Podcasts about CV

In dieser Live-Folge beantwortet Katrin Moser die meistgestellten Fragen ihrer Community rund um Bewerbung, Lebenslauf und Jobwechsel.Mit über 20 Jahren Erfahrung im HR-Bereich und über 2000 geführten Bewerbungsgesprächen bringt Katrin wertvolle Einblicke mit, wie man als Bewerber*in überzeugt – sowohl im Lebenslauf als auch im Vorstellungsgespräch.Themen in dieser Folge:Wie erkläre ich Arbeitslosigkeit oder Krankheit im CV?Der richtige Umgang mit ChatGPT und KI im BewerbungsprozessWie du mit einem gelungenen Elevator Pitch überzeugstDie besten Tipps für ein starkes, zielgerichtetes MotivationsschreibenWie dein Lebenslauf wirklich aus der Masse herausstichtLinkedIn: So wirst du sichtbar für deinen TraumjobWas du über Gehaltsverhandlungen wissen musstWie du den verdeckten Stellenmarkt für dich nutztNetzwerken für Introvertierte – auch offline!Quereinstieg clever kommunizierenZum Schluss verrät Katrin noch konkrete Tipps für deine LinkedIn-Aktivität und wie du dich strategisch in eine neue Branche „einschleichst“.

Many of you are already using AI tools in your studies, careers, or job searches — but how do you make sure you're using them wisely?In this episode of Energy Sector Heroes, I speak with Vered Shwartz, Assistant Professor of Computer Science at the University of British Columbia and a specialist in natural language processing. We explore how AI is reshaping recruitment, interviews, and professional development — and what skills humans still need to bring to the table.Here are three actionable takeaways you can apply straight away:

Nick and John have posted eight Hallmarked Man conversations since its publication last month and, as interesting as their back-and-forth talks have been, South Wales to American Fly Over Country, Lake to Shed, much of the best theorizing and interpreting of Strike 8 has been happening in the comment threads beneath those posts and in email messaging with John. Determined that these insights wouldn't be lost or invisible to Serious Strikers, they chose ten of the most challenging for a fun introduction to the fandom conversations readers not privy to the backchannel moderators network or who neglect the comment threads are missing.In addition, Nick shares the credible speculation that Rowling's weeklong absence from tweeting has been because she is on her Samsara yacht in the South Pacific, circling Bora Bora, believe it or don't. John quizzes Nick, too, about the election in South Wales, Caerphilly to be exact, and the reason the results in that dependably Labour area have the UK buzzing (and why Strike readers might expect the populist party victories will color Strikes 9 and 10).A quick ‘table of contents' for their hasty review, then, followed by links and transcripts! Enjoy — and, yes, have at in the comment threads, please, the locus of Strike fandom conversations.* Ed Shardlow: Gorilla Ryan* Vicky: Boxes and Plush Toys* Sandra Hope: Traditional Symbolism* Justin Clavet: Only Fans Gaffe (Ed Shardlow -- ‘Not Proven' error)* Bora Bora* Justin Clavet: On Manhood* Ed Shardlow: Ickabog Parallel Book Theory* Sandra Hope: Hallmarked Man as Rowling's ‘Greatest Hits' allusion collection* LC - Dorothy Sayers* Kathleen O'Connor -- Alternative Incest* Caerphilly elections -- UK meaning* Ring Composition ProjectPromised Links and Transcripts:* Ed Shardlow's ‘Gorilla Ryan' TheoryThe Ryan the Gorilla theory came to me at the point in the book where Robin has an epiphany following an impulse to look up the meaning of a name. I think this was the Jolanda-Violet realisation, but I thought she'd suddenly realised the full extent of Ryan's dark side, with the significance being the previously noted meaning of his name “Sea King” suggesting a connection between him and Wade King.That theory seemed very flimsy at first, but on further examination it might have some mileage. There are some notable differences between the attack in the Land Rover and the previous ones. Although we imagine the attacker wearing a gorilla mask, there's no mention of it, and in fact it says she can see his face. Also the Land Rover attacker makes no demands that she, “Stop” or, “Leave it”. She hits Wade with the pepper spray, which of course, would be difficult for Ryan to cover up, but she didn't inflict any such injuries on the gorilla attacker. Wade clearly intends to hurt her, whereas the other attacks had no physical violence and look very much like they were just intended to scare her.1) It's hinted that Branfoot knows about Robin's rape, and she says it's on the internet, but we never get any indication that King or Griffiths know about it. Strike and Robin never consider that the attacker might be someone who knows about it because they're close to Robin. That seems like an oversight.2) The gorilla attacker never refers to a specific case. Murphy may be scaring her into quitting the job and getting away from Strike, whereas a suspect would want her to stop investigating their specific case.3) The police don't take the rubber gorilla and dagger for DNA testing. That's pretty strange, unless there's someone on the inside blocking the investigation.There's a bit of an issue with the guy in the green jacket, who presumably Robin can see isn't Ryan when he's on the industrial estate and outside her flat. Presumably that was Wade.So, there would need to be some explanation for how or why Murphy is wearing the same jacket when he accosts her with the ceremonial dagger. But that's not insurmountable.Murphy would have been very surprised to encounter Matthew (sic, he means ‘Martin' -ed.), who he knows from Masham, outside Robin's flat. The narrative very much prompts us to think there's something going on with Murphy, but then we put this down to his work issues and associated relapse, but perhaps that blinds us (and Robin) to another possibility. And if it is the case, then Strike hasn't just let Robin go to dinner with his romantic rival, but she's heading into mortal danger. Were his instincts subconsciously alerting him to the threat? Did he leave it too late to shout, “Brake!” again?Nicola Reed's Objection to ‘Gorilla Ryan' (Sandy Hope, too)Kathleen O'Connor's Cogent Counterpoint to John's Incredulity about No One Noticing How Short Faux-Wright was in the Ramsay Silver footageVicky on the Interpretation of Robin's “Stuffed Toy” DreamBrenna Hill asks ‘Why is the New Ellacott Puppy Named Betty?'Sandra Hope Jumpstarts Conversation about Traditional Symbolism in Hallmarked Man* Masonic Orb Pendant for sale on Etsy ($795)* Jacob's Ladder Mosaic in Masonic Hall, London (Alamy)* The Bohun Swan (‘Chained Swan') (Wikipedia)Justin Clavet: The ‘Only Fans' Gaffe· I commented on the Hogwarts Professor gaffes pillar [Placeholder, ed.] post about the OnlyFans error - that the OnlyFans website was launched in November 2016, but in the book, the murdered Sofia is said to be a prolific OnlyFans poster before her disappearance in June of that same year. The OnlyFans account is only a small point in this large plot, but one that is repeatedly referred to, and Sofia's OnlyFans account is what ultimately brought her to the attention of her killer. For such a meticulous plotter and, as John would say, “OCD” author as Rowling is, does this real-world chronological impossibility give you pause? What other big historical error like this can be found in her books?· Did you notice that the interview with the pornstar occurs in chapter 69? I think Rowling was having a bit of (structural) fun and winking at the observant reader with that one.* Justin Clavet's 3 September ‘Gaffes' posting about ‘Only Fans'The reference to OnlyFans in chapter 33 (p. 269) felt anachronistic to me, as I don't remember ever hearing about the website before the pandemic era. And sure enough, according to Wikipedia (citing a New York Times article), the website didn't launch until November 2016. Therefore, Sofia – who was murdered in June 2016 – could not have been a prolific OnlyFans poster. Sofia's supposed OnlyFans account is referenced several further times throughout the book. Based on data from Google Trends, it seems incredibly unlikely that Strike and Robin would have readily known what OnlyFans was in late 2016/early 2017. So Where is Bora Bora?The Caerphilly 2025 Election: Victories for Left and Right Wing Populist Parties* 2025 Caerphilly Bi-Election (Wikipedia!)* UK's Ruling Labour Suffer Crushing Defeat Against Political Insurgents at Ballot Box (Breitbart)Justin Clavet ‘On Manhood in Hallmarked Man'The biggest thing that struck me in this book was the persistent themes of manhood woven throughout: the responsibilities, relationships, and hardships of men. * The central crime is linked with a secretive fraternal organization. * It opens with the death of Strike's father figure Ted, a “proper man” (p. 38), by whose maxims Strike is newly resolved to live. * We learn that Ted would've murdered (or been murdered by) his father Trevik if he hadn't left home and joined the army (p. 39), just like Strike would have come to blows (or worse) with his step-father Whittaker if he hadn't left home and joined the army. * While he loses the man he called his dad, he has a real meeting with his natural father for the first time. Rokeby shares that, in Strike, he had produced a proper man” (p. 747). * Strike celebrates not having fathered a child (while Robin is distraught in the wake of her own lost child, and devastated that the option to be a mother may no longer be hers to choose).* Richard de Leon says that his brother Danny was made the way he is because of his father's mistreatment. * Strike is bewildered that Danny (who integrates his brother's Christian name into his porn name, Dick de Lion) and Richard could be so close and share so much with each other, contrasting this with his own relationship with Al. * Leda and Rena are both shown to have suffered because of the absence of their more stable brothers. * Strike observes that “men are seen as disposable in certain contexts” (pp. 107f).* Wardle, who is shown to be a caring and dedicated father to his young child, opens up to Strike about his depression and his marriage troubles. * Strike reflects on the shallow friendships he has with other men, and later sees how this kind of friendship can be toxic with the wrong personalities (in Powell, Pratt, and Jones, p. 860). * Strike fears Wardle may be at risk of suicide. Niall is found to have committed suicide after his brother in arms was horrifically executed by Islamist combatants. The public can't be bothered to care about the tragic loss of this man who heroically put his life on the line for his country - preferring instead to lend their attention to the spectacle of another man, Branfoot, who went to extreme lengths to indulge his basest and most perverse desires (p. 873).Like many events in this book, this theme - with characters showing genuine concern and thoughtful consideration of complex men's issues - is a mirror image of one presented in Troubled Blood with the character of Carl Oakden and his cynical men's rights grift.This barely scratches the surface of the notes that I took on this theme, which I saw running deep through the whole book. I wondered if I was just seeing this in the text because of my own perspective as a man, or if it really was there. Indeed, you could find hints of this theme in each of the preceding seven books. But the structural clues left me convinced it was intentional. And when I watched this video (https://robert-galbraith.com/robert-galbraith-discusses-the-case-in-the-hallmarked-man/) the day after finishing the book, there was no doubt.Justin Clavet on the Hallmarked Man Dedication and Rokeby's Gratitude· I connected the book's dedication to Sean and Nadine Harris with Rokeby's statement on p. 748, “Not everyone's got a mate called Leo ‘oo stops ‘em livin' rough” and that he attributes his artistic and financial success to his friend's generosity and charity.Ed Shardlow on The Ickabog as Hallmarked Man's Parallel BookConscious of the links between the first 7 books of the series and the Potter books, and with three books purportedly remaining in the series, I was primed to see a connection between The Hallmarked Man and one of Casual Vacancy, Christmas Pig or the Ickabog. I didn't have any predisposition to it being any of those. Even if Rowling is taking them in some sort of chronological order, there's reason to believe the orders of conception, writing and publishing may differ.At the end of Part One, I thought the Ickabog looked like the best fit based on the fact that the central mystery of who the body in the vault was has a certain similarity to the mystery of the Ickabog itself and whether it was real or a myth. The importance of the truth and the damage done by lies are fundamental to the Ickabog story, and I thought from the start those were major themes in THM.The other correspondences I've spotted:* The police, in various guises, like the royal guard play an important part, largely inept, self-serving, and perpetrators of miscarriages of justice.* The aristocrats - Lord Branfoot, Lady Jenson, Dino Longcaster - lie and deceive to protect their own interests, causing untold damage in the process.* There's terrorism, and terrorism being used to spread fear and division.* Ultimately Rupert and Decima, two sexes but one entity, produce an offspring that may have been defective or corrupted by the state of the world he was born into, but seems to have emerged happy and healthy. Daisy Dovetail having persuaded Rupert the Ickabog that humanity was worth making compromises for.* The main antagonist traps a woman in his house. I thought their names were Esmeralda and Sapphire, but it's Lady Eslanda not Esmeralda… But apparently Eslanda can mean emerald, or VIOLET, or truth… So Eslanda corresponds to both Sapphire and Jolanda!* We visit a feudal state* Ben Liddell – the soldier killed in an incident in a land where there shouldn't have been any military conflict happening and it being covered up by the government* Sandra Hope: The Footprint!Ed Shardlow, I can't wait for your show on the parallels between THM and the Ickabog!!! I just finished rereading both of them and I'm losing my mind! Omg, the footprint: “The Flaw in the Plan (ch32) is that the footprint is hopping (not so much terrifying as ludicrously funny) and Strike noting that the bearer of the footprint in the vault has a limp!! Please let this conversation happen soon!!Sandra Hope: Strike 8 as a ‘Rowling's Greatest Hits Album' of Allusions:Allusions that took my breath away:* Ectopic pregnancy- TB* Schadenfreude- CC* “So many babies”- not just born, but what they're born into- Ickabog borndings* Human trafficking ring- RG* Woman buried in/under concrete- TB* Staged murder involving mutilation- Silkworm* Violent attacks & subsequent PTSD- a Rowling theme in every book, but especially CE & LW* DNA testing & fatherhood- CV, TB* Guys trying to find right time to ask a potential partner a question- GOF lol* Valentine's Day mishaps- CS, TB* Behavior of abandoned mothers-Silkworm (& HBP), specifically Merope, Leonora, Decima (also Leda)* Journalism as a weapon- GOF, OOP, Silkworm, RG* Potential ill usage of mirrors- SSNot a complete list by any means lolLC – Dorothy Sayers Connection?I don't know if there is anything in my seeing parallels between Cormoran and Robin and Peter Wimsey and Harriet Vance (Dorothy Sayers): Peter and Harriet had a very long acquaintance before they finally got engaged, with lots of twists and turns. Peter goes deep undercover in an ad agency in one novel; the feel of it was very similar to Robin going deep undercover in Lethal White. Also, the Sayers novel “Five Red Herrings” also features five men--in this case, five men who could have been the murderer (instead of the victim). Sayers also had very intricate plots that were puzzles--and was a Dante scholar. I believe Jo has mentioned that she admired Sayers. I don't know if these are just interesting parallels that Jo is having fun with or not, but they certainly seem to be more than coincidences. Thanks!Kathleen O'Connor – Alternative Incest Big Twist IdeasI'm impressed by your arguments that we will see some shocking twists – in addition to the shocking twist that Rokeby is actually, in his old age, a good father to his mature son, Cormoran, and not at all the image-focused a*****e we have seen through Strike's eyes up to now. I don't think, however, we will find that Rokeby is not Strike's father. That revelation would dilute Strike's growth in terms of his realizations that he has been mistaken about many things that he has taken for granted in his life. Instead, I think instead we will see a continuation of Robeby's rehabilitation until eventually, like Snape, Rokeby makes some kind of big sacrifice to aid Cormoran or someone/something else important to Cormoran. Also, even though Strike does not physically resemble Rokeby, he does resemble Prudence: * “Seeing them face to face, Robin spotted her partner's resemblance to Jonny Rokeby for the first time. He and his half-sister shared the same defined jaw, the same spacing of the eyes. She wondered – she who had three brothers, all of the same parentage – what it felt like, to make a first acquaintance with a blood relative in your forties. But there was something more there than a faint physical resemblance between brother and sister: they appeared, already, to have established an unspoken understanding.” - The Running Grave And: * “In youth, Strike knew, Rokeby had been exactly as tall as his oldest son, though he was now a little shorter.” - The Hallmarked Man Maybe the big twist and incest plot is connected to either Switch or Whittaker. As we learn from Wikipedia in Career of Evil, Jeff Whittaker never knew who his father was. A strong possibility could be that Patricia Whittaker's own father, Sir Randolph, had gotten her pregnant with Jeff. In that case, keeping that secret – as well as simply keeping the baby away from Leda – could have been the motive for a Whittaker family member to have killed Leda. An even bigger twist might be that Leda did commit suicide, using exactly the method of Krystal Weedon, after she realized that she was Whittaker's sister. Would it be possible for Trevik to have met up with Patricia Whitaker in London and gotten her pregnant? Regardless of the incest angle, I do think we might find that Leda, whose life choices have not allowed her to develop the strength or discipline to face hard truths, may have committed suicide rather than cope with some kind of guilt (maybe she found out what happened to Lucy?). There are multiple examples that foreshadow these possibilities – off the top of my head, there are “naughty boy” wealthy aristos (Freddy Chiswell, Alexander Graves, Will Edensor, Jago Ross) who might parallel Sir Randolph or Jeff Whittaker, and multiple characters who confuse suicide with sacrifice or who simply cannot face what they have done (Cherie Gittins, Krystal Weedon, Yasmin Weatherhead). Rhiannon Winn and Ellie Fancourt both commit suicide because they cannot cope with the shame they feel as a result of others' cruelty.Also, I can think of two points that support your idea that we will find out some bad things about Ted. Number one, the revelations that Dumbledore was extremely flawed are crucial to Harry's story. In fact, I suggest that writing characters who are not merely “gray” but who are simultaneously really good and really bad is a “golden thread” of Rowling's work. And, number two, we hear multiple times that Ted taught Strike, “There's no pride in having what you never worked for” while Rokeby says “I don't wanna die wivvout knowin' ya. You fink I 'aven't got the right to be proud, maybe, but I am. I'm proud of ya.” I don't think it is an accident that Rowling sets up this opposition, and I also think she wants us to admire Rokey's desire to know his son. Get full access to Hogwarts Professor at hogwartsprofessor.substack.com/subscribe

