life in a Palace (Rizzoli, £57.50), a truly sumptuous publication which tells the tales of those who have lived in the palace over the centuries, illustrated with beautiful images taken by Hugo Rittson-Thomas. Episode creditsHost: James FisherGuest: Lady Henrietta Spencer-ChurchillProducer and editor: Toby KeelMusic: JuliusH via Pixabay Hosted on Acast. See acast.com/privacy for more information.

Few homes in the UK have the grandeur and layered history of Blenheim Palace. From its tumultuous early days to the birth of Winston Churchill, Blenheim has stayed in one family's hands for centuries. On this episode, Dan speaks with Lady Henrietta Spencer-Churchill, whose family looks after this resplendent country house. The two discuss her new book from Rizzoli, Blenheim: 300 Years of Life in a Palace, the inside story on Winston's accidental birth there, and so much more. Hosted on Acast. See acast.com/privacy for more information.

In this exclusive episode, we delve into the world of haute couture and historical elegance with a deep dive into the "Icons of British Fashion" exhibition at the majestic Blenheim Palace. We are thrilled to be joined by Kate Ballenger, the Keeper of Palace and Collections, who has played a pivotal role in curating this stunning showcase of British fashion. Kate shares her unique journey in collating and curating this iconic exhibition at Blenheim Palace, providing an insider's look into the inspiration behind hosting the "Icons of British Fashion" exhibition in such a historic setting, exploring the synergy between the palace's grandeur and the evolution of British fashion. We explore the challenges faced in bringing together a diverse array of designers and labels, and the meticulous research and acquisition process involved. Kate explains the selection criteria for the featured designers, highlighting the significance of showcasing the works designers such as of Dame Vivienne Westwood and Zandra Rhodes. Finally, Kate shares her vision for the impact of the exhibition on the perception of British fashion, both domestically and internationally, and the legacy she hopes it will leave for future generations of designers and fashion enthusiasts. Join us for this captivating journey through Blenheim Palace, where history and fashion converge in the "Icons of British Fashion" exhibition. Join the Behind The Seams community to support the podcast and access bonus content on Patreon or Spotify Follow on ⁠Instagram⁠ and TikTok for episode updates and bite-sized Fashion History more. Thanks for listening, and stay fab everyone.

In this very exciting peek Behind The Seams we're guided on a tour of Blenheim Palaces wonderful "Icons of British Fashion" exhibition by Kate Ballenger, the Keeper of Palace and Collections, who has played a pivotal role in curating this stunning showcase of British fashion. As we walk through the exhibition, Kate shares her insights on the careful curation of each space to reflect the distinct essence of each fashion icon featured. She also discusses the intriguing decision to include Sir Winston Churchill's attire, adding a unique historical dimension to the narrative of British style. Listeners are treated to a live tour of the exhibition, guided by Kate's expert commentary, exploring the rich tapestry of British fashion trends and styles over the centuries. The episode is filled with behind-the-scenes stories, fascinating discoveries, and the triumphs encountered during the mounting process. Kate shares her unique journey in collating and curating this iconic exhibition at Blenheim Palace, providing an insider's look into the inspiration behind hosting the "Icons of British Fashion" exhibition in such a historic setting, exploring the synergy between the palace's grandeur and the evolution of British fashion. Join us for this captivating journey through Blenheim Palace, where history and fashion converge in the "Icons of British Fashion" exhibition. Thanks for listening, and stay fab everyone.

