Podcasts about Heist

When a flawless £350 million diamond goes on display at London's Millennium Dome, small-time gangster Ray Betson spots the opportunity of a lifetime. To pull off Britain's biggest robbery, he'll need more than luck – he needs a crew of criminal masterminds. Enter Terry Millman, an armed robber with years of experience, and Lee Wenham, a creative young thief with big ambitions.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Baller Lifestyle Podcast – Episode 596: “The Guy Fieri Tequila Heist”Hosted by Brian Beckner & Ed DalySubscribe: Apple Podcasts | Spotify | Patreon – Bonus Bri ️ Intro Brian and Ed return for Episode 596 with an all-timer mix of pop-culture absurdity, celebrity autopsies, and high-end tequila thefts. Plus, updates from the Rain City Jacks, RIPs, and a surprise visit from Johnny Depp himself. Who Died This Week Diane Keaton (79) – True legend of American film; slacks, gloves, hats, and iconic movies from The Godfather to Annie Hall. Mike Greenwell – Red Sox slugger gone too soon after a long thyroid battle. (Brian & Ed still not entirely sure what the thyroid does.) Ron Dean – The ultimate “that guy” actor from Risky Business, The Fugitive, and Cocktail. Arturo Gatti Jr. (17) – Tragic death eerily similar to his father's. Sister Jean (106) – Loyola's basketball chaplain finally retires… and promptly ascends. Sports Cam Newton's Girlfriend List Request – Cam wants a list of Jasmine Brown's past lovers. Brian and Ed explain why that's the worst idea ever, compare him to The Bachelor's Colton, and declare that “guys who wear #1 are sus.” Eric Dickerson vs. Bad Bunny – Dickerson doesn't realize Puerto Rico is part of the U.S. and wants Bad Bunny banned from the Super Bowl. Belichick's Fall – The Hoodie loses the magic and maybe his mind, while a new girlfriend and Hulu doc drama stir things up. UNC Hulu Series Canceled – Mack Brown's two-and-three start ends the reality show dreams. Football Nostalgia – Remember neck rolls, massive pads, and those awkward thigh inserts? The boys do. Non-Sports / Pop Culture Robin Williams AI Resurrections – His daughter Zelda wants the deepfakes to stop. Brian & Ed agree: “Go watch Mork & Mindy instead.” Matlock Reboot – Kathy Bates as Matlock?! Plus, on-set assault accusations, bad decisions, and the saddest career self-own in Hollywood. The Guy Fieri Tequila Heist – Twenty-four thousand bottles stolen! Is it marketing genius or Fast & Furious: Flavortown Drift? Brian casts Gerard Butler as Fieri in the inevitable film adaptation. Charlize Theron vs. Johnny Depp – At a Dior show, she walks away from him; Johnny Depp joins the show to defend his honor, his wolf “Greco,” and his Sauvage fragrance. Celebrity Booze Economy – Hagar, Clooney, The Rock, and now Guy Fieri cashing in while pretending to be victims. Patreon Exclusive Bonus Bri, Raygun talk, Johnny Depp's full meltdown, and the NCIS universe explained.Join the fam at patreon.com/theballerlifestylepodcast Episode Highlights “If you're jacking it with the fellas, don't show up late.” “The Mona Lisa doesn't belong in private — same with Robert Redford's beauty.” “No guy wearing number one has ever been normal.” “They should disband the Navy — too many crimes on NCIS.” “Guy Fieri's Ozempic glow-up might be Hollywood's greatest special effect.” Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

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This week on The Nerdpocalypse Podcast, the guys return to discuss One Battle After Another, Peacemaker S2, Jonathan Majors teasing a possible return as Kang to the MCU, Bradley Cooper eyeing Oceans' series prequel starring Margot Robbie, Ryan Coogler's X-Files reboot gets a significant update, trailers for "A Knight of the Seven Kingdoms," "Pluribus," final trailer for "Predator: Badlands," and more.CHECKED OUTBlack BirdOne Battle After AnotherPeacemakerTOPICS - Section 1Jonathan Majors teasing a possible return as Kang In the MCUBradley Cooper Eyeing ‘Ocean's' Prequel At Warner Bros. Starring Margot RobbieTOPICS - Section 2Ryan Coogler is set to reboot X-Files with Chris Carter producingTRAILERSA Knight of the Seven KingdomsPluribusPredator: Badlands - Final TrailerTNP STUDIOS PREMIUM (www.TheNerdpocalypse.com/premium) $5 a month Access to premium slate of podcasts incl. The Airing of Grievances, No Time to Bleed, The Men with the Golden Tongues, Upstage Conversation, and full episodes of the Look Forward political podcast