Feeling overlooked in your job search, even though you know you're good at what you do? You're not alone. In this episode, we unpack why experienced professionals and senior leaders struggle to get traction when applying for new roles, and what to do differently to stand out in today's market.We talk about why the job search game has changed, what “positioning yourself” really means, and how to reframe the process so it feels less demoralising and more strategic. Key points from this episodeWhy senior professionals are getting overlooked (and why it's not all down to ageism or the job market)How to audit and update your CV so it actually reflects your value at a senior levelThe shift from listing responsibilities to demonstrating impactHow to stop “winging it” in interviews and start telling your story with confidenceWhy reframing your job search as a learning process can change everythingThe power of building relationships before you need themTimestamps00:00 Introduction and Topic Overview01:00 Why so many senior professionals feel overlooked right now03:00 How the job market has changed for experienced candidates05:00 The problem with keyword-stuffed CVs and outdated application tactics07:00 How to audit your CV through a recruiter or hiring-manager lens09:00 The difference between CVs for mid-level vs senior-level roles10:00 Interview pitfalls: why “winging it” doesn't work at senior level12:00 Moving beyond STAR answers to share your story with impact15:00 Handling rejection and maintaining confidence17:00 Reframing the job search as a learning process19:00 Building relationships before you need them21:00 Turning experience into a competitive advantage23:00 Owning your expertise and showing authentic value25:00 Wrap Up: Positioning, patience, and playing the long gameUseful LinksJoin The Catalyst Career Club for 50k+ LeadersConnect with Pam on LinkedIn: https://www.linkedin.com/in/pamelalangan/ Connect with Jacqui on LinkedIn: https://www.linkedin.com/in/jacqui-jagger/ Follow the Catalyst Careers LinkedIn page for career tips and adviceInterested in working with us? Get in touch about career or leadership development, outplacement workshops or recruitment support via the Catalyst Careers website Enjoyed this Episode? If you enjoyed this episode, please take the time to rate and review it on Apple Podcasts or Spotify

Ai microfoni di Unica Radio abbiamo ospitato Matteo e Manuel Garau due fratelli imprenditori che si definiscono: "Start-upper". Ci parlano del loro progetto chiamato: "Kantera". Follia, Responsabilità ed Entusiasmo Il progetto si presenta come una piattaforma digitale con la missione di ridurre il disallineamento tra i giovani e il mondo del lavoro. Il loro approccio si distingue per un cambio di paradigma fondamentale: partire dalla persona anziché dal curriculum vitae tradizionale. I due fratelli identificano una profonda disconnessione tra le modalità di recruiting attuali e le competenze native delle nuove generazioni, in particolare la Generazione Z. Evidenziano come le soft skill cruciali, ad esempio l'adattabilità — sviluppata naturalmente attraverso sfide come la pandemia — siano ampiamente sottovalutate dalle aziende. Kantera si propone di colmare questo divario attraverso un "CV 2.0" che permette ai giovani di raccontare esperienze di vita (sport, progetti personali) traducendole in competenze professionali. La Persona Prima del Curriculum Durante l'intervista i due giovani imprenditori descrivono l'avvio del progetto come un percorso intenso, nato "da zero, con pochi mezzi e da uno scantinato". La loro esperienza iniziale è riassunta in tre parole chiave: follia, responsabilità, entusiasmo. Ci dicono poi che il loro consiglio principale per chiunque voglia avviare un'idea da zero è di "buttarsi", sottolineando che le competenze si possono imparare lungo il percorso e che non bisogna ricercare la perfezione fin dall'inizio, poiché essa può sottrarre energie preziose. Analisi delle Sfide Giovanili e del Mercato del Lavoro L'esperienza di Manuel con il suo precedente progetto, il podcast "Generazione Z", ha permesso di raccogliere dati diretti sulle preoccupazioni degli studenti. Quello che Manuel ha potuto constatare è sicuramente un Disorientamento Post-Diploma. Molti studenti non sanno se proseguire con l'università, cercare lavoro o avviare un'attività propria. Dinamiche interne L'intervista ha toccato anche aspetti relativi alla gestione interna e alle relazioni esterne del progetto. Ad esempio la collaborazione tra fratelli, in cui come hanno spiegato: la dinamica lavorativa funziona grazie a una chiara suddivisione dei ruoli sin dall'inizio e a competenze complementari. Gli scontri su punti di vista diversi non sono visti come problemi, ma come "aiuti a trovare nuove idee, trovare nuove soluzioni". Progetti Futuri È in programma un tour di attività con scuole e università, che per ora si concentrerà sul territorio della Sardegna. Potete trovare tutte le info utili nel loro sito internet: www.kantera.it

