Podcasts about Harrods

In June 1986, for one week, the Northern Waikato town of Otorohanga officially renamed itself 'Harrodsville'. Exactly why is layed out in the new 'Harrodsville 40th Anniversary' exhibition at Otorohanga Museum, which is running from now until the end of June. Here to share the details is Otorohanga Mayor Rodney Dow.

Sponsored by ⁠⁠⁠Web Designer Anthology⁠⁠⁠ Stop building from scratch on every project. ⁠⁠⁠Web Designer Anthology⁠⁠⁠ gives you conversion-focused website templates, strategic frameworks, and design-systems methodology so you can work smarter and make more in less time. Get access to 20 conversion-structured website templates, 600+ strategic design assets, homepage and sales page formulas, and an AI assistant trained to help you build results-driven websites faster.

Survivors who say they were abused by former Harrods owner Mohamed Al Fayed met Sir Keir Starmer yesterday afternoon, in what campaigners have described as a potentially significant moment. More than 400 allegations of sexual misconduct against Al Fayed, dating back to 1977, have now been made. The meeting was organised by The Survivors Trust and the All-Party Parliamentary Group on the Survivors of Mohamed Al Fayed and Harrods. Kylie Pentelow was joined by Lucy Duckworth from The Survivors Trust and survivor Carrie Lazell.A breakthrough drug for ovarian cancer that is kinder on the body and extends lives is now available on the NHS. Victoria Clare from Ovacome and patient Patricia Hill talk to Kylie. New Ground is the UK's first purpose-built co-housing community for women over 50, designed and developed on their own terms. Each resident has her own self-contained flat, along with shared spaces. The women moved in 10 years ago, and the community is still going strong. But what's it really like to live this way? And could co-housing be a model more women should consider? Kylie speaks to two residents, Jude and Ann.Stories about queens and princesses have shaped some of our most enduring ideas about womanhood. Historian Kate Williams joins Kylie to discuss her new book, Regina: A New History of Women and Power, which spans thousands of years, from the queens of ancient Egypt to the modern day.Presenter: Kylie Pentelow Producer: Corinna Jones

Sponsored by ⁠⁠Web Designer Anthology⁠⁠ Stop building from scratch on every project. ⁠⁠Web Designer Anthology⁠⁠ gives you conversion-focused website templates, strategic frameworks, and design-systems methodology so you can work smarter and make more in less time. Get access to 20 conversion-structured website templates, 600+ strategic design assets, homepage and sales page formulas, and an AI assistant trained to help you build results-driven websites faster.

What happens when a chef discovers a food trend in New York years before anyone in the UK has heard of it? This week on Food Rebels, AJ Sharp meets Dan Shearman, founder of Wilderbee, the brand behind the UK's original hot honey. What started as a homemade chilli-infused honey for a food truck menu has grown into a fast-rising food brand stocked in major retailers including Harrods, Marks & Spencer, Whole Foods, Co-op and now Waitrose. Dan shares the story behind the business, from feeding Harrison Ford on a film set and cooking for the Crown Prince of Dubai, to appearing on Dragon's Den and pioneering a category that is now exploding in popularity across the UK. The conversation explores flavour innovation, ethical beekeeping, sustainable sourcing, scaling a food business and why Dan believes hot honey still has a long way to go before it becomes a kitchen cupboard staple. Plus, AJ gets stuck into a tasting of Wilderbee's Scotch Bonnet, Gochujang and Sriracha hot honeys and discovers why people are putting them on everything from pizza and cheese to cocktails and ice cream.

What does it take to turn a creative idea into a globally stocked Irish brand? In this episode of The Retail Tea Break, Melissa chats with Kim Whyte about the journey behind Pawpear and the lessons learned along the way.From her early design career in London to building a business inspired by Irish culture, language and landscape. Kim shares the realities of entrepreneurship, the value of community and why authenticity matters more than following trends. The conversation also explores how meaningful customer relationships can shape a brand's growth, why thoughtful retail experiences still matter and how creative collaborations can bring heritage stories to life in a modern way.Kim also reflects on working with iconic Irish institutions including the Guinness Storehouse and the Book of Kells Experience at Trinity College Dublin, sharing insights into balancing creativity with commercial growth while staying true to the heart of the brand.Key Topics CoveredGrowing Pawpear to 90+ retailers worldwideThe importance of mentorshipSupporting Irish manufacturers and suppliersCustomer communication and emotional brand connectionCollaborating with Guinness Storehouse and Trinity College DublinExperiential retail and creative storytellingScaling a business while protecting brand identityVisit Pawpear www.pawpear.ieThis episode of the Retail Tea Break podcast is brought to you by SCAYLE, the enterprise commerce platform empowering B2C brands and retailers to easily create outstanding customer experiences with a seamless and flexible feature set that can be extended through APIs. Trusted by brands like Levi Strauss®️, Harrods, Manchester United and Deichmann, SCAYLE enables businesses to accelerate innovation and drive real growth.AI fashion photo shoots at scale: Visit Tayla.aiBuilt for retailers, by retailers: Visit: www.scayle.com

W najnowszym odcinku podcastu rozmawiamy z wyjątkowym duetem – Izabelą i Kacprem Zielińskimi, założycielami polskiej marki Undress Code. Jak tworzą globalny biznes obecny dziś w ponad 30 krajach i 100 prestiżowych butikach na całym świecie? W szczerej rozmowie zdradzają kulisy dynamicznego skalowania biznesu i wejścia do kultowych domów towarowych jak Galeries Lafayette czy Harrods. W odcinku poruszamy również tematy transformacji branży modowej, balansowania między modelem direct-to-consumer a sprzedażą hurtową, a także roli sztucznej inteligencji w codziennych procesach biznesowych. To inspirująca rozmowa o odwadze, intuicji i rynkowych realiach, w których wielkie plany biznesowe przeplatają się z codziennym życiem.Partnerem ósmego sezonu podcastu „Moja Droga” jest marka Range Rover.Podcastu „Moja droga” możesz posłuchać na platformach Spotify, Apple Podcasts oraz oglądać na YouTube.

In the latest episode of The Retail Tea Break, Caroline Orange-Northy, UK and Ireland Managing Director at Pinterest explores how the platform has evolved from a source of inspiration into a powerful retail and shopping destination.The conversation dives into why Pinterest operates differently from traditional social media platforms, focusing on purchase intent rather than the attention economy and why that matters for retailers trying to connect with today's consumer. You'll hear insights into Pinterest's “taste graph,” visual search, and how retailers can use trend data more commercially to better understand customer behaviour and improve discovery.The episode also explores Pinterest Predicts 2026 wedding trends, including emerging colour palettes, non-traditional venues and the growing demand for personalisation. Grab your cuppa and a notebook.Topics covered include:• Why Pinterest users behave differently from users on other platforms• The shift from inspiration to full-funnel shopping• What the “taste graph” means for retailers• How visual search is changing product discovery• Why Pinterest trends last longer than trends on other platforms• 2026 wedding and lifestyle trend predictions• How retailers can use Pinterest data to improve marketing and merchandising strategiesVisit Pinterest today: https://business.pinterest.com/en-gb/Pinterest Wedding Trends Report: https://newsroom.pinterest.com/ This episode of the Retail Tea Break podcast is brought to you by SCAYLE, the enterprise commerce platform empowering B2C brands and retailers to easily create outstanding customer experiences with a seamless and flexible feature set that can be extended through APIs. Trusted by brands like Levi Strauss®️, Harrods, Manchester United and Deichmann, SCAYLE enables businesses to accelerate innovation and drive real growth. AI fashion photo shoots at scale: Visit Tayla.aiBuilt for retailers, by retailers: Visit: www.scayle.com

What happens when AI becomes the storefront?In this episode of The Retail Tea Break, I'm joined by Tarek Müller, Co-Founder and MD of About You and SCAYLE, for a fascinating conversation on the future of commerce. From SCAYLE's expansion into the US market and its recent Levi Strauss & Co. partnership, to the growing role of AI and Large Language Models in retail discovery, Tarek shares why the industry is entering another major shift in consumer behaviour. We also explore how AI is changing operational efficiency, personalisation and even fashion photography through TAYLA, a platform already transforming digital content production at scale.If you want to understand where retail is heading next, this episode is essential listening.Key TopicsWhy LLMs like ChatGPT and Gemini are becoming major traffic sources for retailersHow brands need to rethink visibility and discovery in an AI first worldThe significance of SCAYLE's partnership with Levi's and expansion into the USWhy retailers relying solely on product catalogues risk becoming commoditisedHow ABOUT YOU is using AI to reduce content production costs while improving conversion, introducing TAYLATarek's predictions for the future of e-commerce, AI transactions, and social commerceFor more information:AI fashion photo shoots at scale: Visit Tayla.aiBuilt for retailers, by retailers: Visit: www.scayle.comThis episode of the Retail Tea Break podcast is brought to you by SCAYLE, the enterprise commerce platform empowering B2C brands and retailers to easily create outstanding customer experiences with a seamless and flexible feature set that can be extended through APIs. Trusted by brands like Levi Strauss®️, Harrods, Manchester United and Deichmann, SCAYLE enables businesses to accelerate innovation and drive real growth.

Emily Lui is the co- founder of Cutter & Squidge, the bakery and gifting brand. Emily joins Elliot to talk about her and her sister's drive to build something bigger than them, and why, (having been dropped by Selfridges and Harrods) they put their last savings into the business and kept going.

I dagenes episode av Impressions Podcast har vi med oss Emilie Engli fra Hamar. Emilie har historie fra butikkbransjen og fikk som ung jobb i Harrods i London. Dette gjorde at hun fikk en businesside, og startet derfor Comod. Comod er en digital markedsplass for fleksibel bemanning. De kobler bedrifter som trenger folk med arbeidere som ønsker fleksible jobber – raskt, enkelt og uten unødvendig administrasjon.Takk for at du lytter til Impressions Podcast! Har du forslag til gjester vi kan invitere? Send oss en melding på sosiale medier:Instagram: instagram.com/impressionspodTikTok: tiktok.com/@impressionspod Hosted on Acast. See acast.com/privacy for more information.