This week, Juliet and Jacoby share their thoughts on the Pudding mit Gabel trend, discuss the yogurt being made with ants, and say hello to their old friend, the Tom Cruise holiday cake. For this week's Taste Test, they follow up on Juliet's Personal Food News and try Dumpling Daughter. Finally, they share their Personal Food News and react to some Listener Food News. Do you have Personal Food News? We want to hear from you! Leave us a voicemail at 850-783-9136 or email ListenerFoodNews@Gmail.com for a chance to have your news shared on the show. Be sure to check us out on YouTube and TikTok for exclusive clips, new taste tests, and more! Hosts: Juliet Litman and David Jacoby Producer: Mike Wargon Musical Elements: Devon Renaldo Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Gold writer and creator Neil Forsyth returns to the podcast in this special episode for an in-depth discussion on details of the larger-than-life heist. He explains the massive social transformation in 1980s Britain, why three tons of gold was at the Brink's-Mat warehouse, the rumors of police corruption, and more. After this conversation, we guarantee you'll be able to appreciate every “truth is stranger than fiction” nuance of The Gold.

We take some time to remember our friend, and colleague Craig Heist.

10.10.25 Hour 2 1:00- We are joined by 3x Super Bowl champion Ed McCaffrey to talk about the Commanders and his son Luke McCaffrey! 23:00- With possibly both Noah Brown and Terry McLaurin playing on MNF against a poor defense, do you feel confident in Kingsbury dialing up a good gameplan? 37:15- We take some time to remember our friend, and colleague Craig Heist.

In this episode the 7th Tower crew meets an old new friend.Cast- Reza- LenaThe Magnificent Figaro- Danny DelucaGamemaster- Jared WitkofskyAl Key- Chris FrenchPerberton- Andrew Collins-AndersonKevin- Morgan JustTony 'The Toe' Tito- Chris ThielFeaturing music by Pressure Highway, Jordan Fickel,  Danny Deluca and Motoshi Kosako  This work is based on Blades in the Dark (found at http://www.bladesinthedark.com/), product of One Seven Design, developed and authored by John Harper, and licensed for our use under the Creative Commons Attribution 3.0 Unported license (http://creativecommons.org/licenses/by/3.0/). 

You know, when you talk about the intersection of science and world-class whiskey, there's one person who immediately comes to mind. I am thrilled to welcome back a true pillar of the industry, the insightful Dr. Pat Heist, co-founder of Wilderness Trail Distillery, for his third visit! Dr. Heist is breaking down the full, fascinating journey of Wilderness Trail—from its incredibly dedicated early days to the huge, strategic partnership with Campari. And you know Pat and his background in microbiology, so we had to talk about yeast for a bit. But it's not just about science; we also explore his unexpected second career in music with his band, Zella May, and what he's now doing with his wealth of investing in other businesses. Plus, we dive into the glass with a tasting of some new bourbon and rye whiskeys they are about ready to share. Show Notes: Dr. Heist's reflections on the journey of Wilderness Trail Distillery The significance of the partnership with Campari and its strategic objectives How music plays a role in Dr. Heist's life and career Tasting highlights of Wilderness Trail products, including a high rye bourbon and rye whiskey Perspectives on the future of contract distilling and navigating market trends he balance between personal interests and business success Support this podcast on Patreon Learn more about your ad choices. Visit megaphone.fm/adchoices

The heist is on! Now our intrepid party of heroes just has to put their plan into action by...planning a party.