Arrancamos una nueva entrega de la Sección AutoScout24, el portal de referencia para vehículos de ocasión, junto a Alejandro Moya. En esta ocasión, nos metemos de lleno en el mundo de los Súper SUVs, esos todoterrenos de altas prestaciones que combinan potencia bruta con lujo y tecnología. Analizamos dos bestias del asfalto: el Jeep Grand Cherokee SRT8, con su motor V8 HEMI de 6.1 litros, y el espectacular BMW X6M preparado por AC Schnitzer, que alcanza los 700 CV. Dos enfoques distintos de lo que significa un SUV deportivo extremo. Un episodio lleno de cifras, sonido y emoción, para quienes disfrutan de los coches grandes, rápidos y con carácter. Escucha el episodio entero aquí: https://go.ivoox.com/rf/161218956 Escúchanos en: www.podcastmotor.es Twitter: @AutoFmRadio Instagram: autofmradio Twitch: AutoFMPodcast Youtube: @AutoFM Contacto: info@autofm.es

This week's guest says, “ The purpose of science and technology research, in the military, is to make the fight unfair.” So what's standing in our way? Laura Winter speaks with Richard Joseph, the 36th Air Force Chief Scientist, who has a CV that includes the Strategic Defense Initiative, the White House Office of Science and Technology Policy, Los Alamos National Laboratory, and NASA.

Hvordan får du en jobb når CV-en består av hull, dommer og fengselserfaring? I denne episoden får røverne hjelp av landets mest kjente hodejeger, Gro Møllerstad, til å skrive CV, søknad og forberede seg på jobbintervju.Gro deler ærlige råd om hvordan man kan snu livserfaring – selv den fra innsiden – til verdifull kompetanse på utsiden.Hun forteller også en rørende historie fra tiden som meddommer, da hun valgte å gi en innsatt en ny sjanse som endret livet hans for alltid.

La Wallonie comptait près de 270 000 chercheurs d'emploi inoccupés à la fin du mois de septembre. Et si la solution, en partie, venait de l'entraide ? C'est le pari du mentorat, un dispositif humain et solidaire qui relie des professionnels actifs à des personnes en recherche d'emploi.Le principe est simple : un mentor partage son expérience, ses conseils et son réseau avec un mentee (le mentoré). Ensemble, ils se rencontrent régulièrement, échangent sur les projets, préparent les entretiens, retravaillent les CV, partagent des contacts utiles et, surtout, redonnent confiance. Pour le mentee, c'est un soutien précieux, une écoute et une présence régulière. Pour le mentor, c'est une manière de se sentir utile tout en développant ses compétences humaines et relationnelles.En Belgique, le mentorat commence à s'implanter, notamment dans les grandes villes. Plusieurs associations s'y consacrent :Duo for a Job, coaching intergénérationnel qui s'adresse aux jeunes de moins de 30 ans issus de l'immigrationTeam4Job qui met en relation des mentors et des chercheurs d'emploi de tous horizonsMentorYou, axé sur la formation et la motivationEt plus récemment, Backstage Network, qui innove en impliquant directement les entreprises.Ce dernier programme collabore par exemple avec la STIB, dont une dizaine d'employés se portent volontaires pour devenir mentors. Chaque binôme se rencontre individuellement, mais participe aussi à des sessions collectives, où les expériences se croisent et où l'on apprend ensemble. Ces échanges favorisent l'intelligence collective et renforcent les liens entre monde de l'entreprise et chercheurs d'emploi.Autre avantage : tout est gratuit, aussi bien pour les mentors que pour les mentees. Des structures comme Backstage Network sont financées par Actiris et le Fonds social européen, garantissant l'accessibilité du dispositif.Être mentor, c'est du bénévolat, mais pas du temps perdu : c'est une aventure humaine. Une heure, deux fois par mois pendant six mois suffit à tisser une relation de confiance et à contribuer concrètement à la réinsertion professionnelle de quelqu'un. Et même si les rencontres peuvent se faire en visio, beaucoup soulignent que se voir “en vrai” change tout : un regard, un sourire, un échange, ça fait la différence.Le mentorat, c'est une solidarité de proximité qui se structure petit à petit. Une initiative nationale, Mentoring Belgium, est d'ailleurs en cours de création pour rassembler les différents acteurs du pays et mieux coordonner leurs efforts.Dans un contexte où les inégalités face à l'emploi persistent, cette forme d'accompagnement humain prouve qu'il n'y a pas de petit geste : parfois, partager son expérience, c'est déjà offrir une chance.Vous aimez ce contenu ? Alors n'hésitez pas à vous abonner, à lui donner des étoiles et à partager ce podcast autour de vous. Ça nous aide à nous faire connaître et à essaimer les idées constructives qui rendent le monde plus joli ! Une chronique signée Leslie Rijmenams à retrouver (aussi) sur Nostalgie et www.nostalgie.be

Rebel Foods disrupted India’s dining landscape by proving that you don’t need high streets to build high-value brands. From Faasos and Behrouz Biryani to Oven Story and Sweet Truth, it runs 20-plus brands across 10 countries — all powered by tech, not tables. In this episode of The Morning Brief, Co-founder and Group CEO Jaydeep Barman tells Anirban Chowdhury how the company transformed kitchens into a scalable platform for global restaurant brands.He opens up on the company’s origin story, its no-CV culture, cold-emailing Sequoia for funding, using data and automation in every kitchen, and why slow scaling beats fast burnout.Listen in: You can follow Anirban Chowdhury on his social media: Twitter and LinkedinListen to Corner Office Conversation our new show:: Corner Office Conversation with Pawan Goenka, Chairman, IN-SPACe, Corner Office Conversation with The New Leaders of Indian Pharma and much more. Check out other interesting episodes from the host like: Why Is India Still Buying Russian Oil?, How AI is Rewriting Cinema Part 2, Trump vs Harvard: India Impact, Of Dragons and Elephants: Modi–Xi in Focus and much more.See omnystudio.com/listener for privacy information.

Tech billionaire Peter Thiel is no cuck philanthropist. The co-founder of Palantir is leading his company at the bleeding edge of mass surveillance, facial recognition, predictive policing, and AI-assisted warfare. He also fancies himself a political player, responsible for funding his protege, JD Vance, to a heartbeat away from the presidency. Considering this CV, the announcement that Thiel would give a series of four lectures on the AntiChrist was puzzling.  Why would a tech-bro with a notoriously awkward and inarticulate speaking style hold forth on religious prophecy? Or would this be a coming out party, where he would finally confirm his alliance with Satan? Now that the lectures have happened, we can finally tell you—and later, we'll frame it in the context of Thiel's mentor, René Girard. Show Notes Inside tech billionaire Peter Thiel's off-the-record lectures about the antichrist It Kind of Seems Like Peter Thiel Is Losing It Battling to the End: Conversations with Benoît Chantre: René Girard I See Satan Fall Like Lightning: René Girard “A Geometry of Desire: René Girard's Mimetic Theory, Part 1.”: John Ganz “The Iron Triangle: René Girard's Mimetic Theory, Part 2.”: John Ganz “Escaping the Kingdom of Futility: René Girard's Mimetic Theory, Part 3.”: John Ganz “The Cure for Envy: René Girard's Mimetic Theory, Part 4.”: John Ganz Know Your Enemy Ep 87, featuring John Ganz Learn more about your ad choices. Visit megaphone.fm/adchoices

En este vídeo te anunciamos un nuevo servicio que hemos montado para todos los seguidores de Garaje Hermético. Porque a partir de ahora tendrás en nuestra/vuestra página web “Garajehermetico.com” una selección de coches de ocasión a buen precio y con pocos kilómetros que te ofrecemos en colaboración con Ruteo. Ahora te ofrecemos una selección de coches para viajar, los mejores por confort, seguridad y consumos. Si es lo que estás buscando, echa un vistazo a esos coches en el siguiente enlace: https://www.garajehermetico.com/ruteo/ Parece que, hablando de cilindros, siempre más es mejor. Vamos a desmontar esta premisa y a analizar, cilindro a cilindro, las ventajas e inconvenientes de cada configuración. Con argumentos y con ejemplos, como nos gusta hacer las cosas en Garaje Hermético Hemos hecho vídeos sobre los motores de 3, 4, 5, 5, 8, 12 y 16 cilindros… pero faltaba este, comprarlos todos juntos para ver, en un solo vídeo, pros y contras de todos ellos. Así que este video va de “La guerra de los cilindros: de menos a más” y comenzamos por dos, porque de un cilindro no quedan coches modernos. -2 cilindros: Mínima expresión. -3 cilindros: Llega el "downsizing". -4 cilindros: Punto de equilibrio. -5 cilindros: Nota discordante. -6 cilindros: La aristocracia. -8 cilindros: El sonido del poder. -10 cilindros: Exóticos. -12 cilindros: Máximo refinamiento. -16 cilindros: La Hipérbole Conclusión. No, más cilindros no siempre es mejor. El número ideal de cilindros depende estrictamente del uso, el tipo de coche y las prioridades del conductor. Los motores de 3 y 4 cilindros, gracias a la tecnología turbo, ofrecen hoy un rendimiento y una eficiencia impensables hace una década, pero… ¡mejor con 4! Los 6 cilindros representan el equilibrio perfecto entre prestaciones y refinamiento para quien busca algo más, mientras que de 8 cilindros en adelante entramos en un universo de sensaciones, exclusividad y arte mecánico casi en peligro de extinción. Motor del día. En vez de elegir un motor "ideal" ya existente hemos diseñado nuestro propio motor pensado para un coche medio en 2025, polivalente para el día a día y para viajar. Sería un 4 cilindros en línea de gasolina, con una cilindrada en torno a los 1.5 - 1.6 litros, sobrealimentado por un turbocompresor y asociado a algún tipo de hibridación ligera, tipo Mild Hybrid, o enchufable. Esta configuración ofrece una potencia suficiente de entre 130 y 160 CV y un par generoso a bajas vueltas para una conducción ágil, unos consumos muy contenidos gracias a la hibridación y la posibilidad de obtener la etiqueta ECO. Es una mecánica refinada, fiable y con unos costes de mantenimiento razonables; el perfecto equilibrio para el conductor medio.