Russia has announced that its annual military parade in Moscow, which commemorates its victory in World War Two, will be scaled back this year because of the threat from Ukraine. For the first time since 1945, there will be no armoured vehicles or missiles systems on show across Red Square. Also: the British Government rules that a woman abused by the late Harrods owner Mohammed El-Fayed was a victim of modern slavery; a new report suggests extreme heat, wildfires and record sea temperatures have affected much of the continent of Europe; police in Colombia say they've arrested a guerrilla leader accused of orchestrating the country's deadliest bomb attack on civilians in decades; and London Zoo is planning a new wildlife health centre to allow people to see everything from animal medical checks to post mortem examinations.The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight. Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment. Get in touch: globalpodcast@bbc.co.uk

The British government has for the first time formally acknowledged that a woman abused by the late owner of the luxury London department store, Harrods, was a victim of modern slavery. Rachael Louw was trafficked by the Egyptian businessman, Mohamed al-Fayed, and his brother Salah.Also on the programme, former US officials criticise the Pentagon for not releasing more information about the US attack in Iran that hit a school, and why temperatures are rising faster in Europe than any other part of the world. (Photo: Mohamed Al Fayed, Owner and Chairman of Harrods department store from 1985-2010)

How do you deliver world-class luxury service to millions of annual visitors while preserving exclusivity, personalization, and the magic of in-store retail? Live from Retail Technology Show 2026 in London, Chris Walton sits down with Mark Blundell, Chief Retail Officer at Harrods, to discuss how one of the world's most iconic retailers continues to set the standard for customer experience, service, and innovation. Mark explains how Harrods maintains exceptional standards through customer feedback, leadership presence on the floor, and a relentless commitment to excellence. He also shares why department stores still thrive when built around curation, convenience, and memorable experiences. Key Topics Covered: • How Harrods serves millions of visitors while maintaining luxury standards • Why leadership presence on the shop floor still matters • Using customer feedback to improve service in real time • Why department stores still win through curation and experience • How Harrods approaches personalization for top-tier clients • Blending human relationships with smart internal systems • Why Harrods compares itself to hotels and airlines, not retailers • How Harrods views AI through customer strategy, not hype • Why the company chooses to be a thoughtful fast follower on AI • Where AI can improve efficiency behind the scenes Thank you to VusionGroup for supporting our coverage from Retail Technology Show 2026. #RetailTechnologyShow #Harrods #LuxuryRetail #CustomerExperience #RetailInnovation #AI #OmniTalkRetail

We're rhapsodising about some of the incredible fragrances we've got ournoses on lately (and beautiful new stores we've discovered while out andabout) in this episode – so jam-packed with perfumes we're telling each otherabout that we'll have to do a Part Two to fit them all in. What can we say? It'sbeen SUCH a busy time for launches and exciting newness in the fragranceworld. Indeed, during the recording of this episode, Nicola got so excited bySuzy's descriptions of a new (and affordable!) niche brand that she purchasedtheir discovery set to try for herself.Which of these would you want to try first, we wonder...?Torti Massi Miliano(57 Brewer Street)‘Massimiliano Torti was born in Florence in 1975, and his early passion forperfumery exposed him to the leading scents of the '80s and '90s. Torti hasrevolutionised perfumery by stepping away from conventional training to focuson monophonic essences, capturing the intrinsic purity of raw materials. Hecollaborated with experts in tea, chocolate, and essential oils and opened alaboratory in the heart of Umbria, to create his unique fragrances. Operatingexclusively from his workshop, Torti's work is a testament to authenticcraftsmanship, where every product is meticulously handcrafted with aprofound commitment to quality.'Atelier Rebul Golden HourBy perfumer Pascal Gaurin‘Inspired by Istanbul's most enchanting moment, Istanbul Golden Hour Eau deParfum transforms that magical time when the sun nears thehorizon—wrapping the city in a golden-hued glow—into a captivating olfactoryexperience.Top Notes: The fragrance opens with a bright and fresh touch of pear andneroli, evoking the exact moment the light begins to soften.Heart Notes: At its heart, jasmine and toasted coconut reflect the warm,inviting tones of the Golden Hour.Base Notes: Deep notes of amber accord, labdanum, and vanilla add depth,leaving a long-lasting and elegant trail on the skin.'Idiom Fragrances‘Elevated, single-minded fragrances. Designed for layering. 7 fragrances.127combinations. One you. Wear your way.'All 30ml eau de parfum are £38. Suzy got:Idiom Acoustic Rose‘Rose centre stage. A timeless, modern, universal rose. It begins bright, floral,moves through notes of juicy apricot and osmanthus before revealing deepernotes that softly hum with spice, earth, and tobacco. It's rose in all itsblooming glory.Solo: A warm, juicy, skin-close floralLayer: Adds rose-toned refinement and polish.'Idiom Pepper SolsticeA warm pulse of black and pink pepper. It's a sun-setting, compulsive burst ofvelvet spice and rounded radiance. The scent of good times.Solo: A soft, spiced skin scent. Skin on skin.Layer: Adds a unique, spiced lift to any fragrance.We wanted to capture the soul of pepper — a fragrant still-life of the mostfamous spice in the world. We sourced black pepper oil from Madagascar, aspicy but bright, citrus-laced and rounded variety that brings initial lift and asparkle of heat.Pink pepper notes add a softer pulse — fruitier, almost rosy. Then come theunexpected layers: cedarwood for dry, grounded warmth, and turmeric leafthat deepens the pepper, adding golden spice, body and a hint of zest.Together they create a pepper fragrance that's warm, sumptuous and whollyunique.'(Suzy wants to get the Palo Santo and 3D Amplifier AND the Vetiver Aceand Bergamot Hi Fi as well!)Idiom Fragrances also do a Discovery Kit of all seven fragrances for £35,which is the best way to try the layering experience.Arkive The Bright Side‘Introducing The Brightside, a fragrance that encapsulates wanderlust and thespirit of adventure. The scent opens with zesty basil, lime, and bergamot,bringing a bright and herbal freshness. Floral notes of frangipani, night-blooming jasmine and orris linger at the heart, while grounding vetiver,angelica root and cedarwood add warmth and sophistication. The Brightside isyour passport to unforgettable memories. The Brightside has been createdwith AromaWellness™️ technology, scientifically proven to uplift, energise andincrease positivity.'Olfiction Lab Editions: IconicBy Pia Long‘A floral bouquet inspired by the idealised memory of a luxurious 80s facecream and cosmetics. Orris and rose de mai form the centre of thissentimental creation, bringing powdery softness, whilst neroli and tuberoseimpart freshness and natural complexity.A previous version of ICONIC, designed specifically for skincare applications,was exhibited in Unveiling the Essence: A Journey into Perfumery Formulas atthe Institute of Art and Olfaction in 2025. The formula has been modified toperform as perfume.'Ormonde Jayne Four Corners of the Earth Reimagined PatchouliBy Céline RipertHEAD: Pink pepper, cardamom, lemon, saffronHEART: Cedarwood, amber, cashmeran, akigalawoodSOUL: Patchouli, ambroxan, musk, sandalwood‘A scent carved from shadow and stone. A patchouli not bound by tradition butreimagined.Earthbound velvet, aged in the roots of forgotten forests. Patchouli rises bold,sacred and unyielding, wrapped in the ancient hush of cedar groves balancedwith the breath of the mountain - raw and refined.'Marc-Antoine Barrois B87.135 extraitBy Quentin Bisch(Harrods exclusive)‘Here, an evolution on the first perfume from the House – B683 – receives apowerful update by way of the B87.135 extrait de parfum, celebrating thearrival of the perfumer at Harrods and the opulence of One Thousand andOne Nights. The fragrance comes to life with a woody, spicy and amber profilethat evokes the scented treasures of a souk.'Top notes: pink peppercorn, ambrette seeds, myrrhHeart notes : saffron, rose oil, iris butterBase notes: cedarwood, patchouli, vetiver, Georgywood'[Georgywood is a synthetic aroma molecule developed by Givaudan thatprovides a vibrant, clean, and intense woody-ambery scent to perfumes. Adurable base note, often resembling cedarwood, sandalwood, or agarwood(oudh), to create modern, long-lasting fragrances with, in some cases, slightfruity or spicy facets.]

In the latest episode of The Retail Tea Break, I'm joined by the Group CFO of Holland & Barrett to explore what happens when finance leadership truly puts the customer first. Vineta Bajaj's career spans high-growth, tech-led businesses including Ocado and Rohlik Group. She brings a fresh perspective to the CFO role, one that goes far beyond traditional metrics and into customer experience, culture and long-term value.From scaling online grocery operations to transforming physical retail into community wellness hubs, we explore why stores still matter. We also discuss the role of culture in driving performance and why engaged teams are critical to long-term commercial success.Together, this conversation offers a clear and practical view of what modern retail leadership really looks like. A must-listen for anyone leading, or aspiring to lead, in modern retail.Episode HighlightsWhy customer experience should drive business decisions, even in financeWhat it really takes to scale fast-growth, multi-market retail businessesHow culture and employee experience directly impact performanceThe shift towards Holland & Barrett stores as community-led wellness hubsHow technology, data and personalisation are reshaping retailFinding the balance between digital growth and human connection in-storeConnect with Vineta via her website: www.vinetabajaj.comVisit www.hollandandbarrett.comThis episode is brought to you by SCAYLE! The enterprise commerce platform empowering B2C brands and retailers to easily create outstanding customer experiences. It provides an intuitive, seamless feature set, which can be flexibly extended via API. Brands like Levi's®, Harrods, Manchester United and Deichmann choose SCAYLE to accelerate innovations and drive growth. For more information, check out www.scayle.com

Christen Gilchrist is a Organisational Psychologist and Executive Coach who helps leaders and organisations remove friction from the way they work.Through her consultancy, Core Potential Solutions, she's supported clients ranging from Harrods and the NHS to founder-led businesses. Christen specialises in the psychology behind performance, decision making and efficiency - showing how behaviour patterns and operations shape business results. Her work bridges science and practicality, helping leaders build trust, influence ethically and create cultures that sustain growth.Website:https://www.corepotentialsolutions.com/LinkedIn:https://www.linkedin.com/in/christen-gilchrist-654701130?utm_source=share&utm_campaign=share_via&utm_content=profile&utm_medium=android_app