What if the true thief of your wealth isn't out there—it's lurking in your own mind?On this episode of Thrive LouD, host Lou Diamond welcomes Hall of Fame speaker, best-selling author, and renowned relationship marketing expert Bill Cates. Bill introduces listeners to the concept behind his latest book, The Hidden Heist, and reveals how our unconscious beliefs and emotional hang-ups around money are, quite literally, robbing us blind.Lou and Bill have a candid, humorous, and at times eye-opening conversation about the “psychological bank robbers” hiding within all of us. They dive into why even the ultra-wealthy secretly fear losing it all, how social media is warping our money mindsets, and why most financial education skips the crucial step—what we believe about money itself.Key Highlights:Bill reveals what the “hidden heist” really is and why it's the biggest obstacle to building lasting wealth (02:12)Why anxiety, shame, and secrecy around money are universal and sabotage our true potential—regardless of net worth (03:43)The dangerous myth of “money as a scarce resource” and how reframing this core belief can set you free (06:05)Behind-the-scenes on writing a financial parable (instead of a “how-to” manual), and why storytelling matters for true change (14:54)The difference between external financial freedom and internal financial peace (13:35)The double-edged sword of social media, “financial gurus,” and the pressure to keep up—especially for millennials (17:58)Bill's favorite heist movies, bucket list adventures, and a fun run through the Thrive Loud “Speakeasy Pub Crawl”(21:19)Whether you're struggling with your money mindset or just want a totally fresh take on building wealth, this episode has priceless insights—and more than a few laughs.Timestamped Overview:00:00 – Introduction and welcome to Bill Cates02:12 – What is “The Hidden Heist” and how did the book come to be?03:43 – The unspoken emotional barriers and anxieties people have about money06:05 – Reframing beliefs: Scarcity vs. abundance and how money truly flows08:10 – Storytelling through parable: Why Bill's new book departs from traditional guides 13:35 – Two types of financial freedom and why inner peace often eludes even the wealthy 14:54 – Co-writing a parable, real-life stories, and crafting the book for all ages17:58 – Social media's impact, financial “gurus,” and the cost of keeping up20:01 – Where to learn more: TheOrdinaryMillionaire.com & TheHiddenHeist.com21:19 – Speakeasy Pub Crawl: Heist movies, classic rock, food, and travel dreams26:18 – Closing thoughts and remindersTune in and discover: What's the hidden heist keeping you from your wealthiest, happiest self?

How far would you go to reclaim lost love? One man in Ohio made international headlines after pretending to be a 17-year-old high school student to reconnect with his former crush—his high school teacher. From joining the track team to submitting anonymous essays, his elaborate plan lasted four months… until authorities uncovered the shocking truth. The Jubal Show breaks down the bizarre story, the legal fallout, and whether this extreme attempt at romance was ever a good idea. Tune in for jaw-dropping drama, relationship debates, and internet buzz you won’t believe. You can find every podcast we have, including the full show every weekday right here…➡︎ https://thejubalshow.com/podcasts The Jubal Show is everywhere, and also these places: Website ➡︎ https://thejubalshow.com Instagram ➡︎ https://instagram.com/thejubalshow X/Twitter ➡︎ https://twitter.com/thejubalshow Tiktok ➡︎ https://www.tiktok.com/@the.jubal.show Facebook ➡︎ https://facebook.com/thejubalshow YouTube ➡︎ https://www.youtube.com/@JubalFresh Support the show: https://the-jubal-show.beehiiv.com/subscribeSee omnystudio.com/listener for privacy information.

It's the episode that launched a hundred jokes and hours upon hours of hijinks. It's just not Halloween without a Brooklyn 99 heist.   Email us at hotchocmovie@gmail.com. Music by: Christmas Waltz by SoundGallery