In this episode of the Work It Like a Mum podcast, we sit down with career and leadership coach Kate Rainford-Foakes, who specialises in helping women navigate career transitions, especially those moving from entrepreneurship back into employment or exploring new directions.Whether you've stepped away from a business, are craving more stability, or simply wondering “what's next?”, Kate shares practical, encouraging advice for rediscovering your professional identity, reframing your story, and confidently taking your next career step.

The glorious 90's. Especially in Sweden they were glorious, winning almost everything there is in handball. But how does 90's superstar Stefan Lövgren feel about the one blind spot in the swedish CV - the missing gold medal from the Olympics? Our hosts Víctor Tomàs, Martin Vilstrup and Bengt Kunkel had a look at the possibly best national team there ever was. Who's your number 1?

The FiltrateJoel Topf @kidneyboy.bsky.social‬Swapnil Hiremath @hswapnil.medsky.socialNayan Arora captainchloride.bsky.socialSopia Ambruso @sophia-kidney.bsky.socialSpecial Guests Brendon Neuen @brendonneuen.bsky.social Associate Professor and Program Lead, Renal and Metabolic at The George Institute for Global Health. Nephrologist and Director of Kidney Trials at Royal North Shore Hospital.Neuen has had three prior appearances on Freely Filtered: EMPA Kidney, DUPLEX and Sparsentan in FSGS, FLOW and SemaglutideMuthiah Vaduganathan @mvaduganathan on X. Cardiologist at Brigham and Women's Hospital and Harvard Medical School. Assistant Professor of Medicine.Editing byJoel TopfThe Kidney Connection written and performed by Tim YauShow NotesDONATE to NephJC! Finerenone with Empagliflozin in Chronic Kidney Disease and Type 2 Diabetes NEJM | NephJC SummaryFIDELIO Bakris et al, NEJM 2020 | NephJC Summary; subgroup throws doubt on efficacy of finerenone in patients on flozinsFIGARO Pitt et al, NEJM 2021; subgroups clearly shows finerenone works, flozins or notNEJM editorial (wrongly) saying do not use Flozins unless on RASi Don't use dual RAS blockade ONTARGET Yusuf et al, NEJM 2008; VA NEPHRON-D Fried et al NEJM 2013Why we cannot study finerenone in HFrEF (RALES Pitt et al NEJM 1999) Muthu is jealous of GFR slope and albuminuria surrogate endpoints and wants to borrow them for HFpEF (Inker et al EHJ 2025)Combination therapy and CV outcomes in hypertension (Wang et al JAMA Card 2024 on low dose combinations and BP; Egan et al Blood Pressure 2022 review of topic) CONFIRMATION HF trial registry entry (Finerenone and Empagliflozin in hospitalized patients with HF)23:20: Nayan and Swap miss a chance to say ‘de-flozination' to discuss stopping a flozin which would allow a patient to be included in the trial Finerenone is a CYP3A4 substrate (Heinig et al Clin Pharmacokinetics 2023); Useful list of CYP3A4 inducers and inhibitors Everyone should get an ABPM (Bugeja et al CMAJ 2022)EASiKIDNEY study design Albuminuria mediates CKD benefits with Finerenone (Agarwal et al Ann Intern Med 2023)GFR slope and Albuminuria and the FDA (Taylor et al eClin Med 2025) Dapagliflozin and Eplerenone combination crossover trial (Provenzano et al JASN 2022)Joel gets promoted! (PBFluids reflection) Bluesky NephJC Chat discussion on ‘renal remission' Withdrawal of Finerenone and worse outcomes from FINEARTS (Vaduganathan et al JACC 2025)Combination therapies Analysis from Brendan and Muthu (Neuen et al Circulation 2024)Do not use KFRE when GFR > 60 (KDIGO Practice Point 2.2.4: Note that risk prediction equations developed for use in people with CKD G3–G5, may not be valid for use in those with CKD G1–G2) Finerenone vs Spironolactone trial in Primary Aldosteronism (Hu et al Circulation 2025)FIND CKD trial design (Heerspink et al NDT 2025) FINE-ONE trial design (Heerspink et al Diab Res Practice 2023) Tubular SecretionsNayan keeping his chin up as Yankees lose and Mariners follow (MLB Playoffs)Sophia's adventures with Beekeeping (Royal Jelly?) Brendon loves listening to ‘Susan' by Raye Muthu is back into Taekwondo Swap is still reading Martha Wells (Witch King on GoodReads)Joel will be hiking the Laugavegur trail in Iceland

Cliquez ici pour accéder gratuitement aux articles lus de Mediapart : https://m.audiomeans.fr/s/P-UmoTbNLs Sébastien Lecornu vient de renommer à son cabinet Olivier Brandouy, ancien recteur dont le CV est entaché par la gestion calamiteuse, courant 2023, d'une affaire de violences sexuelles. Pour se justifier, ce haut fonctionnaire s'arrange avec les faits. Un article de Mathilde Mathieu publié lundi 20 octobre et lu par Jérémy Zylberberg. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

À la veille de la présidentielle du 25 octobre, les candidats multiplient les promesses. Un thème revient sans cesse dans les meetings : l'emploi des jeunes. Officiellement, le chômage est inférieur à 3%, mais pour beaucoup, décrocher un travail stable reste un parcours du combattant, malgré une croissance moyenne de 6,4% sur la dernière décennie. De notre correspondant à Abidjan, C'est à Yopougon, près d'une gare routière, que nous retrouvons Serge. Diplômé en criminologie, il cherche depuis deux ans un emploi. En attendant, il vend du garba – un plat à base d'attiéké et de thon frit – pour subvenir à ses besoins : « J'ai fait la coordination locale de sécurité. Je suis plus dans le volet militaire. Donc, je passe les concours militaires, mais on n'a pas de suite. » Pas formés au besoin du marché Face à ces échecs répétés, Serge tente sa chance dans le privé. Mais là encore, les portes se ferment : « Les entreprises nous demandent des CV bien garnis, avec deux, trois ou même cinq ans d'expérience… alors qu'on vient à peine de finir l'université. » Pour Ibrahim Koné, expert en ressources humaines, le problème est structurel : « On forme généralement des jeunes sur des modules qui ne sont pas en phase avec la réalité des entreprises. Or, celles-ci ont des besoins précis. Si les jeunes ne sont pas formés sur ces compétences-là, naturellement, ils ne seront pas embauchés. » À écouter aussiCôte d'Ivoire: un lycée professionnel pour former les jeunes à l'agriculture L'Agence Emploi Jeunes en première ligne Depuis 2015, l'État tente d'apporter des solutions à travers l'Agence Emploi Jeunes. Stages, emplois aidés, financements de projets… des prêts allant de 100 000 à 25 millions de francs CFA sont proposés. Parmi les bénéficiaires, Mardelle Caumouhet, entrepreneure dans le secteur du bâtiment : « Les fonds nous ont permis de développer nos activités, d'organiser mes équipes et de renflouer mon stock. Les résultats sont déjà très satisfaisants. » Des dispositifs que l'administration veut renforcer, assure Herman Nikoué, administrateur adjoint de l'Agence Emploi Jeunes : « Il s'agit de faciliter et de renforcer l'accès à des emplois décents et productifs, d'amplifier les programmes liés à l'entrepreneuriat des jeunes. Il est même prévu la création d'un fonds de garantie dédié aux jeunes entrepreneurs. » Selon les autorités, plus de 500 000 jeunes auraient déjà bénéficié du programme Jeunesse (PJ Gouv) 2023-2025.

Dans cet épisode, David Talerman partage les enseignements d'une étude du cabinet Von Rundstedt sur les pratiques de recrutement en Suisse. Objectif : aider candidats à aborder le marché suisse avec lucidité et stratégie.1️⃣ Les profils généralistes en difficulté67 % des recruteurs jugent les profils généralistes moins attractifs.Un positionnement flou ou trop large réduit nettement les chances d'être retenu.

Guest post by Annika Bizon VP of Product and Marketing at Samsung UK&I AI is no longer a futuristic concept - it is here and has started changing the workplace and its practices irrevocably. Whether you are in finance, marketing, engineering, or customer service, AI offers a powerful toolset that can drive productivity, streamline processes, dive deeper into data and unlock new opportunities. There are those who will embrace the change, others who will be closer to fearful. It is important to understand that while the fear is not necessarily groundless, there is a new mantra: AI won't take your job, but someone who knows how to use AI effectively, might now have the edge. The competitive landscape is different, so, it's time to start understanding and leaning into these new capabilities. AI as an Enabler The misconception that AI will replace human jobs overlooks its true potential: augmentation rather than replacement. AI is best leveraged as an assistant, supporting professionals in handling repetitive tasks, analysing vast amounts of data, and generating insights that enhance decision-making. Recent research carried out by Samsung Ireland, undertaken by 3Gem, showed that virtually all (98%) managers feel that AI can make their job easier, with around three-fifths feeling it could automate administrative or mundane tasks, freeing up their time for more productivity. The research also showed that the AI features that 52% of managers are most excited about are those where AI acts as a personal assistant, reducing mundane tasks and improving overall efficiencies in our day-to-day. For instance, AI-powered tools that automate administrative work such as scheduling meetings, summarising data and transcribing notes, free employees up to focus on strategic initiatives and projects. In creative fields, AI assists with idea generation, enabling professionals to refine and elevate their work rather than replace their role altogether. The key is to harness AI's capabilities to become more efficient, innovative, and valuable in your profession. For example, a graphic designer might use AI tools to generate multiple concept drafts based on a client brief, then refine and customise the best one using their own artistic judgment. The opportunity here is to capitalise on AI to become more efficient, innovative, and valuable in your profession. Practical Ways to Integrate AI into Your Work You don't have to be a data scientist to use AI, most of the tools that are now coming to market are designed to be used by anyone and everyone; you just have to understand the capabilities of any given one. What are the right questions/prompts? Which tool works best for the task at hand? It is just a matter of learning how best to use it to your own advantage. Here are some practical ways that professionals can use AI to enhance their jobs: • Automate Repetitive Tasks: AI can handle mundane activities like scheduling meetings, data entry, or sorting emails, giving professionals more time to focus on high-value work. • Enhance Decision-Making: AI-driven analytics tools provide actionable insights that help professionals make informed choices faster and with greater accuracy. • Boost Creativity and Productivity: From AI-powered content generators to smart design tools, professionals in marketing, design, and communications can speed up idea development and execution. • Upskill with AI Tools: Platforms like Gemini 2.0 or AI-powered CRM systems enable professionals to refine their skills, from coding to content writing, making them more competitive in the job market. • Data analysis: Because sometimes, AI tools can pull out insights that you didn't think to look for - I would note that this is not just about numbers and spreadsheets. Feed your CV into something like NotebookLM and read/listen to the results, it can be fascinating. AI and Ireland's Innovation Agenda Ireland has positioned itself as a global technology hub, attracting investment from the wor...