What happens when you decide to dismantle an 8-year-old global success story to build something leaner, smarter, and more equipped for 2026?Recorded live at Google Headquarters in Sydney, this special episode of Process takes you inside Thoughtful Minds Connect. In celebration of their 10th anniversary, the elite data and performance minds at Thoughtful invited Arielle to host an intimate, unfiltered conversation with Raquel and Adam, the visionary founders behind cult fragrance house Who is Elijah.This is not a retrospective look at success; it's a conversation recorded in the eye of the storm. While the moving trucks were quite literally at their warehouse, Adam and Raquel revealed the real-time reality of a massive business restructure, the $1.7M mistake that nearly cost them their brand prestige, and their new Top-Down strategy for global retail rollout. This is definitely a masterclass in founder transparency.So whether you're navigating a complex supply chain, pivoting your brand positioning, or looking to the best data minds in the country to optimise your performance, Raquel and Adam's strip-it-back-to-grow approach offers a roadmap for any creative founder feeling the heaviness of a scaling business.In this episode: The $1.7M Lesson: Raquel opens up about a massive retail deal that taught them the danger of a Bottom-Up strategy.The Great Restructure: Why they are shutting down their own manufacturing to focus 100% on brand and lightweight operations.Top-Down Authority: Why starting with Harrods and Selfridges is the only way to protect prestige in a crowded market.AI as an Emotional Agent: Adam's fascinating off-mic theory on how product data must evolve to serve the emotional human through unemotional AI agents.The Thoughtful Edge: How shifting from Meta to Google (with a 40% higher AOV) transformed their performance marketing.The Future of Founders: Why the next generation of brands will thrive with teams of just two people and simplified supply chains.Featured in this Episode:Shop Who is Elijah at whoiselijah.com.auBrought to you by Thoughtful: Elevate your brand performance at thethoughtfulagency.com or DM Arielle for a direct intro to the team.Say Hello! Our Guests: Adam Bouris on Instagram @adambourisRaquel Bouris on Instagram @raaaquelbourisOur Episode Partner: The Thoughtful Agency on Instagram @thethoughtfulagencyYour host: Arielle Thomas on Instagram @arielle.thomas Us: on Instagram @processthepodcast ⁠New Episode Drops Every Tuesday.  Catch you on the next one!

This is a free preview of a paid episode. To hear more, visit www.theflyingfrisby.comNever mind the dodgy mortgages, oil spiking to $150/barrel in July, 2008, just before the panic set in, was as big a cause of the Global Financial Crisis.The price rise was like a sudden, unexpected liquidity drain on the economy. The US economy is built on oil. Costs suddenly rose across every supply chain. Disposable income was sucked out of households. Corporate margins got squeezed and inflation expectations rose effectively tightening financial conditions, just as the system needed liquidity. Funding costs then rose and collateral quality deteriorated. In a system already stretched with cheap credit and thin margins, highly leveraged institutions and ordinary borrowers were simultaneously pushed over the edge. The structure was fragile and it only worked in a low energy, low rate world. Subprime may have been the trigger, but the energy shock had already destabilised the foundations.The oil price tightened financial conditions before central banks didThis is not a one-offAs Charlie Morris points out in his piece What Happened in 1974, there have been three major oil shocks - in 1973/4, 1980 and 2008.In 1973 the US was dependent on Arab nations for most of its oil, and shortly after the Egypt-Syria alliance suddenly declared war on Israel, oil-producing Arab nations imposed an embargo on any nation that supported Israel. “You can support Israel or have cheap oil, but you can't have both,” the Saudi Arabian king had said on US TV.The oil price went from $3.50 to $10. It would eventually peak at $39.50 in 1980.I was only a little boy in the 1970s but we lived in South Kensington and I remember how many Arabs suddenly moved to the area, many of them with a great deal of money. My step-father ran a business in Belgravia selling modern Italian furniture and his clientele changed almost overnight. Hundreds of billions of dollars, previously in Western bank accounts, now made their way to the Gulf in a transfer of wealth like no other. Next came the Rolls Royces, the racehorses, the Harrods shopping sprees (indeed Harrods itself), the mansions, the public school educations, the City petro-dollar recycling trade and yes the over-priced, glitzy, Valentino furniture. London would never be the same.And what impact did those years have on bond and equity markets more generally? The 1970s were horrible, unless you were long commodities. The low reached in 1982 was so extreme that it marked one of the greatest long-term buying opportunities ever known, perhaps the greatest. While 2008 had its own consequences, not least the end of the City as a leading player in the global financial system (thanks to the regulation which followed), followed by the general decline of London.Each of these episodes follows a similar pattern: an energy shock tightens conditions, exposes leverage and forces a reset.It might not feel that way today with oil at $100, but we are still a long way from the extremes of 1974, 1980 or 2008. A lot of commentary is saying the investment world is too complacent and has not factored in what is coming.What is 2008's $150 oil in today's money?I'm not going to give you the CPI numbers because I consider CPI a bogus measure. Using money supply instead (M2), the equivalents look like this* 1974: $10 oil ≈ $120-150* 1980: $40 oil ≈ $360-440* 2008: $150 oil ≈ $375-450In the context of those extremes $100 oil does not look unreasonableThe sub-$60 prices with which we began this year now look extraordinarily cheap. I don't think we are going back to them any time soon.I'm also not saying we are going to those comparable numbers above. I merely show them for context.In terms of where we are going, I think Charlie has it right when he says, “We should assume that $100 oil implies a slowdown, $150 a recession, and $200 a depression”.$200 is not impossible if this was carries on.What to do?Let's take a quick look at how to position ourselves, and at what's in store for gold, silver, miners and the equities markets.It was the right call to move into energy at the beginning of the year, I'm pleased to say. With such quick profits the temptation is to sell. I'm maintaining my positions.The US, especially after the Venezuala episode, is self-sufficient in hydrocarbons. Europe is not. Whose oil and gas will it be buying now that Gulf supplies are in doubt, and Russian supply is off-limits?Meanwhile, high energy prices make shale extraction profitable again.North American oil and gas comes out of this strong.

This is a free preview of a paid episode. To hear more, visit www.theflyingfrisby.comNever mind the dodgy mortgages, oil spiking to $150/barrel in July, 2008, just before the panic set in, was as big a cause of the Global Financial Crisis.The price rise was like a sudden, unexpected liquidity drain on the economy. The US economy is built on oil. Costs suddenly rose across every supply chain. Disposable income was sucked out of households. Corporate margins got squeezed and inflation expectations rose effectively tightening financial conditions, just as the system needed liquidity. Funding costs then rose and collateral quality deteriorated. In a system already stretched with cheap credit and thin margins, highly leveraged institutions and ordinary borrowers were simultaneously pushed over the edge. The structure was fragile and it only worked in a low energy, low rate world. Subprime may have been the trigger, but the energy shock had already destabilised the foundations.The oil price tightened financial conditions before central banks didThis is not a one-offAs Charlie Morris points out in his piece What Happened in 1974, there have been three major oil shocks - in 1973/4, 1980 and 2008.In 1973 the US was dependent on Arab nations for most of its oil, and shortly after the Egypt-Syria alliance suddenly declared war on Israel, oil-producing Arab nations imposed an embargo on any nation that supported Israel. “You can support Israel or have cheap oil, but you can't have both,” the Saudi Arabian king had said on US TV.The oil price went from $3.50 to $10. It would eventually peak at $39.50 in 1980.I was only a little boy in the 1970s but we lived in South Kensington and I remember how many Arabs suddenly moved to the area, many of them with a great deal of money. My step-father ran a business in Belgravia selling modern Italian furniture and his clientele changed almost overnight. Hundreds of billions of dollars, previously in Western bank accounts, now made their way to the Gulf in a transfer of wealth like no other. Next came the Rolls Royces, the racehorses, the Harrods shopping sprees (indeed Harrods itself), the mansions, the public school educations, the City petro-dollar recycling trade and yes the over-priced, glitzy, Valentino furniture. London would never be the same.And what impact did those years have on bond and equity markets more generally? The 1970s were horrible, unless you were long commodities. The low reached in 1982 was so extreme that it marked one of the greatest long-term buying opportunities ever known, perhaps the greatest. While 2008 had its own consequences, not least the end of the City as a leading player in the global financial system (thanks to the regulation which followed), followed by the general decline of London.Each of these episodes follows a similar pattern: an energy shock tightens conditions, exposes leverage and forces a reset.It might not feel that way today with oil at $100, but we are still a long way from the extremes of 1974, 1980 or 2008. A lot of commentary is saying the investment world is too complacent and has not factored in what is coming.What is 2008's $150 oil in today's money?I'm not going to give you the CPI numbers because I consider CPI a bogus measure. Using money supply instead (M2), the equivalents look like this* 1974: $10 oil ≈ $120-150* 1980: $40 oil ≈ $360-440* 2008: $150 oil ≈ $375-450In the context of those extremes $100 oil does not look unreasonableThe sub-$60 prices with which we began this year now look extraordinarily cheap. I don't think we are going back to them any time soon.I'm also not saying we are going to those comparable numbers above. I merely show them for context.In terms of where we are going, I think Charlie has it right when he says, “We should assume that $100 oil implies a slowdown, $150 a recession, and $200 a depression”.$200 is not impossible if this was carries on.What to do?Let's take a quick look at how to position ourselves, and at what's in store for gold, silver, miners and the equities markets.It was the right call to move into energy at the beginning of the year, I'm pleased to say. With such quick profits the temptation is to sell. I'm maintaining my positions.The US, especially after the Venezuala episode, is self-sufficient in hydrocarbons. Europe is not. Whose oil and gas will it be buying now that Gulf supplies are in doubt, and Russian supply is off-limits?Meanwhile, high energy prices make shale extraction profitable again.North American oil and gas comes out of this strong.