What can I use to stop mites from destroying my nine foot Schefflera? Why haven't we seen many bees this year? How do I remove fungus growing on my hawthorn tree?Peter Gibbs and his team of gardening gurus travel to Blenheim Palace in Woodstock for a postbag edition of GQT.While Head Gardener Andy Mills leads Peter and the panel around the historic grounds, they also rake through the GQT inbox to answer your gardening queries. On the panel this week are garden designer Chris Beardshaw, house plants expert Anne Swithinbank and pest and disease expert Pippa Greenwood.Later in the programme, the panellists receive a surprise question from English fashion and textile designer Dame Zandra Rhodes, who asks what she should do about her dying hydrangeas. Senior Producer: Dan Cocker Assistant Producer: Rahnee Prescod
 Executive Producer: Carly MaileA Somethin' Else production for BBC Radio 4

Sir Keir Starmer took the chance to extend the hand of friendship to Britain's neighbours when he hosted the European Political Community summit in Blenheim Palace on Thursday. The FT's Lucy Fisher is joined by political editor George Parker, columnist Stephen Bush and public policy editor Peter Foster to discuss how far Britain wants to deepen relations with the EU again. Plus, the team examine the King's Speech — analysing what Starmer has prioritised and what he's shelved for now. To take part in the audience survey Lucy mentioned, and to be in with the chance to win a pair of Bose QuietComfort 35 Wireless Headphones, click here Click here to find T&Cs for the prize draw.Follow Lucy on X @LOS_FisherWant more? Keir Starmer opens door to processing asylum claims outside UKSign up for 90 free days of Stephen Bush's Inside Politics newsletter, winner of the World Association of News Publishers 2023 ‘Best Newsletter' award: https://ft.com/insidepoliticsofferPresented by Lucy Fisher. Produced by Philippa Goodrich with Leah Quinn and Persis Love. The executive producers were Topher Forhecz and Manuela Saragosa. Audio mix by Simon Panayi and original music by Breen Turner. The FT's global head of audio is Cheryl Brumley. View our accessibility guide Hosted on Acast. See acast.com/privacy for more information.

The pace of British politics isn't slowing down. A big international summit for Keir Starmer. Devastating Covid inquiry headlines. And a King's Speech full of bills. But all this is nothing compared to the US. President Biden – now isolating with Covid – is under pressure to withdraw from the 2024 race, and his rival Donald Trump survived, by millimetres, an assassination attempt.  The FT's Lucy Fisher hot-foots it from Blenheim Palace to join the podcast team to make sense of big events either side of the Atlantic.   Presented by Hannah White, with Alex Thomas and Rosa Hodgkin www.instituteforgovernment.org.uk  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Day 877.Today, we look at the fighting around Krnky on the left bank of the Dnipro river, we're live at Blenheim Palace in Oxfordshire where Volodymyr Zelensky is meeting European leaders and we discuss Russian so-called ‘meat assaults'Contributors:David Knowles (Journalist). @djknowles22 on X.Dom Nicholls (Associate Editor, Defence). @DomNicholls on X.Iona Cleave (Foreign Breaking News Reporter). @iona_cleave on X. Verity Bowman (Foreign Reporter). @VerityBowman on X. Joe Barnes (Brussels Correspondent). Barnes_Joe on X. Subscribe to The Telegraph: telegraph.co.uk/ukrainethelatestEmail: ukrainepod@telegraph.co.uk Hosted on Acast. See acast.com/privacy for more information.

Today, President Zelensky sits down for an interview with Chris Mason. The Ukrainian leader was in the UK, alongside other world leaders, as part of the meeting of the European Political Community at Blenheim Palace in Oxfordshire. Speaking after the event President Zelesnky discussed with Chris the possible return of President Trump, the mistakes of President Biden and the pressure on him personally. You can join our Newscast online community here: https://tinyurl.com/newscastcommunityhere Newscast brings you daily analysis of the latest political news stories from the BBC. It was presented by Adam Fleming. It was made by Jack Maclaren and Sam Mclaren. The technical producer was Hannah Montgomery. The assistant editor is Chris Gray. The editor is Sam Bonham.

Keir Starmer is at Blenheim Palace today for the gathering of the European Political Community, the forum created by Emmanuel Macron in the wake of the Russian invasion of Ukraine. While the new Prime Minister met with many world leaders last week in Washington for the Nato summit, this is his first time he has played host since entering 10 Downing Street. And he used his opening address to call for a 'reset' of relations with the EU, but what will that look like?  Oscar Edmondson speaks with Katy Balls and Charles Grant, director at the Centre for European Reform.  Produced by Oscar Edmondson. 