No, este video no lo hago para que cuando veas un GTi, lo mires con odio. Lo hago porque en GH procuramos ver las cosas de otra manera. Y te aseguro que los GTi fueron una “especie invasora”, un “verdugo” que acabó con los deportivos genuinos y “autóctonos”, los coupés. ¿No te lo crees? Era la época de los llamados “coupés industriales”, coches que partían del bastidor de una berlina sobre la que colocaban una bonita carrocería Coupé, unas suspensiones reforzadas, unos frenos mejorados y el motor más vitaminado posible. Coches como el Ford Capri, ofrecido bajo el eslogan de "el coche que siempre te prometiste a ti mismo", un pequeño Mustang a la europea. O el Opel Manta, el eterno rival del Capri, con su estampa musculosa y su propulsión posterior, muy habitual en ese momento y un plus ara los amantes de la conducción. O como el Renault Fuego sobre el bastidor del “burgués” R18, que llegó un poco más tarde, a principios de los 80, con su espectacular portón trasero de cristal. Y es que en 1976 llegó un extraño que lo cambiaría todo. En el Salón del Automóvil de Frankfurt, un fabricante alemán conocido por sus prácticos y fiables "coches del pueblo" presentó una versión especial de su nuevo compacto, el Golf. Llevaba unas siglas que pronto se convertirían en leyenda: GTi, acrónimo de "Gran Turismo Injection". Al principio, nadie le prestó demasiada atención. Parecía un Golf más, pero bajo el capó se escondía un motor de 1.6 litros con inyección Bosch K-Jetronic que rendía 110 CV. Puede que hoy no parezca mucho, pero en un coche que pesaba poco más de 800 kilos, era una cifra mágica. El Golf GTi era capaz de acelerar de 0 a 100 km/h en 9 segundos y superar los 180 km/h. Eran prestaciones de auténtico deportivo, cifras que ponían en aprietos a muchos de los coupés de la época. Pero la verdadera genialidad del Golf GTi no estaba solo en su motor. Su comportamiento dinámico era excepcional. Era ágil, estable y, sobre todo, increíblemente fácil y divertido de conducir rápido. Y aquí viene la clave de su éxito y el primer clavo en el ataúd de los coupés: el GTi ofrecía todo esto en una carrocería de compacto. Tenía cinco plazas, un maletero decente y un tamaño perfecto para el día a día. De repente, ya no tenías que elegir entre un coche práctico para la familia y un deportivo para disfrutar el fin de semana. El Golf GTi era las dos cosas a la vez. Antes de la llegada de los GTi las palabras deportivo y racional no encajaban en un solo coche. Con el Golf GTi sí, lo podías justificar ante tu familia y tu cuenta corriente te permitiría más fácilmente acceder a él. La respuesta de la competencia no se hizo esperar, y fue contundente. Cada marca quería tener su propio "matagigantes", su propio verdugo de coupés. Repasemos unos cuantos porque todo no nos caben en un solo video: -Peugeot 205 GTI (1984): Para muchos, la quintaesencia del GTi. -Renault 5 GT Turbo (1985): No pone GTi, pero es un GTi en “espíritu”, la respuesta de Renault. Y en lugar de la finura de la inyección atmosférica, apostaron por la brutalidad del turbo. -Ford Escort XR3i (1982): Ford, que tenía en el Capri a uno de los coupés más populares, se apuntó a la fiesta de los GTi con el Escort XR3i. -Opel Kadett GSi (1984): La respuesta de Opel al Golf GTi fue un órdago a la grande. Y muchos más... porque la lista es interminable: Fiat Uno Turbo, Opel Corsa GSi, Peugeot 309 GTi), Citroën AX y Visa GTi, Renault 11 Turbo. La denominación GTi se usó incluso en berlinas, pero creo que los verdaderos GTi eran coches compactos, digamos que entre los 3.7 y los 4,2 metros y el entorno de los 100 a los 160 CV. Y es que el declive de los coupés comenzaba a ser “una muerte anunciada” o al menos previsible. Un respetable padre de familia en su Golf GTi podía seguir el ritmo, e incluso superar, a un Ford Capri en un puerto de montaña. Y cuando llegaba el destino, el del Golf podía meter la compra en el maletero y recoger a los niños, mientras que el del Capri... bueno, lo tenía algo más complicado. Los coupés no desaparecieron por completo, por supuesto. Se refugiaron en nichos de mercado más altos, en marcas premium como BMW o Mercedes, o en deportivos puros como los de Porsche. Pero el coupé popular, el que podías ver en el garaje de tu vecino, el que aspirabas a comprar con tu primer sueldo, ese... ese había sido ejecutado por una banda de pequeños matones con tres letras mágicas en su portón trasero.

What if your academic CV is working against you? This week on Beyond the Thesis with Papa PhD, creative strategist and branding expert Michael Dargie joins David Mendes to reframe how researchers can become memorable in non-academic spaces. Drawing from his new book Brandjitsu, Michael shares his unique approach to personal branding, designed for introverts and extroverts alike. Learn why showcasing only 20% of your experience can be more powerful than oversharing, and how to shift the spotlight from your journey to your audience's needs. You'll learn: Why clarity beats complexity when talking about your PhD background How to tailor your “brand story” to industry audiences The difference between “showing up” and commanding attention How to overcome the emotional challenge of pruning your experience How to think like Yoda, not the hero, in your narrative Whether you're navigating your next PhD career transition or still figuring out how to tell your story, this conversation is packed with actionable strategies.

The Herle Burly was created by Air Quotes Media with support from our presenting sponsor TELUS, as well as CN Rail, PSAC, the Canadian Nuclear Isotope Council, and the Ontario Real Estate Association.We have a particularly notable guest on the pod today, for all you curiouser and curiouser Herle Burly-ites. A man with one of those CVs that make you question why you even have a CV. Rahm Emanuel is here!Adviser to President Bill ClintonElected and then re-elected 3 more times to the U.S. House of RepresentativesHouse Democratic Caucus ChairChairman of the Democratic Congressional Campaign CommitteeWhite House Chief of Staff under President Barack Obama55th mayor of ChicagoFormer United States Ambassador to JapanIt's a CV that's still in progress!So, today I want to talk a little bit more about… Mr. Emanuel's backstory and what continues to motivate his political life. The changing role the U.S. is playing on the world stage. How Democrats can reconnect with working people to form a new, winning voter coalition. And I want to explore the how Trump is changing the Canada/U.S. relationship and what our relationship into the future.Thank you for joining us on #TheHerleBurly podcast. Please take a moment to give us a rating and review on iTunes, Spotify, Stitcher, Google Podcasts or your favourite podcast app.Watch episodes of The Herle Burly via Air Quotes Media on YouTube.The sponsored ads contained in the podcast are the expressed views of the sponsor and not those of the publisher.

Today we're “repeating” special guest. We enjoyed so much talking to Wenfei Xu anbout mobile phone data in our last episode (Episode 25: What we talk about when we talk about mobile phone data), that we decided to bring her on board again. But there's a twist: this time, we're returning to our “A day in the life of…” series, where we explore the behind-the-scenes view of what it is like to be a GLaD researcher.    Wenfei i Assistant Professor in the Department of Geography at the University of California, Santa Barbara. An urban planner by training, Wenfei has worked a lot with mobile phone data, but also has a super interesting story to how she arrived at that research interest. Come the fancy data, stay for engaging conversation about hopping between academia and industry, traversing disciplines, and… an Exhibitions entry in your CV.

Australia faces an engineering shortage, yet many migrant engineers are underemployed. Learn about qualification recognition, job search tips, CV advice, and networking strategies. - آسٹریلیا میں انجنیئرز کی کمی کا سامنا ہے، لیکن بہت سے تارکین وطن انجینئر اپنی قابلیت سے کم اہلیت کی ملازمت کر رہے ہیں۔ اپنی قابلیت کی توثیق کے بارے میں معلومات حاصل کریں، ملازمت تلاش کرنے کی تجاویز، سی وی مشورے، اور نیٹ ورکنگ کی حکمت عملیوں کے بارے میں جانیں۔

Australia faces an engineering shortage, yet many migrant engineers are underemployed. Learn about qualification recognition, job search tips, CV advice, and networking strategies. - ஆஸ்திரேலியாவில் பொறியியல் துறையில் பணியாளர் பற்றாக்குறை நிலவுகிறது, ஆனால் பல புலம்பெயர்ந்த பொறியாளர்கள் தகுந்த வேலை வாய்ப்புகளை பெற முடியாமல் உள்ளனர். இந்தப்பின்னணியில் பொறியியல் பணிக்கான தகுதிச் சான்றிதழ் அங்கீகாரம், வேலை தேடல் குறிப்பு, சுயவிவர (CV) ஆலோசனைகள் மற்றும் தொழில்முறை தொடர்புகளை உருவாக்கும் முறைகள் குறித்து அறிந்துகொள்வோம்.

Australia faces an engineering shortage, yet many migrant engineers are underemployed. Learn about qualification recognition, job search tips, CV advice, and networking strategies. - ඕස්ට්‍රේලියාවේ මේ වනවිට ඉංජිනේරු වෘත්තිකයින්ගේ හිඟයකට මුහුණ දී සිටියත්, බොහෝ සංක්‍රමණික ඉංජිනේරුවන් රැකියා විරහිතව සිටින බව වාර්තා වේ. සුදුසුකම් හඳුනා ගැනීම, රැකියා සෙවීමේ උපදෙස්, CV සඳහා වන උපදෙස් සහ networking උපාය මාර්ග ගැන ඉගෙන ගැනීම මේ හේතුවෙන් වැදගත් වේ