Check out this exclusive interview with Kamila from White Lotus Beauty on the Ash Said It Show, where the conversation dives deep into the legacy of the recognized industry expert in Traditional Eastern Cosmetic solutions. Since 2004, White Lotus has been the leading pioneer in introducing the concepts of cosmetic acupuncture, holistic microneedling, jade rollers, cosmetic cupping, and gua sha to an international mainstream audience. The founders, Anthony and Kamila, are both best-selling authors and speakers in the field of Traditional Chinese Cosmetic Medicine, bringing a combined 11 years of university-level study in TCM and pharmacology to their curated range of premium holistic beauty products. With demonstrated clinical experience and professional training courses in White Lotus Signature Techniques, this award-winning brand is crafted from BioActive ingredients and the finest ethically sourced, vegan and cruelty-free organic products. In the time since its inception, White Lotus has earned its place in high-end global retailers such as Nordstrom, Harrods, Jemoli, and Planet Organic, backed by over 3,500 independently audited positive reviews. Founded on the wisdom of practicing acupuncturists, the brand delivers outstanding products rooted in millennia of knowledge, ensuring every formulation meets five key criteria: a history of safe traditional use, rigorous scientific research, whole plant extraction, independent certification, and a strict "no nasties" policy. White Lotus is a dedicated ethical and conscious beauty brand led by a female Director of BAME origin, emphasizing ethnic diversity and inclusion. The company is committed to environmental restoration, working to remove over 2,500 kilograms of plastic from the sea and supporting Ecosia in reforesting sections of India, Kenya, and Brazil. Their offices are paper-free and run on 75% renewable energy, while their skincare remains 100% edible, healthy, and packed with powerful adaptogenic benefits. From peace silk produced without harming silkworms to chemically-free, ethically sourced crystal products, White Lotus provides a genuinely authentic holistic experience that supports and balances the body while delivering proven cosmetic wisdom to the Western world. Web: https://whitelotusbeauty.com — Looking for that extra spark to level up your life? Say hello to Ash Brown—your go-to American powerhouse, motivational speaker, and the ultimate hype-woman for your personal and professional growth. Ash isn't just a voice in personal development; she's a trusted friend who brings real-talk wisdom and contagious energy to every conversation. Whether you're stuck in a rut or ready to scale your dreams, Ash is here to fuel your journey with a mix of heart and hustle.

A new survey asks what makes people proud of their country, we report from the Milano-Cortina Winter Olympics and meet Brazilian cinematographer Adolpho Veloso. Plus: premium retail with the managing director of Harrods, Michael Ward.See omnystudio.com/listener for privacy information.

Thanks for joining The Conversation! We are thrilled to have our friend and long-time Missionary to the nation of Spain, Bro. Nathan Harrod on the Podcast today. Nathan and his wife, Tanya have been married since 2001, they have two children - Alaina and Lincoln, and they have been involved in missions work for right around 20 years.During their time in Barcelona, the Harrods led a vibrant church, launched numerous daughter works, they eventually served as General Superintendent of the UPC of Spain. In 2023, the Harrods transitioned into the role of Regional Director for Europe, and have been doing wonderful work on behalf of the region.Today, Bro. Harrod talks about divine healing. He talks about the will of God concerning healing, different miracles he has seen, and the important role that demonstration plays in seeing the Church grow.Find us online at:Website: www.capitalcommunity.ca Facebook: www.facebook.com/capitalcommunitychurchInstagram: www.instagram.com/ccc_fredericton YouTube: www.capitalcommunity.tvThe Conversation Podcast: www.anchor.fm/ccc-theconversationSermon Archive Podcast: www.anchor.fm/capitalcommunitychurch

From the BBC World Service: Cuba's tourism industry suffered a major blow after dozens of flights were cancelled because of a lack of aviation fuel; Air Canada, which flies many tourists to the Caribbean island, suspended flights because of the shortages. Plus, British department store Harrods said more than 180 survivors of abuse by the store's former owner, Mohamed Al-Fayed, are currently engaged in its compensation scheme. And later, could 2026 be the year high-powered electric motorcycles go mainstream?

From the BBC World Service: Cuba's tourism industry suffered a major blow after dozens of flights were cancelled because of a lack of aviation fuel; Air Canada, which flies many tourists to the Caribbean island, suspended flights because of the shortages. Plus, British department store Harrods said more than 180 survivors of abuse by the store's former owner, Mohamed Al-Fayed, are currently engaged in its compensation scheme. And later, could 2026 be the year high-powered electric motorcycles go mainstream?

A Standard like ISO 14001 may seem more appropriate for large enterprises looking to address their environmental footprint, however it can apply to any business no matter the size. All businesses produce waste, and we can all do more to save energy, resources and money in the process. For some SME's, tackling resource wastage through effective environmental management can make a huge difference. Such is the case for today's guest, Surface Print, a family owned wallpaper manufacturer managed by its 4th generation. In this episode, Ian Battersby is joined by James Watson, Managing Director of Surface Print, to discuss why they implemented ISO 14001, the related resource challenges for SME's seeking ISO Standards and benefits gained from certification. You'll learn ·      Who is James? ·      Who is Surface Print? ·      Are there any other Standards Surface Print have to adhere to as a wallpaper manufacturer? ·      Did those other Standards help with understanding the process for ISO implementation? ·      What was the driver behind ISO 14001 implementation? ·      How long did it take them to achieve ISO 14001? ·      Have they considered any other ISO Standards? ·      What were the challenges for an SME seeking ISO certification? ·      What were the benefits of implementing ISO 14001? ·      How have Surface Print leveraged ISO 14001 in marketing and communications? ·      James' top tip   Resources ·      Surface Print ·      James Watson   ·      Isologyhub ·      What is the Isologyhub?   In this episode, we talk about: [02:05] Episode Summary – Managing Director of Surface Print joins Ian to discuss their journey towards ISO 14001 certification, the challenges involved with ISO implementation for SME's and the benefits felt after certification. [03:25] Who is James Watson? James Watson is the Managing Director of Surface Print, a wallpaper factory that is a family-owned business based in Lancashire. Both he and he sister are the current directors, he 88 year old father is still involved within the business. They are the 4th generation in their family to be involved with wallpaper, starting with their great-grandfather, Walter Watson, who started the business all the way back in the 1880s! [04:35] Who are Surface Print? Surface Print operate in both analogue and digital printing, with 10 large analogue printing presses and 6 state-of-the-art HP digital presses. They have two elements to the company, with Surface Print handling 3rd party printing and white labelling for interior design brands. The second is 1838 Wall Coverings, which is the original design branch that sells their designs worldwide. Surface Print are not a volume printer, they focused on high-quality manufacturing with a key focus on attention to detail. All the manufacturing occurs at the UK factory. Their typical clientele include the likes of John Lewis, Harrods and other high-end interior stores. Their 1838 Wall Coverings branch recently had a collaboration for the past 3 years with the Victoria and Abbot Museum in London, where they were allowed access to their archive for inspiration on designs. [07:35] Are there any other Standards Surface Print have to adhere to as a wallpaper manufacturer? Mainly it's the Construction Products Regulation EN 15102, which is specifically for construction products used in buildings. They also needed to get FSC certified as they were dealing with paper and wood pulp. [08:20] Did those other Standards help with understanding the process for ISO implementation? James quite honestly admits that no, none of the previous mandatory regulations helped with understanding the ISO process. As they understood that it was going to be quite the task, they outsourced help from Blackmores to assist with implementation. Alison Henshaw from our Team worked alongside Surface Print's ISO committee to break down the Standard and offer valuable consultancy on aspects such as legislation.   [09:05] What was the driver for ISO 14001 Implementation? Wallpaper manufacturing is very heavy waste. Analogue machines can have up to 10% - 20% waste per production order. With that much waste, it can quickly make the entire process very inefficient. There was also the spend on energy and gas to consider as all of those prices are increasing year-on-year. ISO 14001 could solve both of these issues while saving them a significant amount of money. [10:15] How long did it take Surface Print to achieve ISO 14001? In total, around 12 months. It would have been quicker, but there were some administration issues with the Certification Body that delayed the final Assessment.   [11:55] Have Surface Print considered any other ISO Standards? As they're only just into their first year of ISO 14001 certification, they've opted to stay focused on maturing that system before opting to go for any other Standards. [08:20] What were the challenges for an SME seeking ISO certification? Surface Print initially struggled with the administration side of ISO 14001, things like keeping on top of document and process updates, updating the legal register etc. This is where Blackmores Consultant Alison came in to bridge the gap and ensure they kept all the necessary paperwork up-to-date. They also needed more technical expertise in the area of environmental management. Their ISO committee weren't ISO experts and so there was a gap of knowledge between understanding the ISO Standard and how to apply it to the business, which is where Alison helped once again to guide them on their journey. [13:35] What were the benefits of implementing ISO 14001? Their ISO 14001 certification affects every decision made. It's not just about environmental management, it's about managing your business as a whole. The Standards actively require leadership commitment, so it starts from the top down. It's led to a more cohesive structure to making business decisions and thinking from a more environmental perspective. There have also been cost savings. Manufacturing in the UK is generally very expensive, so the more environmentally focused you can be results in savings on energy and resources. For example, Surface Print use a lot of electricity for both the machines and drying process involved in wallpaper manufacturing. They now measure their monthly energy usage against the rolls of wallpaper produced. They also installed solar panels which saved them a significant amount of electricity usage over the last year. They're also investing in newer equipment to help with efficiency, making plans on how to reduce gas usage. It's also helped with their general business administration as documentation needs to be kept up-to-date. The whole process is now a lot more thorough, and has greatly improved their general monitoring and measurement processes. They also have confidence in their regulatory and legal compliance, as ISO Standards have this as a basic requirement. Many opt to use a Legal Register to help keep all this information in one location. Surface Print also found that they can answer client questions quicker due to the amount of documented information at their fingertips, this now includes more environmental based questions, which are cropping up more often.   [18:35] How have Surface Print leveraged ISO 14001 in marketing and communications? Surface Print often get asked by potential brand clients 'What's the benefit of working with you?', to which they can answer with a sustainability statement which lists all of the benefits. The first point of which is ISO 14001 certification, which is a globally recognised mark of effective environmental management. They ensure that their environmentally conscious stance is first and foremost in marketing and external communications. This is not done out of a forced obligation, Surface Print have chosen to do the right thing, which is becoming the norm. To not think about the environment, especially in high-waste industries, is generally frowned upon. [20:25] James' top tip for those thinking about implementing an ISO Standard – ISO implementation can cost a fair amount up-front, but the cost saving benefits within a year can supersede that investment. You will see a lot of big improvements at the start, once your system matures you can expect to see those improvements slow in rate while still driving continual improvement at a steady pace. With the addition of effective monitoring and measurement, those improvements are quantifiable, so you can really see the results of your investment. [23:25] James' book recommendation – Guinness Book of World Records [23:55] James' favourite quote – "You can take a horse to water, but you can't make it drink" If you'd like to learn more about Surface Print, check out their website. We'd love to hear your views and comments about the ISO Show, here's how: ●     Share the ISO Show on Twitter or Linkedin ●     Leave an honest review on iTunes or Soundcloud. Your ratings and reviews really help and we read each one. Subscribe to keep up-to-date with our latest episodes: Stitcher | Spotify | YouTube |iTunes | Soundcloud | Mailing List