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

Fluent Fiction - Dutch: Mystery at Zaanse Schans: The Heist of the Hidden Masterpiece Find the full episode transcript, vocabulary words, and more:fluentfiction.com/nl/episode/2025-10-07-22-34-02-nl Story Transcript:Nl: De lucht boven Zaanse Schans was grijs, en de wind blies door de bomen.En: The sky above Zaanse Schans was gray, and the wind blew through the trees.Nl: De bladeren dansten naar de grond.En: The leaves danced to the ground.Nl: Jeroen en Nina stonden stil voor het museum.En: Jeroen and Nina stood still in front of the museum.Nl: Ze waren vastbesloten.En: They were determined.Nl: De schilderij die eeuwen geleden was gemaakt was recentelijk gestolen.En: The painting, which had been created centuries ago, was recently stolen.Nl: Het was een meesterwerk, en het moest teruggebracht worden.En: It was a masterpiece, and it needed to be returned.Nl: Jeroen, de kunsthistoricus, had zijn tablet vol met aantekeningen en boeken onder zijn arm.En: Jeroen, the art historian, had his tablet full of notes and books under his arm.Nl: "Kom op, Nina," zei hij terwijl hij naar de ingang van het museum wees.En: "Come on, Nina," he said as he pointed to the entrance of the museum.Nl: "We moeten beginnen."En: "We need to start."Nl: Nina, met haar avontuurlijke geest en liefde voor puzzels, knikte.En: Nina, with her adventurous spirit and love for puzzles, nodded.Nl: Ze had al enkele oude documenten bij zich die haar zouden helpen bij het ontrafelen van het mysterie.En: She already had some old documents with her that would help her unravel the mystery.Nl: "We moeten stilletjes te werk gaan.En: "We must work quietly.Nl: Het museum wil geen ophef," fluisterde ze.En: The museum doesn't want a fuss," she whispered.Nl: Binnen het museum, terwijl toeristen langs de vitrines liepen, bekeken Jeroen en Nina de hoofdgalerij.En: Inside the museum, as tourists walked past the display cases, Jeroen and Nina looked at the main gallery.Nl: Daar hing ooit het gestolen schilderij.En: That's where the stolen painting had once hung.Nl: Jeroen merkte een oudere bewaker op, die het pand al jaren in de gaten hield.En: Jeroen noticed an older guard who had been watching over the place for years.Nl: Hij besloot met hem te praten.En: He decided to talk to him.Nl: "Weet u iets over de diefstal?"En: "Do you know anything about the theft?"Nl: vroeg Jeroen nonchalant.En: Jeroen asked nonchalantly.Nl: De bewaker aarzelde maar deelde uiteindelijk dat er geruchten waren van geheime doorgangen in de buurt van de oude windmolens.En: The guard hesitated but eventually shared that there were rumors of secret passageways near the old windmills.Nl: Dit was het eerste belangrijke spoor.En: This was the first important clue.Nl: Voordat ze verder gingen, liep Nina alleen naar de gesloten secties van het museum.En: Before proceeding, Nina walked alone to the closed sections of the museum.Nl: Haar blik viel op een deur die half openstond.En: Her eyes fell on a door that was half-open.Nl: Ze glipte naar binnen.En: She slipped inside.Nl: Het stof en de stilte begroetten haar.En: The dust and silence greeted her.Nl: Terwijl ze rondkeek, ontdekte zij vage sporen van voetstappen leidend naar een kier in de muur.En: As she looked around, she discovered vague traces of footprints leading to a crack in the wall.Nl: Ondertussen had Jeroen zich buiten bij de molens verzameld.En: Meanwhile, Jeroen had gathered outside by the mills.Nl: De wind maakte het moeilijk te horen, maar hij luisterde aandachtig naar de verhalen van dorpsbewoners.En: The wind made it hard to hear, but he listened intently to the stories of the villagers.Nl: Er werd gefluisterd over een geheime kamer onder een van de molens.En: There were whispers about a secret room beneath one of the mills.Nl: Na elkaar gevonden te hebben, besloten ze de molen te betreden.En: After finding each other, they decided to enter the mill.Nl: Binnen was het donker, en de houten vloer kraakte.En: Inside, it was dark, and the wooden floor creaked.Nl: Ze volgden een smalle trap omlaag.En: They followed a narrow staircase downwards.Nl: Tot hun verbazing ontdekten ze een verborgen kamer.En: To their surprise, they discovered a hidden room.Nl: Daar hing het gestolen schilderij, nog beter: het archaïsche meesterwerk was niet alleen heel, maar ook omringd door oudere kunstwerken.En: There hung the stolen painting, and even better: the archaic masterpiece was not only intact but also surrounded by older artworks.Nl: Het bleek dat de diefstal het werk was van een eeuwenoude bende, die kunstwerken verborg voor persoonlijk voordeel.En: It turned out the theft was the work of an ancient gang that hid artworks for personal gain.Nl: Met bewijsmateriaal in handen, keerden Jeroen en Nina terug naar het dorp.En: With evidence in hand, Jeroen and Nina returned to the village.Nl: Ze meldden hun bevindingen aan de lokale autoriteiten.En: They reported their findings to the local authorities.Nl: De schilderijen keerden terug naar het museum, en Jeroen kreeg de erkenning die hij wilde.En: The paintings were returned to the museum, and Jeroen received the recognition he desired.Nl: Nina had de kunstwerken gered en voelde zich verbonden met haar missie om kunst te behouden.En: Nina had saved the artworks and felt connected to her mission to preserve art.Nl: De koude wind fluisterde hun succes door het land.En: The cold wind whispered their success across the land.Nl: Zaanse Schans was weer compleet, haar culturele erfgoed veilig dankzij twee vastberaden zielen.En: Zaanse Schans was whole again, its cultural heritage safe thanks to two determined souls.Nl: Jeroen en Nina keken naar de molens en wisten dat hun passie voor kunst echte veranderingen teweeg had gebracht.En: Jeroen and Nina looked at the mills and knew that their passion for art had brought about real change. Vocabulary Words:gray: grijsdetermined: vastbeslotencenturies: eeuwenmasterpiece: meesterwerkart historian: kunsthistoricusadventurous: avontuurlijkeunravel: ontrafelenfuss: ophefnonchalantly: nonchalanthesitated: aarzelderumors: geruchtenpassageways: doorgangenwhispers: gefluisterdfootprints: sporen van voetstappencreaked: kraaktenarrow: smallearchaic: archaïscheintact: heelgain: voordeelrecognition: erkenningpreserve: behoudenvague: vagegreeted: begroettentrace: spoormill: molensoul: zielnodded: kniktedisplay cases: vitrinescrack: kiersurprise: verbazing