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdf

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdf

C'est un changement majeur qui passe presque inaperçu : LinkedIn a discrètement activé par défaut une nouvelle option baptisée « Données pour l'amélioration de l'IA générative ». En clair, vos publications publiques, vos likes, vos commentaires et même certaines informations de profil servent désormais à entraîner les modèles d'intelligence artificielle de la plateforme.Les membres ont été avertis par email d'une mise à jour de la politique de confidentialité. Le paramètre est en opt-out, autrement dit, activé automatiquement. Ceux qui veulent garder leurs données à l'abri doivent aller le désactiver manuellement, via le menu Paramètres > Confidentialité des données > Données pour l'amélioration de l'IA générative. LinkedIn assure que ces informations sont utilisées pour rendre la plateforme plus intelligente et plus efficace : amélioration de la modération, détection des fraudes, et surtout, perfectionnement des outils d'écriture automatisée comme « Rewrite with AI », qui reformule les publications pour les rendre plus percutantes. Mais la firme, filiale de Microsoft, avance aussi un argument qui fait grincer des dents : désactiver cette option pourrait réduire la visibilité d'un profil auprès des recruteurs. Si vos données ne sont pas intégrées aux modèles, votre CV pourrait tout simplement être moins bien référencé. Une incitation à laisser la porte ouverte, donc.LinkedIn précise que les messages privés et les publications à visibilité restreinte ne sont pas concernés, et que les utilisateurs européens bénéficient d'un encadrement plus strict du fait du RGPD. En revanche, les données déjà utilisées ne peuvent pas être retirées : la désactivation n'empêche que les entraînements futurs. Ce choix s'inscrit dans la stratégie plus large de Microsoft, qui intègre l'IA dans tous ses produits. Mais après plusieurs polémiques sur la confidentialité, la frontière entre innovation et intrusion devient de plus en plus floue. Une chose est sûre : sur LinkedIn, vos posts n'appartiennent plus seulement à votre réseau, mais aussi… à l'intelligence artificielle. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Although there wasn't a trace of racing in Clare Lindop's family background, the little girl from Warrnambool was hellbent on becoming a jockey from age 10. Her parents finally relented and  bought their youngest daughter a pony called Annie- the pony destined to teach her young companion the rudiments of riding. Whenever either of her parents could find the time to drive her to the St. Mary's Pony Farm at Wangoom, little Clare would spend every available minute putting Annie through her paces. From these unpretentious beginnings, Clare Lindop forged a career that would take her to racing's biggest stage. She quit the saddle in 2018 with 1432 winners on her CV, including 4 Gr 1's and another 50 stakes races. Now in a full time role with Racing South Australia, Clare takes time out to revisit her stellar career for our podcast regulars. She admits to the occasional nostalgic flutter when she watches Adelaide's feature races each year. Clare says she went to great pains to play her retirement down in 2018. She didn't want the fuss. She does admit that she gradually weaned herself off horses by riding trackwork for quite some time. Clare reaffirms that nobody in her family had the slightest connection to horses. Her parents were not overly impressed with her persistent pleas to invest in a pony, but finally relented.  The four time Gr 1 winning jockey looks back on her initial apprenticeship to Warrnambool trainer Frank Byrne. She recalls her first race ride at Warrnambool and her first winning ride at Dunkeld. Clare vividly recalls her first metropolitan win on Mondilibi at Moonee Valley. She talks about a transfer of her indentures to Jack Barling at Hamilton in 1997. The retired jockey looks back on her life changing relocation to Adelaide in 1999 and the beginning of a long time association with trainer Byron Cozamanis. Clare recalls the thrill of her first Adelaide metro win on Odysseus at Cheltenham. She remembers with affection her first metro win as a fully fledged jockey at the famous Victoria Park track. The horse was one of her all time favourites. Clare looks back on the occasion of her first Adelaide stakes win for great supporter Leon McDonald.   She looks back on an amazing sequence of wins- four timers at three consecutive race meetings. Clare remembers with great clarity the unforgettable experience of her first Melbourne Cup ride. The former top lightweight is proud of her three Adelaide jockeys premierships. She remembers her first Gr 1 win- an all the way victory in the 2006 Adelaide Cup.. Lindop takes us back to her second Melbourne Cup appearance in 2007. Not surprisingly Clare takes great pleasure in looking back on her association with outstanding 2YO filly Augusta Proud. She takes us back to her Magic Millions win in 2008. Now to the horse who took the talented rider to racing's biggest stage with a Victoria Derby win at odds of $101. She takes us through the Rebel Raider story. Like most Adelaide based jockeys Clare wanted to win a Goodwood Hcp. Her turn came in 2011 when Robert Smerdon chased her services for Lone Rock in the famous sprint. She got the job done. Clare managed to fit in two separate trips to the UK in 2009 and again in 2011. She looks back on a great experience and the four winners she landed on some famous tracks. She talks of the multiple injuries sustained in a fall at Morphettville in 2014. Clare looks back on a business meeting with leading jockey manager Damian Wilton who is now her husband of seven years. This is a reminiscent chat with one of Australia's most successful female jockeys.

Visit our website:https://www.thewealthwarehousepodcast.com/Dave and Paul tackle a common stall-out point: starting IBC with one whole life policy and never building the system Nelson Nash intended. They cover when to add policies (spouse/kids/your increased income), how to plan expansions using convertible term, what to do with windfalls, and why loans and investments should originate from and return to your policy ecosystem.Becoming Your Own Banker by Nelson Nash:https://infinitebanking.org/product/becoming-your-own-banker/ref/46/Episode Highlights:0:00 - Episode beginning3:31 - IBC = a system, not one policy4:26 - Life changes → expand (income/spouse/kids)6:52 - Case study: don't cancel; CV > premium9:00 - Keep mature policies; avoid 1035 “churn”11:30 - Remember your why: capitalize & control12:31 - 20 years + a system; “accommodate all income”13:36 - How to expand (small adds, spouse/kids)15:03 - Kids' policies & compounding16:25 - Future-proof with convertible term & HLV19:12 - Windfalls → premium/loans/new premium20:55 - Policies as your emergency fund (liquidity)22:14 - Beneficiaries beat probate — update yearly25:03 - Investments start & return to your system28:22 - IBC is ongoing; control your capital29:55 - Episode wrap-upABOUT YOUR HOSTS:David Befort and Paul Fugere are the hosts of the Wealth Warehouse Podcast. David is the Founder/CEO of Max Performance Financial. He founded the company with the mission of educating people on the truths about money.David's mission is to show you how you can control your own money, earn guarantees, grow it tax-free, and maintain penalty-free access to it to leverage for opportunities that will provide passive income for the rest of your life.Paul, on the other hand, is an Active Duty U.S. Army officer who graduated from Norwich University in 2002 with a B.A. in History and again in 2012 with a M.A. in Diplomacy and International Terrorism. Paul met his wife Tammy at Norwich.As a family, they enjoy boating, traveling, sports, hunting, automobiles, and are self-proclaimed food people.Visit our website:https://www.thewealthwarehousepodcast.com/Catch up with David and Paul, visit the links below!Website: https://infinitebanking.org/agents/Fugere494 https://infinitebanking.org/agents/Befort399LinkedIn: https://www.linkedin.com/in/david-a-befort-jr-09663972/ https://www.linkedin.com/in/paul-fugere-762021b0/Email:davidandpaul@theibcguys.com

I veckans podd möter vi Lars Lindmark, näringsforskaren med över 45 års erfarenhet och 70+ studier på sitt CV.Vi pratar om allt från hur tarmfloran påverkar hela kroppen, om kollagen och varför det är viktigt för hud, leder och energi till låggradig inflammation och hur små vanor kan förebygga den.Få praktiska tips som du kan börja använda idag och upptäck hur små steg kan ge stora hälsoresultat. Lyssna nu och ta nästa steg mot en hälsosammare vardag!https://www.relivo.se/?utm_source=foodpharmacy&utm_id=podcast Hosted on Acast. See acast.com/privacy for more information.

El mundo del motor está lleno de historias increíbles, mitos, leyendas, relatos que pasan de padres a hijos y de secretos susurrados en los talleres. Pero, ¿qué hay de cierto en todo ello? ¿Se diseñó el Mini en una servilleta? ¿Construyó BMW un superdeportivo para competir con Ferrari? ¿Existió un prototipo de 911 Turbodiésel? Analizamos 15 mitos… ¿verdaderos o falsos? Os recuerdo que al final de este video tenemos una visita de lujo, Jaime Sánchez que viene a ayudarnos con el “Consultorio Clásico” … no os lo perdáis. 1. BMW M8 (E31): El Superdeportivo “secreto”. Comenzamos con una leyenda que durante décadas fue el unicornio de BMW. Se decía que en los 90, en el más absoluto secreto, la división M había creado un arma definitiva, un "Ferrari-killer" basado en el Serie 8. 2. Chrysler Viper, con corazón de camión. El Dodge Viper es un icono americano. Un capó interminable y un descomunal motor V10. Desde su nacimiento, ha arrastrado una leyenda que le resta pedigrí: que su motor es una adaptación de un motor de camión. 3. Citroën: El coche que anda con tres ruedas. Esta historia parece un truco de magia. Se cuenta que modelos como el Citroën DS "Tiburón", CX, GS o SM podían circular sin una de las ruedas traseras. Suena a exageración, a un mito para ensalzar las virtudes de la suspensión hidroneumática. 4. Corvette: La promesa del motor central que duró 50 años. Antes del actual Corvette C8, la idea de un "Vette" con motor central fue el “Santo grial” de los aficionados, una leyenda recurrente que parecía que nunca se materializaría. Durante más de medio siglo, cada vez que se acercaba una nueva generación, los rumores resurgían. 5. DeLorean DMC-12 y el motor rotativo perdido. El DeLorean es famoso por el cine y por su carrocería de acero inoxidable, pero también por su decepcionante motor V6 PRV. La leyenda dice que no siempre fue así. 6. Enzo Ferrari y el sueño prohibido de las cuatro puertas. Durante décadas, un Ferrari de cuatro puertas era una herejía. Sin embargo, circulaba la leyenda de que la propia marca, e incluso Enzo Ferrari, habían coqueteado con la idea en secreto mucho antes del actual Purosangue. 7. Ford Mustang y la salvación de la tracción trasera. A mediados de los 80, el Mustang estuvo a punto de morir tal y como lo conocemos. Ford planeaba sustituir el "Fox-body" de tracción trasera por un deportivo más pequeño y eficiente basado en la plataforma del Mazda 626... con tracción delantera. 8. Honda NSX prototipo con motor V12. El Honda NSX original fue revolucionario. Pero en aquella época, Honda dominaba la F1 con motores V10 y V12. De ahí nació la leyenda de que desarrollaron en secreto un prototipo del NSX con un motor V12 derivado de la F1. 9. Mercedes 300 SL con puertas con bisagras explosivas. El Mercedes 300 SL "Alas de Gaviota" generó una leyenda siniestra: en caso de vuelco, las puertas quedarían bloqueadas, y para solucionarlo, Mercedes diseñó bisagras con cargas explosivas para volarlas en una emergencia. 10. Mini, diseñado en una servilleta. Una de las leyendas más románticas del diseño. Se dice que Alec Issigonis tuvo un momento de inspiración y esbozó el diseño básico del revolucionario Mini en una simple servilleta. 11. El motor Maserati del Citroën SM era medio V12. El motor V6 a 90 grados del Citroën SM era inusual. La leyenda, muy persistente, dice que Maserati simplemente cogió uno de sus V12 y le cortó seis cilindros para ahorrar tiempo y dinero. 12. Motor PRV un V8 al que le quitaron dos cilindros. Otro motor V6 a 90 grados fue el PRV, un diseño conjunto de Peugeot-Renault-Volvo. Además de ese ángulo contaba con un orden de encendido irregular que le daba un sonido poco refinado. La leyenda dice que nació como un V8, pero fue "capado" a última hora por la crisis del petróleo. 12+1. Porsche 911: La blasfemia de una versión Diésel. Para un purista, un 911 diésel es la máxima herejía. Aun así, el rumor de que Porsche lo consideró en algún momento ha circulado alguna vez. 14. Porsche 911 4 puertas de 1967, precursor del Panamera. ¿Un Porsche de cuatro puertas en los años 60? La leyenda habla de un 911 único, encargado por un entusiasta adinerado. 15. Toyota Supra "Top Secret", el misil V12. La leyenda del mundo del tuning dice que Kazuhiko "Smokey" Nagata, de Top Secret, creó un Supra A80 con un V12 biturbo de más de 900 CV y lo llevó a una autopista británica para intentar superar los 322 km/h (200 mph). Conclusión. Como hemos visto, el mundo del automóvil es un campo abonado para las historias increíbles. Algunas, por muy lógicas que parezcan, son pura invención, mientras que otras, las más disparatadas y asombrosas, resultan ser completamente ciertas.