Welcome to the Daily Compliance News. Each day, Tom Fox, the Voice of Compliance, brings you compliance-related stories to start your day. Sit back, enjoy a cup of morning coffee, and listen in to the Daily Compliance News. All, from the Compliance Podcast Network. Each day, we consider four stories from the business world, compliance, ethics, risk management, leadership, or general interest for the compliance professional. Top stories include: Tyson to pay $48MM for price-fixing. (Reuters) Deutsche Bank searched by German prosecutors in AML probe. (WSJ) Ex-South Korean first lady gets 20 months in jail for corruption. (TheGuardian) Ex-Nigerian Oil Minister spent £2M at Harrods. (BBC) Learn more about your ad choices. Visit megaphone.fm/adchoices

What happens when extreme ambition meets an unregulated nervous system?In this episode of Anatomy of a Leader, Maria sits down with John Skelton — co-founder of cult concept store LN-CC, former buyer at Selfridges and Harrods, and founder of mental health project Hearted — to explore what really happens behind high-performance careers.John shares how he rose fast inside the fashion industry, helped reshape menswear, tripled turnover at Harrods, and built one of London's most influential retail concepts — while accumulating pressure, burnout, and emotional overload.This is a conversation about: Extreme talent. Extreme pressure. Identity collapse. Addiction as coping. And the slow, uncomfortable work of rebuilding capacity. Not a comeback story. A reconstruction story.In This Episode, We Cover:00:00 What extreme success does to your nervous system02:07 How John rose through Selfridges and helped reshape menswear at Harrods25:31 The creation of LN-CC and the reality behind building a cult retail brand43:53 Addiction as self-soothing rather than weakness50:34 Why “white-knuckling” recovery doesn't work51:51 How fitness, discipline, and self-awareness helped John rebuild from the ground up54:33 The long timeline of recovery — and why quick fixes don't work59:11 Why high performers often avoid emotional processing01:03:51 Reconnecting with his children after years apart01:17:17 The philosophy behind his new project Hearted01:21:47 What leadership looks like when you stop performing and start rebuildingWhy This Conversation MattersWe live in a culture that rewards speed, output and visibility — while ignoring emotional capacity. John's story exposes the hidden cost of that model. It's about what happens when identity becomes fused with achievement. When performance replaces presence. When ambition outruns regulation. And when rebuilding becomes the real work.This episode is for anyone who has:Built success but felt emptyBurned out silentlyUsed work, substances or distraction to copeHit a personal breaking pointOr is rebuilding after collapseAbout John SkeltonJohn Skelton is a fashion industry veteran, co-founder of LN-CC, former buyer at Selfridges and Harrods, and the founder of Hearted — a project focused on emotional recovery, mental health awareness and honest storytelling.IG: https://www.instagram.com/_h_e_a_r_t_e_d_/

That's Harrods. And that's London.