European leaders have descended on Blenheim Palace with Keir Starmer promising a 'reset' in British-EU relations. But what will that look like in practice?To analyse Britain's future relationship with Europe, an arch-Remainer and a leading Brexit figure go head to head on the Daily T - former Downing Street director of communications Sir Craig Oliver and Lord Frost, Boris Johnson's Brexit negotiator.Plus, a damning report from the Covid Inquiry has found that ministers “failed their citizens” by preparing for the wrong pandemic. The inquiry's chair Baroness Hallett says failure to plan properly led to more deaths and greater costs to the economy, and that the UK will face “immense suffering” if it is not better prepared for the next pandemic, Camilla and Kamal react to the report with chief reporter Robert Mendick outside the Inquiry. And, should men wear ties in the House of Commons?Producers: Georgia Coan and Lilian FawcettSenior Producer: John CadiganExecutive Producer: Louisa WellsPlanning Editor: Venetia RaineyVideo Producer: Luke GoodsallStudio Operator: Meghan SearleSocial Media Producer: Niamh WalshEditor: Camilla TomineyOriginal music by Goss Studio Hosted on Acast. See acast.com/privacy for more information.

Wall Street is split, with the Nasdaq recording its worst session since December 2022 while the rotation away from tech stocks continues, helping the Dow to close above the 41,000-point mark for the first time. President Biden pulls out of an event in Nevada after testing positive for Covid while at the RNC in Milwaukee, Ohio Senator JD Vance invokes the words of JFK during his formal acceptance of the GOP vice-presidential nomination. We are live in Frankfurt where it remains all but certain the ECB will keep rates steady, with the possibility of one more cut later this year. Swedish-Swiss robotics giant ABB posts record Q2 operational margins and hikes its FY guidance as net profit comes in at more than $1bn. We are also live at Blenheim Palace, Oxfordshire where new UK Prime Minister Keir Starmer is set to welcome European leaders at the EPC conference in a bid to reset relations between the UK and the Continent. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Sir Keir Starmer has been quick to meet with a host of world leaders since entering Downing Street. After his in-person meeting with Joe Biden, and a personal phone call to Donald Trump, Amol and Nick dissect how the new PM will navigate ‘the special relationship' in turbulent times. And closer to home, European leaders are meeting this week in Blenheim Palace. Baroness Cathy Ashton, the EU's former foreign policy chief, joins Nick and Amol in the studio to give insight on Starmer's strategy. How will he fulfil Labour's manifesto pledge to forge an ‘improved and ambitious relationship with our European partners'? And what will EU leaders want in return?Plus, Radio 1's Greg James drops by to give his moment of the week and pay tribute to England cricketer Jimmy Anderson following his retirement.If you have a question you'd like to Amol and Nick to answer, get in touch by sending us a message or voice note via WhatsApp to +44 330 123 4346 or email us Today@bbc.co.ukEpisodes of The Today Podcast continue to land twice a week post-election and look out for bonus Q&A episodes. Subscribe on BBC Sounds to get Amol and Nick's take on the new government, with insights from behind the scenes at the UK's most influential radio news programme.The Today Podcast is hosted by Amol Rajan and Nick Robinson, both presenters of BBC Radio 4's Today programme, the UK's most influential radio news programme. Amol was the BBC's media editor for six years and is the former editor of the Independent, he's also the current presenter of University Challenge. Nick has presented the Today programme since 2015, he was the BBC's political editor for ten years before that and also previously worked as ITV's political editor.You can listen to the latest episode of The Today Podcast any time on your smart speaker by saying “Smart Speaker, ask BBC Sounds to play The Today Podcast.”The producer is Hatty Nash, the editor is Tom Smithard. The executive producer is Owenna Griffiths. Research and digital production from Joe Wilkinson, technical production from Mike Regaard.