Marion Darnet, fondatrice de Pachamama, partage son regard unique sur l'évolution des métiers du Produit en France. Après 15 ans dans le produit et ex-CPO, elle a créé l'agence de recrutement spécialisé dans les métiers de la Tech.Dans cet épisode, on parle tendances du marché de l'emploi, spécialisation, reconversion…

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

AIS gönnte sich dieses Sommer mehr Auszeiten als Wiesnbesuche, kommt jetzt allerdings stärker zurück als das Bier das in den Zelten ausgeschenkt wird. Jonas hat direkt zu Beginn ein Maß im Ärmel und bringt den Kalfatermann mit an Bord des Mittelschiffs. Die Folge hat mehr 180 grad Wendungen als die wilde Maus und frühstückt alles ab, auch Themen die bereits öfter behandelt wurden als Bierbanksturzwunden auf der Theresienwiese. Während Luki und Jonas Mats erklären müssen “CV” bedeutet NICHT “Champagnerverzehr” im Käferzelt huldigen sie alle dem neuen deutschen Zehnkampfgott Leo Neugebauer. Der lag nach seinem Triumph ungefähr so lange auf dem Boden wie so mancher auf dem Hügel unter der Bavaria, nur mit wesentlich besserer Begründung. Und natürlich gibt es noch das(Dosen)Werfen des kleinen Mannes als Edgy Schlusspunkt, bevor den Jungs vor lauter Reden die Mandeln brannten. O'zapft ais. Hier geht's zum Podcast von POWWOW Sports: https://linktr.ee/powwow_sports Alle Rabattcodes und Infos zu unseren Werbepartnern findet ihr hier: https://linktr.ee/alleineistschwerpodcast Folgt uns auf Instagram: https://www.instagram.com/alleineistschwer.podcast/ "Alleine ist schwer" ist eine Produktion von Maniac Studios.

Welcome to the #ShareYourHotness Podcast episode 166! Dr. Candace Campbell (or Candy, as her friends call her) is an award-winning actor, author, filmmaker, fine artist, and ‘recovering academic.' She's also a nurse-consultant who works with corporate and individual clients to achieve peak performance cultures and success. Her nursing CV includes clinical, administrative, and academic work. As an actress, she has appeared on stage, film, radio, and TV. She was also the co-founder of an improv and stand-up comedy troupe in the San Francisco area, The Barely Insane Player_s, which led to three one-person shows, including the latest, _Florence Nightingale: Reluctant Celebrity, which has played in several US states, 3 other countries, and off-Broadway. After she retired from her post as an academic and moved to the DC area to be near grandchildren, she began touring with the Nightingale show, painting again, and writing her eighth book to accompany her award-winning screenplay, Walking Point, based on her own story and other true stories of VN War veterans and what happened when they returned. Candy is also a strong woman of faith, and discusses how God has played a part (so to speak) in all her creative endeavors. Learn more at: https://candycampbell.com https://FlorenceNightingaleLive.com https://CandaceCampbellFineArt.com Support The #ShareYourHotness Podcast by contributing to their tip jar: https://tips.pinecast.com/jar/the-syh-podcast Find out more at https://the-syh-podcast.pinecast.co

Breast artery calcification is an incident finding on routine screening mammograms, and reflects an artery change. It has been associated with an increased risk of cardiovascular disease and CV events. Learn from guest Heather Johnson, MD, MS, MMM, how the finding can lead to improved risk reduction measures and improved patient outcomes. PCNA Heart Healthy Toolbox: https://pcna.net/resource/reducing-cv-risk-heart-healthy-toolbox/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Un miembro del canal me dijo: “Tanto hablar de Saab y se os olvida Volvo” ¡Y tenía toda la razón! Si a una persona, aficionada o no, le pronuncias “Volvo”, piensan en Suecia, en seguridad y, probablemente, en un coche familiar cuadrado y robusto. Esta es la historia de una marca que convirtió la seguridad en su religión pero también fabricó coupés deportivos y que acabó teniendo los ojos rasgados… ¿se puede hablar de “final feliz”? La historia de muchas marcas comienza en un taller de coches, pero la de Volvo no. En Gotemburgo, Suecia, esta erradicada la empresa SKF era uno de los mayores fabricantes del mundo de rodamientos. Y dos de sus empleados, el economista Assar Gabrielsson y el ingeniero Gustaf Larson, compartían una pasión: los automóviles. La leyenda cuenta que sellaron su acuerdo en una cena en agosto de 1924, en el restaurante Sturehof de Estocolmo, comiendo cigalas. El 14 de abril de 1927, el primer Volvo salió de la fábrica. Era el ÖV 4, apodado "Jakob", un descapotable con un motor de 4 cilindros y 28 CV. Como en toda buena historia, el debut tuvo un problemilla. Hablar de Volvo es hablar de seguridad con propuestas concretos. Otras marcas en los años 40 y 50 se centraban en la potencia las prestaciones, pero Volvo ya pensaba en cómo sobrevivir a un accidente. En 1944, su modelo PV444 ya introdujo una jaula de seguridad y el parabrisas de vidrio laminado. En los 50, experimentaron con salpicaderos acolchados. Pero el momento que cambió todo el mundo del automóvil, llegó en 1959. Volvo contrató al ingeniero Nils Bohlin, que antes había diseñado asientos eyectables para aviones de combate en Saab. Sabía cómo mantener a un humano atado y a salvo. En menos de un año, Bohlin desarrolló y patentó el cinturón de seguridad de tres puntos de anclaje. Y aquí es donde Volvo hizo algo impensable. Tenían la patente de uno de los mayores inventos en la historia del automóvil. Podrían haber intentados cubrirse de oro, pero no, la liberaron. Dejaron que cualquier fabricante del mundo la usara, gratis. Entendieron que era un avance demasiado importante para la vida humana como para guardárselo. ¿Y las carreras? En los 80, Volvo cogió su sedán 240, con la aerodinámica de una nevera, le metió un turbo descomunal y lo apodó "El Ladrillo Volador". Ganó el Campeonato Europeo de Turismos en 1985, humillando a BMW y Jaguar. Pero la locura definitiva llegó en 1994, en el Campeonato Británico de Turismos. A finales del siglo XX, los fabricantes independientes como Volvo lo tenían difícil. Tras un intento de fusión fallido con Renault, Volvo acabó buscando un socio más grande. En 1999, Ford compró la división de coches de Volvo por 6.450 millones de dólares. Volvo pasó a formar parte del Premier Automotive Group de Ford, junto a Jaguar, Land Rover y Aston Martin… Desde donde nadie lo esperaba, llegó una oferta. Venía de China. De un fabricante relativamente desconocido llamado Geely. El pánico se apoderó de Suecia. ¿Una empresa china comprando el símbolo de la ingeniería sueca? Muchos vaticinaron el fin de Volvo, como ya había sucedido con Saab, pensando que robarían su tecnología y la calidad caería en picado. Pero el fundador de Geely, Li Shufu, era un admirador profundo de Volvo. En 2010, la venta se completó por 1.800 millones de dólares. Y Li Shufu cumplió su palabra. Geely hizo lo más inteligente que podía hacer: puso una cantidad ingente de dinero sobre la mesa y se apartó. Le dieron a Volvo la financiación y la independencia casi total para investigar y desarrollar. Liberaron al tigre. El resultado fue el renacimiento de Volvo. Con la inversión china, los ingenieros suecos desarrollaron desde cero dos nuevas plataformas modulares, SPA y CMA. Contrataron a un nuevo jefe de diseño, Thomas Ingenlath, que revolucionó la estética de la marca con señas de identidad como los faros en forma de "Martillo de Thor". El primer fruto de esta nueva era, el XC90 de 2015, fue una declaración de intenciones: lujoso, tecnológico, minimalista y, por supuesto, el coche más seguro del mundo. Fue un éxito rotundo y marcó el camino para una gama que ha devuelto a Volvo a lo más alto del segmento premium, reforzando su identidad sueca y apostando ahora por la electrificación total con su submarca Polestar.

Even if your 2025 season isn't over, it's not too early to start planning for 2026—before you hit that register button, tune in for tips on how to build a season that maximizes enjoyment, growth, and results while avoiding burnout and over-racing. In this episode, we answer the question “How much time should I take off formal training?” We also explore the Power of Belief in the Get Gritty Tip, break down Cruise Intervals in the TriDot Workout of the Week, and wrap up with some fun Fat Bear Week trivia!Vespa Power Endurance helps you tap into steady, clean energy—so you stay strong, focused, and in the zone longer. Vespa is not fuel, but a metabolic catalyst that shifts your body to use more fat and less glycogen as your fuel source. Vespa comes in CV-25, Junior and Concentrate.Less sugar. Higher performance. Faster recovery.Home of Vespa Power Products | Optimizing Your Fat MetabolismUse discount code - 303endurance20Website - Grit2Greatness Endurance CoachingFacebook - @grit2greatnessenduranceInstagram - @grit2greatness_enduranceCoach April SpildeApril.spilde@tridot.comTriDot Signup - https://app.tridot.com/onboard/sign-up/aprilspildeRunDot Signup - https://app.rundot.com/onboard/sign-up/aprilspildeCoach Lauren BrownLauren.brown@tridot.comTriDot Signup -RunDot Signup -Coach Rich SoaresRich.soares@tridot.comRich Soares CoachingTriDot Signup - https://app.tridot.com/onboard/sign-up/richsoaresRunDot Signup - https://app.rundot.com/onboard/sign-up/richsoares

The Herle Burly was created by Air Quotes Media with support from our presenting sponsor TELUS, as well as CN Rail, PSAC, and the Ontario Real Estate Association.Greetings, you curiouser and curiouser Herle Burly-ites! A topic today we've been exploring from a few different angles these last few months: can Canada build (baby build) housing anymore?We convened a panel on it back in the early summer to talk policy and what's happening in the real world – Meredith, Moffat and Butler. We had the Conservative housing critic on the pod, Scott Aitchison, who gave us his take on what needs to be done.Today, we get the government's view of things with the Honourable Gregor Robertson, Canada's Minister of Housing and Infrastructure.Mr. Robertson has a long and impressive CV, so please pardon my drastic précis here: He served as the Mayor of Vancouver for a decade, 2008 to 2018, where his focus was on transit and cycling infrastructure ... introducing modular housing to support unhoused residents ... leading on co-ops and supportive housing ... and starting the country's first successful empty homes tax. Prior to that, he was a Member of the B.C. Legislature for 3 years, 2005-2008. As well as the Co-Founder and CEO of “Happy Planet” Organic Foods.So, we're going to talk about this new government agency “Build Canada Homes” and how it plans to “supercharge housing construction across Canada”. How will the programs work? What's the timeline for success in a crisis?  And we'll get Mr. Robertson's view on why he thinks government is the solution to this problem when most people think government IS the problem.Thank you for joining us on #TheHerleBurly podcast. Please take a moment to give us a rating and review on iTunes, Spotify, Stitcher, Google Podcasts or your favourite podcast app.Watch episodes of The Herle Burly via Air Quotes Media on YouTube.The sponsored ads contained in the podcast are the expressed views of the sponsor and not those of the publisher.