Watch The X22 Report On Video No videos found (function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:17532056201798502,size:[0, 0],id:"ld-9437-3289"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="https://cdn2.decide.dev/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs");pt> Click On Picture To See Larger PictureThe WSJ is predicting higher electricity costs in 2026. Trump is bringing down the cost of energy and implementing new energy sources. Electricity increased because of the the green new scam. Trump is now going after the Federal Reserve for gross incompetence, this will lead to exposing the Fed’s criminal activity. The [DS] infiltrated Congress going all the way back to 1929, the continued to present day. They made it so they have the ability to control those people they install. There are no term limits, this allows these people to stay in their positions for a very longtime. Trump is now setting the stage to return the power back to the people. This is much bigger than a few arrests. Economy Average Electricity Rates by State, What Do You Pay?  Hawaii and California have the highest rates. Idaho the lowest. Average Residential Electricity Rates by State   Electricity Cost 10 Lowest States Be Prepared to Keep Paying More for Electricity The Wall Street Journal says Be Prepared to Keep Paying More for Electricity Source:  mishtalk.com  (function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:18510697282300316,size:[0, 0],id:"ld-8599-9832"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="https://cdn2.decide.dev/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs"); https://twitter.com/ElectionWiz/status/2005964583727780156?s=20 https://twitter.com/EricLDaugh/status/2005751158149615698?s=20  Trump claims the project has overrun by $4 billion (he mentions $4.1 billion total for “a few small buildings”), calling it the “highest price in the history of construction.” He contrasts this with his own White House ballroom project, which he says is under budget and ahead of schedule despite its cost doubling to $400 million from an earlier $200 million estimate.  Yes, discovery could occur—if the case advances past initial hurdles. This would allow Trump’s side to subpoena Fed documents, emails, financial records, and testimony related to the renovations. This could effectively let them “look into” specific aspects of what the Fed has been doing, such as budgeting, contracting, and project management for the HQ overhaul. Discovery rules under the Federal Rules of Civil Procedure are broad, potentially uncovering internal Fed communications or decisions tied to the alleged incompetence.    Trump could request a GAO investigation into the HQ project overruns. Political/Rights Longtime Democrat George Clooney and His Family Ditch America, Move to France, and Secure French Citizenship Hollywood elitist and longtime Democrat activist George Clooney has officially joined the growing list of wealthy, left-wing celebrities who preach “American values” while quietly distancing themselves from the United States. Clooney, along with his wife, Amal Alamuddin Clooney, and their two children, has reportedly obtained French citizenship through a naturalization decree. The couple's 8-year-old twins, Ella and Alexander, were included in the process.  Clooney went on to explain that he feared raising his children in Los Angeles. “I was worried about raising our kids in L. A., in the culture of Hollywood. I felt like they were never going to get a fair shake at life. France—they kind of don't give a shit about fame. I don't want them to be walking around worried about paparazzi. I don't want them being compared to somebody else's famous kids.” Source: thegatewaypundit.com https://twitter.com/RichardGrenell/status/2005844962769064196?s=20 beliefs. Boycotting the Arts to show you support the Arts is a form of derangement syndrome. The arts are for everyone and the left is mad about it. https://twitter.com/Oilfield_Rando/status/2005834821503705445?s=20 DOGE Geopolitical New Report Appears to Confirm Covenant School Shooter Audrey Hale Bought Guns With Student Loan Money The FBI has just released more pages from the manifesto of Covenant School shooter Audrey Hale, which suggest that she bought the guns used in the 2023 shooting with money she had from a Pell Grant. Hale's parents suggested this two years ago and this report appears to confirm that. The Tennessee Star reports: Latest FBI Release of Covenant School Manifesto Files Appears to Confirm Trans-Identified Killer Bought Guns with Pell Grant Money The FBI on Monday released another 230 manifesto pages written by Audrey Elizabeth Hale, the biological female who identified as a transgender man on March 27, 2023, when the 28-year-old killed six at the Covenant School in Nashville, the Christian elementary school she once attended. This latest journal appears to have been written sometime in late 2021, and includes lengthy sections about the weapons the killer planned to use to commit a mass shooting at a school sometime that year. Following multiple pages full of weapons to purchase, the journal includes a page labeled “Account Savings Record,” which appears to reference the Free Application for Federal Student Aid (FAFSA). It also records multiple payments received from Nossi during the period when Hale attended the Nossi College of Art and Design in Nashville. “FASFA [sic] grant checks started at $2,050.86,” wrote Hale at the top of the entry. The page then lists a series of apparent ledger entries, starting with, “$2,656.87 (x3 checks from Nossi).” The next ledger entry states, “+$530.00 (x1 check Nossi) ($3,186.87).” This reference to Hale's federal student aid, located in the writings next to her entries about guns she considered buying, appears to corroborate the claims made by her parents to Metro Nashville Police Department (MNPD) detectives in 2023, when they told law enforcement their child purchased the firearms using federal Pell Grant money.  Source: thegatewaypundit.com https://twitter.com/Noahpinion/status/2005425950306263265?s=20 War/Peace https://twitter.com/disclosetv/status/2005747398614847766?s=20 https://twitter.com/WhiteHouse/status/2005757621278761205?s=20 Trump clarifies that if Hamas do not disarm like they promised, that any number of the 59 countries who signed onto the peace deal, will completely wipe out Hamas.  Protests Erupt Across Iran As Angry People Flood Streets  The mullahs have ruled in Iran since 1979. So you had millions that went to helping to prop up the terrorist state. But the Iranians are a persistent people, it would appear, especially when you hurt them in their wallets and make it challenging to survive. We’re at another one of those moments in history where hope has sparked again in the country, and people are in the streets, calling for change. Nationwide strikes and protests by merchants continued across Iran, with shops shuttered in major commercial hubs including Tehran's Grand Bazaar, Lalehzar Street, Naser Khosrow and Istanbul Square. Demonstrators chanted anti-government slogans calling for the downfall of the ruling clerics and demanding the leadership step aside. Video circulating online showed protesters inside a major shopping complex in Tehran's Grand Bazaar chanting, “Have no fear, we are all together,” while hurling insults at security forces and calling them shameless. Source: redstate.com Crushed by inflation, soaring living costs, and a future stolen by the regime, Iranians are back in the streets to protest. In a chilling echo of Tiananmen's Tank Man, one man defiantly sits down before the riot police. Desperation has met courage. Funds have been cutoff to the Mullahs/DS. They will lose control in the end and the people will rise up and take back their country. Cyber attacks ‘tipping point' warning issued after Harrods and M&S targeted Cyber attacks surged into prominence in 2025, inflicting significant financial damage on major British businesses and exposing widespread vulnerabilities across the economy. High-profile targets included automotive giant Jaguar Land Rover, retail stalwart Marks & Spencer, and luxury department store Harrods, underscoring how firms of all sizes are susceptible to sophisticated digital threats. Andrew Bailey, governor of the Bank of England, articulated his belief that cyber attacks represent one of the most substantial threats to UK financial stability, stressing the “critically important” need for collaborative defence. He stated: “Cyber attacks are far from new, but 2025 has shown just how deeply cyber risk is intertwined with economic stability and business continuity.” Source:  uk.news.yahoo.com  President Trump Responds to the 91-Drone Attack on Putin's Residence in Novgorod region During an impromptu press availability beside Israeli Prime Minister Benjamin Netanyahu, President Trump responded to a question about a drone attack against the personal residence of Russian President Vladimir Putin. President Trump noted that he was informed of the attack by President Putin during an early Monday phone call between the two leaders. Ukraine President Volodymyr Zelenskyy has denied the accusation that Ukraine carried out this particular attack.  The attack took place while Zelenskyy was in Florida meeting with President Trump. U.S. media have said the attack on Putin may be a lie; however, with physical evidence from the defense operation, it is less likely Russia just made up the attack.  At this moment in the conflict, Putin doesn't need domestic propaganda. CONTEXT: British intelligence previously confirmed their participation in the successful Ukraine drone attack against long-range Russian bombers.  That operation, highly controversial at the time, was previously confirmed by President Trump saying the U.S. was not informed in advance. The “coalition of the willing” has also expanded.  Outside the Ukraine regime, the current group making up the “coalition of the willing” includes: the U.K, France, Germany, Canada and Australia.  It is worth noting the additions are all part of the British commonwealth (U.K, Canada, Australia).   I suspect the British did it Source: theconservativetreehouse.com https://twitter.com/KobeissiLetter/status/2005810672672624746?s=20   and utilities have materially underperformed the broader market over the last few years. This has been fueled by the outsized gains in the US technology sector. A similar pattern occurred during the 1990s, while the opposite took place during the 2008 Financial Crisis, when global defensive stocks outperformed. Defensive sectors are lagging. Medical/False Flags [DS] Agenda Soros family reportedly donated more than $71,000 to Letitia James campaigns Leftist billionaire George Soros and members of his family have donated more than $71,000 to political campaigns supporting New York Democratic Attorney General Letitia James since 2019, according to a report published Sunday by the New York Post. The report, citing campaign finance records, said the total includes $31,000 contributed toward James' 2026 reelection bid. Soros personally donated $18,000 in July 2024, while his daughter-in-law, Jennifer Soros, contributed $13,000 in May. With earlier donations included, Soros and his family have provided James with roughly $40,000 more since 2019, the Post reported. The figure does not include the indirect support James has received through left-leaning organizations backed by Soros. The report said Soros' Open Society Foundations have given more than $865,000 to the New York branch of the Working Families Party since 2018. Source:  rsbnetwork.com  https://twitter.com/SteveRob/status/2005683753432351171?s=20 https://twitter.com/mazemoore/status/2005361462580011272?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E2005361462580011272%7Ctwgr%5E084f3c4b7bd7fa1059f91dab99d5e9dce1ab3cec%7Ctwcon%5Es1_c10&ref_url=https%3A%2F%2Fredstate.com%2Fnick-arama%2F2025%2F12%2F29%2Fthis-didnt-age-well-what-tim-walz-said-about-child-care-providers-during-2024-debate-n2197568 in Minnesota.” Yes Tim, you sure did make it easy for people to open childcare businesses. They don’t even need to provide childcare to get paid. https://twitter.com/amuse/status/2005702559239946273?s=20  admitted to the scheme and was sentenced to 10 years in prison for his role in the underlying fraud, with nearly $48 million ordered in restitution. Separate sentencing remains pending for the bribery conviction. https://twitter.com/CollinRugg/status/2005794263091798284?s=20   in there until today. That parking lot is empty all the time, and I was under the impression that place is permanently closed,” a local said. About 20 kids were seen “streaming in and out” of the center, according to the Post. “You do realize there's supposed to be 99 children here in this building, and there's no one here?” Shirley said in his viral video. The owner’s son, Ali Ibrahim, claims Shirley came before they opened and is blaming their graphic designer for messing up the sign. “What I understand is [the owners] dealt with a graphic designer. He did it incorrectly. I guess they didn't think it was a big issue,” Ibrahim said https://twitter.com/MrAndyNgo/status/2005812805786607882?s=20   children for the cameras. https://twitter.com/libsoftiktok/status/2005766571487289395?s=20   citizens.” – MN AG Keith Ellison https://twitter.com/amuse/status/2005871452562555304?s=20  shootings the morning of Saturday June 13th at approximately 2:30am and 3:30am, in around [unclear] that I will probably be dead by the time you read this letter. I wanted to share some info with you that you might find interesting. I was trained by U.S. Military people off the books starting in college. I have been on projects since that time in Eastern Europe, North America, the Middle East, and Africa. All in the line of duty what I thought was right and in the best interest of the United States. Recently I was approached about a project that Tim Walz wanted done, and Keith [unclear] was also aware of the project. Tim wanted me to kill Amy Klobuchar and Tina [unclear]. Tim wants to be a senator and he doesn't trust [unclear] to retire as planned and this is meant to stay in the last mile with Amy & [unclear] gone. Tim would get one of the open senate seats, and [unclear] was to be VP, and Keith Ellison would be rewarded with a lucrative governing position. I told Tim I wanted nothing to do with it and that I didn't call off that plan I would go public. He said he would call it off himself if I didn't play ball. Then he set up a meeting with me and [unclear] and [unclear] to take care of me when I refused. They had some people waiting to kill me. I was able to get away by God's mercy. So I went back a short time later and shot back at [unclear]. You should notice how I didn't fire me rounds at any police officers and by God I have plenty of opportunity. Ask for the report on how many weapons and ammunition I had with me. Cops were pulling up right next to me in unmarked vehicles and I had an AK pistol across my lap. And I could have left a pile of cops dead but I did not. Short burst towards law enforcement. You can ask them. Because I snapped the police and chose not to see them hurt. But it may end up my wife and kids next time. I won't give them a pass. If you think I'm making this up just get on the phone and tell Tim you have a few questions for him. Then ask Tim Walz if he knows me and see what he says? If he says he doesn't know me, or never met me, look in the files and you will see that Tim personally approved me to be on his Governor's workforce. Bridges are the business representatives. He is probably trying to destroy that note but it is public record. Then ask Tim Walz why they kept the shots silent from the media when they first happened. Not a word in the press and I. Why? They needed to get their stories figured out. So everyone was on the same page about what happened. Tim is probably crapping bricks right now because I'm still at large and he knows what I can disclose and that I know about all the buried skeletons are. So I will be shot on sight you can bet on that. If you want me to turn myself in it need to be directly to you and then I need to be held at a military prison or in the Middle East, or at least on a ship. These guys have military backgrounds and can get to anybody. I am willing to spill all the beans. I just want my family safe. They had nothing to do with this and are totally innocent. This was a lone person https://twitter.com/RapidResponse47/status/2005811252409344411?s=20 Tim Walz is trying to bury the evidence of Somalian money laundering. His government website showing all the daycare licenses is having a mysterious “outage”. They are freaking out. https://twitter.com/feelsdesperate/status/2005736682100777121?s=20 https://twitter.com/elonmusk/status/2005699538808697062?s=20 Trump fires 17 government watchdogs at various federal agencies President Donald Trump fired 17 independent watchdogs at various federal agencies late Friday, a Trump administration official confirmed to Fox News, as he continues to reshape the government at a blistering pace. Trump dismissed inspectors general at agencies within the Defense Department, State Department, Energy Department, Department of Housing and Urban Development (HUD) Department of Veterans Affairs and more, notifying them by email from the White House Presidential Personnel Office, the Washington Post first reported. “It's a widespread massacre,” one of the terminated inspectors general told the Post. “Whoever Trump puts in now will be viewed as loyalists, and that undermines the entire system.” Source: foxnews.com Trump has been in office for 11 months. The Trump US Attorney has been in control of the Minneapolis Office less than that. These are programs the Biden DOJ did not investigate — they investigated “Feeding our Future” only. So the investigations of 13 other federally funded welfare programs started from scratch.   https://twitter.com/AGPamBondi/status/2005764911427731459?s=20 THREAD https://twitter.com/Geiger_Capital/status/2005688449026908544?s=20 https://twitter.com/politico/status/2005765912167911931?s=20 https://twitter.com/StephenM/status/2005851479425310785?s=20  https://twitter.com/C_3C_3/status/2005864187575128397?s=20 President Trump's Plan https://twitter.com/WarClandestine/status/2005816218226233847?s=20 The National Guard is building a “quick reaction force” (QRF) of some 23,500 troops trained in crowd control and civil disturbance that can be ready to deploy to U.S. cities by early next year, according to a leaked memo reported by multiple outlets Wednesday.  The Oct. 8 memo, signed by National Guard Bureau Director of Operations Maj. Gen. Ronald Burkett, orders the Guard from nearly every U.S. state, Puerto Rico and Guam to train 500 service members. States with smaller populations such as Delaware will have 250 troops in its force, while Alaska will have 350 and Guam will have 100, Task & Purpose reported. Attorney General Pam Bondi Directs DOJ to Investigate Obama-Biden Era ‘Lawfare' as Ongoing Criminal Conspiracy Attorney General Pam Bondi has confirmed that the Department of Justice is actively probing what she describes as a decade-long pattern of government weaponization and “lawfare” under the Obama and Biden administrations. Bondi has directed U.S. Attorneys and federal agents to treat these actions as an “ongoing criminal conspiracy,” potentially allowing prosecutors to bypass statutes of limitations and hold high-ranking officials accountable for alleged election interference and civil rights violations. Source: thegatewaypundit.com  child-like illogic. And if you want to jump in and comment on whatever your particular axe to grind is and how disappointed you are that axe did not get ground in 11 months, please refer to the preposterous, child-like illogic mentioned above. https://twitter.com/TonySeruga/status/2005766903579701465?s=20 Look at the structure itself. 435 representatives for more than 300 million citizens. One voice per 700,000 people. The founders envisioned one per 30,000. That ratio was frozen in 1929, locked by the Permanent Apportionment Act, ensuring the number would remain manageable. Manageable for whom? One hundred senators. 535 total legislators controlling the direction of the largest economy in human history. You do not need to purchase a nation. You purchase 535 people. Or fewer. Buy the committee chairs. Fewer still. Buy the leadership. A few dozen individuals, properly leveraged through money or blackmail (it's actually both), steer everything. The bottleneck is artificial. Engineered for efficient capture. The Federal Reserve arrived in 1913, transferring monetary sovereignty from the people to a private banking cartel. That same year, the 17th Amendment removed state legislatures from Senate appointments, severing the balance between federal and state power. The intelligence apparatus emerged after World War II as a parallel government operating beyond electoral accountability. The administrative state metastasized into an unelected fourth branch writing rules with the force of law. Layer upon layer. Each generation inherits chains from contracts they never signed, bound by compromises made long before their birth. Yes, the Founding Fathers intended for the House of Representatives to expand as the population grew. The U.S. Constitution’s Article I, Section 2 established an initial apportionment ratio of no more than one representative per 30,000 inhabitants (with each state guaranteed at least one), implying that the total number would increase based on census results every ten years. the framers expected regular adjustments to maintain proportional representation as the nation expanded.  James Madison, in Federalist No. 58, directly addressed concerns that the House might not grow, arguing that the Constitution’s mechanisms—such as decennial reapportionments—would “augment the number of representatives” over time, and that political incentives (e.g., larger states pushing for increases) would ensure it happened.  This intent is further supported by the proposed (but unratified) Congressional Apportionment Amendment from the original Bill of Rights, which aimed to set a formula preventing the House from becoming too small relative to the population.  However, the House was permanently capped at 435 members by the Apportionment Act of 1929, diverging from this original vision. https://twitter.com/CynicalPublius/status/2005740095979069669?s=20   attempt instead chase smaller game, run interference, attack each other, send you down rabbit holes, and offer limited hangouts that lead nowhere. The silence is bipartisan. The silence is the tell. If your enemy acts and your ally does nothing despite holding every lever of power, you do not have two sides. WAIT… THERE'S MORE… https://twitter.com/WarClandestine/status/2005729994782466232?s=20   our walls, with Antifa and radical Islamic terrorist groups still at large, without Trump's people in position, without the public being informed of the treasonous conspiracy, without the wars around the globe being settled, without rogue Deep State elements like Iran's nuclear capabilities being shut down, all while the public are extremely emotionally charged after the election cycle and have been repeatedly brainwashed to believe that Trump is Hitler about to unleash a military dictatorship… There's levels to this shit. Many variables must be accounted for and many pieces must be in place before we can do something of this magnitude. But if you've been paying attention, you'd see that much of these things have already been taken care of over Trump's first year. I'm more optimistic than I've ever been, and frankly I don't understand how people don't see what Trump is doing. The price to pay for striking early, could result in mass civilian casualties, the entire operation will be ruined, the Republic will fall to the Deep State, and all of us will be tax/labor slaves forever. We can't afford to miss. Everything must be perfect, and Trump is putting the pieces into place to make it happen. (function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:13499335648425062,size:[0, 0],id:"ld-7164-1323"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="//cdn2.customads.co/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs");