Is Scrum Dying? Or Are We Just Doing It Wrong?Scrum used to be king. Now people don't even want it on their CV.Remember when being a Product Owner was cool? When Scrum Masters were change agents, not glorified note-takers?When saying “we use Scrum” signalled progressive, Agile thinking?Fast forward to now, and you'll find Product Owners ashamed of the title, Scrum Masters sidelined, and developers stuck in factory-mode delivery.Teams are jumping ship to SAFe, Kanban, or “whatever Spotify did,” chasing results Scrum couldn't deliver.How to connect with AgileDad:- [website] https://www.agiledad.com/- [instagram] https://www.instagram.com/agile_coach/- [facebook] https://www.facebook.com/RealAgileDad/- [Linkedin] https://www.linkedin.com/in/leehenson/

"The psychological aspects of having obesity are rarely recognized. The psychological burden that people carry outweighs the adipose tissue.”                                                                                              Robin Pashby PhD This episode is a must-listen for anyone struggling with obesity, or who knows someone with obesity, or a healthcare clinician who has patients with obesity.  The complex biology of why some folks have excess weight is just beginning to be fully understood. Having obesity is a complex interplay of biology and psychology, and it is time to stop framing obesity as a personal failure. The solution is not as simple as “Eat less, move more”.  Dr. Robyn Pashby is a health psychologist with expertise in the impact of obesity on mental health and the impact of mental health on obesity. Today, she is joining me for a discussion on why we need to reframe the obesity conversation and how to do it.   The training of a clinical health psychologist with expertise in obesity  The language of obesity as a chronic disease The impact of repeated traumatic experiences and shame Why “dieting” is not obesity treatment  Changing the internal narrative of “food noise” versus “shame noise” Why an underwear upgrade is important Sexual issues related to having obesity Why telehealth obesity drugs can be problematic What a scale represents to someone with obesity Getting weighed in the doctor's office- do you need to? What to say to someone who has lost a lot of weight How to respond to someone who asks about your weight How to get emotional support when being treated for obesity The New Food Fight book Robyn Pashby, Ph.D. www.healthpsychologypartners.com LinkedIn Atlantic Panel Weight, What?  https://www.youtube.com/watch?v=nzGaetHGnSY What We Carry https://www.youtube.com/watch?v=8jP9puLTXNM BOOK: The New Food Fight  https://a.co/d/fpoanrC Obesity Action Coalition (OAC) https://www.obesityaction.org/ Your Weight Matters free regional conventions https://www.yourweightmatters.com/ Lauren Streicher MD, is a clinical professor of obstetrics and gynecology at Northwestern University's Feinberg School of Medicine, the founding medical director of the Northwestern Medicine Center for Sexual Medicine and Menopause, and a Senior Research Fellow of The Kinsey Institute, Indiana University. She is a certified menopause practitioner of The Menopause Society.      Dr. Streicher is the medical correspondent for Chicago's top-rated news program, the WGN Morning News, and has been seen on The Today Show, Good Morning America, The Oprah Winfrey Show, CNN, NPR, Dr. Radio, Nightline, Fox and Friends, The Steve Harvey Show, CBS This Morning, ABC News Now, NBCNightlyNews,20/20, and World News Tonight. She is an expert source for many magazines and serves on the medical advisory board of The Kinsey Institute, Self Magazine, and Prevention Magazine. She writes a regular column for The Ethel by AARP and Prevention Magazine.      LINKS   Subscribe To Dr. Streicher's Substack Information About the COME AGAIN Podcast Dr. Streicher's CV and additional bio information To Find a Menopause Clinician and Other Resources  Glossary Of Medical Terminology Books by Lauren Streicher, MD    Slip Sliding Away: Turning Back the Clock on Your Vagina-A gynecologist's guide to eliminating post-menopause dryness and pain Hot Flash Hell: A Gynecologist's Guide to Turning Down the Heat Sex Rx- Hormones, Health, and Your Best Sex Ever The Essential Guide to Hysterectomy      Dr. Streicher's Inside Information podcast is for education and information and is not intended to replace medical advice from your personal healthcare clinician. Dr. Streicher disclaims liability for any medical outcomes that may occur because of applying methods suggested or discussed in this podcast.          

When you're exploring nonclinical jobs, one of the very first hurdles is often the recruiter screening call. Many physicians assume this will just be a quick, casual chat but in reality, it can make or break whether you move forward in the process. In this episode, I'll walk you through how to prepare for this important conversation as if I were coaching you one-on-one. You'll learn what recruiters are really looking for, how to connect your story to their needs, and the simple but powerful ways you can build a bridge that sets you apart as a strong candidate. This isn't about rattling off your CV or giving “perfect” answers. It's about understanding the recruiter's perspective, showing authentic interest, and coming across as both capable and collaborative. By the end, you'll feel much more confident heading into that first call and know how to approach it with professionalism and ease. In this episode we're talking about: The “three-legged stool” recruiters use to assess candidates How to build a bridge between your story and the company's mission Tips for answering the classic “Tell me about yourself” opener The most common questions you'll hear—and how to be ready for them How to handle the dreaded salary question with calm confidence Thoughtful questions you can ask to stand out Why a warm, timely follow-up email makes such a difference Links for this episode:

This week on Life in Private Staffing we're joined by Veronica Lajud, an international childcare specialist based in Miami and founder of the Stellar Insight Method.With a background in Montessori education and over a decade working inside UHNW households, Veronica has built a unique approach that goes far beyond traditional nannying. She now mentors nannies, supports families worldwide, and creates tailored routines designed to unlock each child's full potential.Together we explore how childcare in UHNW homes differs from the traditional world, why empowering household staff is just as crucial as supporting the children themselves, and how one nanny's role can completely change the course of a family's future.

Is chronic pain really “in the body”… or in the brain's predictions about the body?Today on the Crackin' Backs Podcast, we sit down with Dr. Jorge Esteves, PhD, DO—an osteopath, educator, and researcher whose work reframes low back pain, sciatica, and other MSK issues through the lens of predictive processing, active inference, and interoception. Dr. Esteves explains why pain is more than a physical signal: it's shaped by mood, memory, context, and environment—and how the right mix of smart touch, simple movement, precise language, and meaning can rewrite faulty predictions and dial down threat in the nervous system.We explore what he calls “smart touch”—the affective, well-timed, well-paced contact that improves therapeutic alliance, entrains breath and rhythm, and helps the brain feel safe enough to update its story about the spine. We also unpack fresh imaging work suggesting hands-on care can influence connectivity in pain and interoceptive hubs, including the insula—right where body-signal meaning is made. You'll leave with a 5-minute daily recalibration (breath cue + one gentle movement + one self-touch drill) to keep predictions aligned with reality—especially during a flare.What You'll LearnPain ≠ damage: Why back pain often persists due to over-protective predictions and how to nudge them toward safety.Smart touch, real change: How affective touch, pacing, and breath cues shift interoceptive processing and calm threat.Therapeutic alliance matters: The first 10 minutes that build trust—and the phrases clinicians should avoid because they raise threat.Brains on hands-on care: New imaging insights on how manual therapy may modulate brain connectivity in chronic low back pain.Learn More / Contact Dr. EstevesOfficial site: Prof Jorge EstevesGoogle Scholar (Atlântica University, Portugal): Google ScholarResearchGate: https://www.researchgate.net/profile/Jorge-Esteves-3 ResearchGate(En)active Inference paper (open-access): FrontiersEmail (from CV): osteojorge@gmail.com Pro OsteoLinkedIn: https://www.linkedin.com/in/dr-jorge-esteves-27371522/ Pro OsteoTwitter/X: https://twitter.com/JEsteves_osteo Pro OsteoWe are two sports chiropractors, seeking knowledge from some of the best resources in the world of health. From our perspective, health is more than just “Crackin Backs” but a deep dive into physical, mental, and nutritional well-being philosophies. Join us as we talk to some of the greatest minds and discover some of the most incredible gems you can use to maintain a higher level of health. Crackin Backs Podcast

A bold trial in valvular heart disease, a CV prevention trial whose message is humility, VTE dogma challenged, more news on oral GLP-1 agonists, and a few public service announcements are the topics John Mandrola, MD, discusses in this week's podcast. This podcast is intended for healthcare professionals only. To read a partial transcript or to comment, visit: https://www.medscape.com/twic I DOUBLE-CHOICE: Minimalist Approach to TAVI May Be as Good as Standard of Care https://www.medscape.com/viewarticle/double-choice-minimalist-approach-tavi-may-be-good-standard-2025a1000pp7 Patient & Physician Perspectives on CV Risk https://www.ahajournals.org/doi/10.1161/CIRCOUTCOMES.124.011837 II KP Vaccinate Trial KP Vaccinate Trial https://evidence.nejm.org/doi/full/10.1056/EVIDoa2500208 IAMI trial https://www.ahajournals.org/doi/10.1161/CIRCULATIONAHA.121.057042 Increasing Flu Vaccinations in Patients With Chronic Disease https://jamanetwork.com/journals/jama/fullarticle/2824956 MI FREEE Trial https://www.nejm.org/doi/full/10.1056/NEJMsa1107913 III Hi PRO Trial Apixaban for Extended Treatment of VTE https://www.nejm.org/doi/full/10.1056/NEJMoa2509426 Recurrent VTE in Patients with Provoked VTE https://jamanetwork.com/journals/jamainternalmedicine/fullarticle/226140 IV Oral GLP-1 Agonists ATTAIN 1 Trial https://www.nejm.org/doi/full/10.1056/NEJMoa2511774 You may also like: The Bob Harrington Show with the Stephen and Suzanne Weiss Dean of Weill Cornell Medicine, Robert A. Harrington, MD. https://www.medscape.com/author/bob-harrington Questions or feedback, please contact news@medscape.net

Moshe's tenure as leader of the Jews was chock full of magnificent accomplishments. He spearheaded the Exodus, he brought the Torah down from Heaven, in his merit came the manna – Moshe's CV is unparalleled. But now it's time for him to hand over the reins to Joshua, his disciple and successor. In this Parsha […]