Sam is finally back from Australia and the boys are reunited. We chat about his time in Oz and his sudden TikTok Live obsession and whether he actually told the truth about who he has for Secret Santa?! Plus are Staying Relevant going on tour next year!? AND does Sam really know Lando Norris?Speaking of celebs, Sam recently slid into a celeb's DMs and they finally replied. We reveal their message LIVE on the pod.Pete made headlines for his dramatic fall and Dogs Sake Christmas Special aired. Then at a networking event he was hit with some wild questions, including dressage apparently being his favourite sport.To top it off, we pranked the boys by getting them to try some “Harrods fruit” and their reactions were priceless.—

This week we made our way through twenty rolls of ‘Word a Day' toilet paper – not (entirely) because of tummy trouble, but in order to impress one of the world's greatest wielders of words, copywriting legend Tim Delaney. An advertiser who made all of advertising try harder with their adverts, Tim is of course the founder of the famous Leagas Delaney agency as well as being one of the all-time great copywriters.  You'll no doubt have spent much time gawping at and/or weeping over some of his most iconic work – including some extraordinary campaigns for Harrods, Adidas and Nationwide. He's also the creative brain behind the unforgettable ‘Perfect Day' film for the BBC – giving the world the briefest sniff of what a Bowie/Boyzone collaboration might have been. Wildly successful in both the building of an agency and the writing of copy, Tim is also one of advertising's most compelling talkers of sense – with a philosophy built around strategic thinking, disciplined work and a healthy appreciation for the value of intuition. In a chat where we skid quickly and wildly away from what we laughably called ‘the agenda', Tim takes us on an entertaining and eye-opening journey through one of the most remarkable lives in the creativity game.   This episode is proudly dedicated to Tom Harrington. Follow Tim on LinkedIn   ///// Timestamps   04:40 - First Job in Advertising 06:45 - Transitioning to Copywriting 09:40 - Early Days in Advertising 12:49 - The Band Experience 14:03 - From Music to Advertising 19:07 - Climbing the Advertising Ladder 22:11 - The Role of Creativity in Advertising 29:03 - Challenges at BNP 30:41 - Understanding Advertising's Mystique 34:08 - The Impact of Technology on Advertising 39:39 - Enthusiasm for Newcomers 43:53 - Advice for Junior Copywriters

Election fraud, Farage, turkey gobbling, Xmas jumpers. Eurovision, Israel and Palestine.  The global green economy, heat pumps, Miliband, electric cars, Sizewell.  The budget, wind energy and batteries - what impact breaking the link has on incentive to build - and beavers.  Ecotalk shines in the Times.  White Storks in London and re-wilding the wildlife crisis - one meal at a time.  Choose what you chews - more wisely. 

This PRCA Fuse Podcast episode dives into what really happens when organisations are hit by a major cyber attack, from the first shocking ransomware message to the long tail of operational and reputational damage. Host Adrian Ma speaks with cyber crisis experts Joanne Gill and Jason Nisse about why cyber incidents are long-form crises, why so many crisis plans fail once email and core systems go down, and what offline readiness really looks like in practice. Drawing on real-world examples including M&S, Jaguar Land Rover, Harrods, Co-op and Asahi Breweries, they explore the risks of communication voids, the limits of cyber insurance, the importance of choosing the right spokesperson, and how realistic tabletop exercises can expose dangerous blind spots before an attack hits.

Juliana Amorim mora em Londres e é Head de Design da Bugbee Kids, marca de moda infantil fundada em Jaraguá do Sul, um dos principais polos têxteis do Brasil. A Bugbee vem ganhando destaque internacional, com presença em varejistas como MyTheresa e Harrods e criando coleções em collab com a marca britânica, Roarsome. No episódio, falamos sobre o mercado de moda infantil, como é liderar remotamente uma equipe de design e como essa mudança de vida impactou o trabalho da Ju.convidada: https://www.instagram.com/jumusiamorim/ https://www.instagram.com/bugbeekids/ Consultoria do Moda na Mochila: https://www.modanamochila.com/consultoria newsletter: https://modanamochila.substack.com/about Ig: https://www.instagram.com/modanamochila/

Welcome to another episode of TBCY! In this insightful interview, Ashutosh Garg sits down with Kajol Bheda, Founder of Scribbld—an independent strategy-first marketing agency with a footprint across India and the UAE. Kajol shares her entrepreneurial journey, from media production in the UK to launching Scribbld during the pandemic, and unpacks her leadership lessons from working with global brands like Harrods, Amazon Prime, and Nykaa.Dive deep into how the marketing landscape has evolved post-2020, why a personal touch makes all the difference, and how AI and automation are shaping but not replacing human creativity in campaigns. Kajol also discusses challenges and opportunities in international expansion, breaking gender biases in hiring, and the power of consumer insights and trend-driven strategies such as memeification and hook-first content.Whether you're passionate about entrepreneurship, marketing innovation, or looking for inspiration on building an agency from scratch—this episode has plenty to offer!

This week on The Trawl, Jemma and Marina wade through a global cesspit of power, propaganda and, quite literally, poo.From Donald Trump's unhinged AI fantasy, featuring himself as a crowned Top Gun pilot dropping actual sewage on protesters, to the real-life horror of leaked GOP group chats filled with racist bile, America is plumbing new depths. Meanwhile, back in Blighty, Tesco's being called out, M&S thinks it's Harrods, and the Palace is in a PR panic as Prince Andrew's name re-enters the headlines ahead of Virginia Giuffre's posthumous memoir.Thank goodness for characters like Zohran Mandami who aren't afraid to hold powerful men to account for their sleazy misdemeanours and indeed crimes. There's hypocrisy, hubris, and high-octane nonsense on both sides of the pond — plus your usual Underrated Clips and Tweets of the week. Grab your waders, Trawlers. It's a murky one.Thank you for sharing and do tweet us @MarinaPurkiss @jemmaforte @TheTrawlPodcast Patreonhttps://patreon.com/TheTrawlPodcast Youtubehttps://www.youtube.com/@TheTrawl Twitterhttps://twitter.com/TheTrawlPodcastIf you've even mildly enjoyed The Trawl, you'll love the unfiltered, no-holds-barred extras from Jemma & Marina over on Patreon, including:• Exclusive episodes of The Trawl Goss – where Jemma and Marina spill backstage gossip, dive into their personal lives, and often forget the mic is on• Early access to The Trawl Meets…• Glorious ad-free episodesPlus, there's a bell-free community of over 3,300 legends sparking brilliant chat.And it's your way to support the pod which the ladies pour their hearts, souls (and occasional anxiety) into. All for your listening pleasure and reassurance that through this geopolitical s**tstorm… you're not alone.Come join the fun:https://www.patreon.com/TheTrawlPodcast?utm_campaign=creatorshare_creator Hosted on Acast. See acast.com/privacy for more information.

Welcome to the DMF! I'm Justin Younts, and in this episode, we explore Alan Katz's unforgettable experiences filming in England.Alan described the entire journey as a dream come true—from shooting in breathtaking castles to immersing himself in the country's vibrant culture. But it wasn't all glamour and ease. Behind the stunning backdrops were challenges that tested his patience and professionalism. Working under tight schedules and managing the high costs of filming in London gave him a new appreciation for the privilege and pressure of international production.Alan recalled memorable moments—like grocery shopping at Harrods with cash or staying at a luxurious hotel in Paris after a shoot—that captured the surreal side of the filmmaking lifestyle. Yet, he admitted that leaving that world behind was heartbreaking.He also reflected on the joy of collaborating with exceptional British talent, including Ewan McGregor and Steve Coogan, whose work ethic and artistry elevated every scene. Through his stories, Alan revealed that beyond the allure of filmmaking lies a deep commitment to storytelling, discipline, and heart.Join me as we uncover the highs and lows of Alan Katz's remarkable journey—and what it truly means to be a storyteller on the world stage.00:00:05 - Shooting in England00:00:51 - Dorney Court Experience00:02:22 - Catering Mishap00:03:28 - Dover Castle Shooting00:04:29 - Living in England00:05:22 - End of the Shoot and Paris Trip00:06:23 - Reflections on the Show00:07:04 - Challenges in London00:08:17 - Working with British Actors00:10:28 - Missed Opportunities00:13:30 - Future ProjectsCheck out his other podcast:https://podcasts.apple.com/us/podcast/the-how-not-to-make-a-movie-podcast/id1616014436⁠⁠⁠⁠https://www.imdb.com/name/nm0441623/⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/the-how-not-to-make-a-movie-podcast/id1616014436⁠⁠⁠⁠⁠⁠⁠⁠https://thedonorpodcast.com/

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

The Cybercrime Magazine Podcast brings you daily cybercrime news on WCYB Digital Radio, the first and only 7x24x365 internet radio station devoted to cybersecurity. Stay updated on the latest cyberattacks, hacks, data breaches, and more with our host. Don't miss an episode, airing every half-hour on WCYB Digital Radio and daily on our podcast. Listen to today's news at https://soundcloud.com/cybercrimemagazine/sets/cybercrime-daily-news. Brought to you by our Partner, Evolution Equity Partners, an international venture capital investor partnering with exceptional entrepreneurs to develop market leading cyber-security and enterprise software companies. Learn more at https://evolutionequity.com

AI-generated code used in phishing campaign blocked by Microsoft WestJet notifies American consumers of data breach Ukrainian cops spoofed in fileless phishing attacks on Kyiv Huge thanks to our sponsor, Nudge Security AI tools have spread to every corner of your tech stack, which is great for innovation, but not so great for data governance. That's where Nudge Security comes in. Nudge discovers shadow AI across your org - chatbots, MCP integrations, AI in the supply chain, and more. And, Nudge delivers guardrails to employees to help you stop data leakage before it even starts. The best part? You'll have a full inventory of AI assets on Day One of your free trial, even those introduced before you started using Nudge. No time machine required. Gain visibility and control of AI use. Get started at nudgesecurity.com/genai  

If you like what you hear, please subscribe, leave us a review and tell a friend!Cybercriminals and hackers are exploiting platforms like Facebook and Google Ads, targeting children, and taking down major companies such as Asahi, while governments and authorities respond with seizures, warnings, and new security guidance. Major incidents include the UK seizing £5.5 billion in Bitcoin, Japanese brewer Asahi hit by attacks, Harrods reporting a third-party breach, and global warnings on malware and vulnerabilities.

A Chinese state-sponsored group exploited enterprise devices in a global espionage effort. The UK Government guarantees £1.5 billion financing to help Jaguar Land Rover's recovery efforts. A maximum-severity flaw in Fortra's GoAnywhere Managed File Transfer product is under active exploitation. The AI boom faces sustainability questions. Akira ransomware bypasses MFA on SonicWall devices. Dutch teens are arrested for allegedly spying for Russia. Luxury retailer Harrods confirms a data breach. An Interpol crackdown targets African cybercrime rings. We've got our Monday business briefing. Brandon Karpf joins us to discuss the cybersecurity ecosystem in Japan. Cyber crooks offer a BBC journalist an early retirement package. Remember to leave us a 5-star rating and review in your favorite podcast app. Miss an episode? Sign-up for our daily intelligence roundup, Daily Briefing, and you'll never miss a beat. And be sure to follow CyberWire Daily on LinkedIn. CyberWire Guest Today our guest is Brandon Karpf, friend of the show, and he joins to discuss the Cybersecurity ecosystem in Japan. Selected Reading Chinese hackers breached critical infrastructure globally using enterprise network gear (CSO Online) UK government bails out Jaguar Land Rover with $2 billion loan (Metacurity) Maximum severity GoAnywhere MFT flaw exploited as zero day (Bleeping Computer) The AI boom is unsustainable unless tech spending goes ‘parabolic,' Deutsche Bank warns: ‘This is highly unlikely' (Fortune) Akira ransomware breaching MFA-protected SonicWall VPN accounts (Bleeping Computer) Dutch teens arrested for trying to spy on Europol for Russia (Bleeping Computer) Harrods: Hackers contact firm after 430,000 customer records stolen (BBC) Africa cybercrime crackdown includes hundreds of arrests, Interpol says (The Record) Cyberbit acquires RangeForce. Terra Security raises $30 million. (N2K Pro)  'You'll never need to work again': Criminals offer reporter money to hack BBC (BBC) Share your feedback. What do you think about CyberWire Daily? Please take a few minutes to share your thoughts with us by completing our brief listener survey. Thank you for helping us continue to improve our show. Want to hear your company in the show? You too can reach the most influential leaders and operators in the industry. Here's our media kit. Contact us at cyberwire@n2k.com to request more info. The CyberWire is a production of N2K Networks, your source for strategic workforce intelligence. © N2K Networks, Inc. Learn more about your ad choices. Visit megaphone.fm/adchoices

Morse code transcription: vvv vvv Woman raped by group of men in Banbury churchyard Rachel Reeves to guarantee paid work for young people unemployed for 18 months Shabana Mahmood to demand migrants earn right to settled status How weight loss injections are making obesity a wealth issue Labour needs debate about how to beat Reform UK, says Burnham Hackers contact Harrods after 430,000 customer records stolen Another migrant becomes latest to die trying to cross English Channel Lola Young doing OK after collapsing on stage in New York From drug theft to Dubai arrests How a Scottish gangland feud went global Moldovans await pivotal election result as leader warns of Russian interference

Harrods, Stellantis, Volvo, the Canadian Government and so much more is why these segments are ALWAYS open bar!

Morse code transcription: vvv vvv Trump promised retribution how far will he go How the war detectives solved the mystery of two missing Scottish soldiers Elon Musk and Prince Andrew named in new Epstein files Harrods says customers data stolen in IT breach Holocaust survivor Ruth Posner and husband die at Swiss clinic Two women die during failed Channel crossing attempt Scottish Banksy investigated over mural painted on listed flats Chris Mason Starmer unflinching as he seeks to take on Reform Strictly Come Dancing Backstage with the couples ahead of first live show Reeves pushes for EU youth migration scheme ahead of Budget

On this week's Bonus Ep: An ASMR intro, Vogue's seen some nudes, we want to go to Harrods food hall, a woman who wants 100 kids, advice for a lady debating another kid and are you an asshole if you share a secret?Remember, if you want to get involved you can:Watch us on Youtube! CLICK HERE! or search Vogue & AmberEmail us at vogueandamberpod@gmail.com OR find us on socials @voguewilliams @ambrerosolero and @vogueandamberListen and subscribe to Vogue & Amber on Global Player or wherever you get your podcasts.Please review Global's Privacy Policy: https://global.com/legal/privacy-policy/

Season 7 of @onthescentpodcast is here, & for the very first time, we're sharing a Patreon-exclusive deep-dive with ALL of you!This week we're exploring salt in scent: how the mineral magic transforms a fragrance, adding texture, tempting the senses, & evoking everything from windswept cliffs to decadent desserts.We so enjoyed making this episode & couldn't wait to share our thoughts on these briny beauties (lol!)The line-up:@jomalonelondon Wood Sage & Sea Salt: Imagine the bracing British coast, briny air, wild waves, & mineral cliffs, earthy sage grounding the sparkling saltiness.@shayandblue Salt Caramel: Gourmand temptation with caramel and vanilla, cut by a tang of sea salt, rich, indulgent, and impossible to resist.@penhaligons_london Changing Constance: Cardamom & pimento heat up salted butter caramel, finished with vanilla and tobacco for rebellious elegance.@nishane.istanbul Oudous Lux Solis: Honeyed pomelo & mandarin glisten over smoothly salty oud & patchouli - a golden radiance from sun to shadow (exclusive at Harrods).@sarahbakerperfumes Atlante: Sparkling yuzu & orris swirl through tidepools of seaweed & ambergris, as ancient & alluring as a siren's song.@libertylondon LBTY Zephirine: Incense & green fig weave through velvet rose & suede in a palace garden by the sea.@isseymiyakeparfums Le Sel d'Issey: The freshness of the ocean meeting sun-warmed land, salt, incense & seaweed on a sun-bleached driftwood base.Our Patreon supporters get an EXTRA episode every single week (that's 127 extra episodes so far ) among other perks. If you loved listening, tap the link in our Instagram bio @onthescentpodcast for all the extra episodes in the archive or go via this link

(Rec: 24/7/19) Kev moves to Fulham but we focus mainly on Mohamed Al-Fayed selling lions in Harrods and the magnificence of Ray Wilkins. Join the Iron Filings Society: https://www.patreon.com/topflighttimemachine and on Apple Podcast Subscriptions Hosted on Acast. See acast.com/privacy for more information.

Stanley Kubrick, Eyes Wide Shut, Mohamed al-Fayed, Adnan Khashoggi, British intelligence, Julian Amery, Israel, Suez Crisis, Haiti, George de Mohrenschildt, CIA, Nasser, Lonrho, Tiny Rowland, Mayfair Set, Harrods, Sultan of Brunei, Jonathan Aitken, arms trafficking, Gerard Bull, Project Babylon, Le Cercle, Dutroux affair, Dodi Fayed, the rivalry between al-Fayed and the Khashoggis over Dodi, Prince Diane, the Dodi-Di romance, the death of Diane and Dodi, possible MI6 involvement, the Israeli link in the crash, the white Fiat Uno, Lyndon Larouche, the similarities between Robert Maxwell and al-Fayed, al-Fayed as a sexual predator, Kubrick's initial plans to use the Earl of Spencer's residence in Eyes Wide Shut, references to al-Fayed in Eyes Wide Shut, Kubrick's awareness of al-Fayed as a sexual predator, Punch magazine and Kubrick's lawsuit against, the break-in on the Eyes Wide Shut set, the white Fiat Uno reduxMusic by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/ Hosted on Acast. See acast.com/privacy for more information.