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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

On today's Diceland, the gang tries to rob a river boat casino. Plus: dildos. Gnat's outta hand. Clayton will never let go. Roxy has a fat ass.  Message us on TikTok or Instagram to join the Discord For Diceheads!

With vaccinations increasingly a point of political tension, correspondent Jon Wertheim reports on the National Vaccine Injury Compensation Program – a “no fault” vaccine court that balances the public health benefits of widespread vaccination with rare cases of harm to individuals. Founded in the 1980s, the program has paid out billions of dollars to thousands of Americans. International crime groups are finding new, sophisticated ways to infiltrate the global supply chain online, stealing hundreds of millions of dollars of goods per year. Correspondent Sharyn Alfonsi reports on the growing threat of cargo theft and how 24 thousand bottles of Guy Fieri's tequila vanished on their way to the warehouse. Correspondent Lesley Stahl visits Rob Reiner on the New Orleans set of Spinal Tap II: The End Continues, the long-awaited sequel to his 1984 cult classic, This Is Spinal Tap. Four decades after launching the now-beloved mockumentary genre with a fully improvised classic, the director of When Harry Met Sally, Stand By Me, A Few Good Men, and The Princess Bride reunites the band for an encore. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In this episode of Bionic Planet, we finally catch up with Michael Greene — the carbon developer branded a “land grabber of epic proportions” in The Washington Post, and now at the center of an unfolding saga that feels more like a political thriller than a conservation story. When Greene began building carbon projects in the Brazilian Amazon, he didn't expect to end up battling organized crime, corrupt officials, and a $220 million land grab. But that's exactly where the trail has led. You'll hear how a businessman who thought he was protecting forests found himself targeted by powerful interests — his properties invaded using forged documents, his bank accounts frozen, and his reputation attacked by the very institutions meant to enforce the law. Along the way, Greene describes the human cost of the fight — from schools he built that became flashpoints for local politics to community programs twisted by rumor and manipulation. This is a story about how conservation collides with corruption — and how one man's attempt to save forests spiraled into a struggle for survival in one of the most dangerous frontiers on earth.  

These guys must really love salsa in this Setting the Bar story! Source: https://www.ctvnews.ca/windsor/article/salsa-heist-35000-worth-of-dips-stolen-in-essex-county/

"I've always been a teacher at heart."Co-founder, co-owner, and Chief Scientific Officer of both Ferm Solutions and Wilderness Trail and an adjunct professor at James B. Beam Institute in the College of Agriculture at the University of Kentucky Dr. Pat Heist is our guest on the show today and we are digging down on distilling, leadership, and a whole lot more.  Dr. Hesit and Jay are discussing the journey that Dr. Heist engaged in that led to his study of plant pathology and a doctorate from the University of Kentucky, teaching medical microbiology, to eventually starting a distillery consultation company and a distillery of his own.  As if that wasn't enough for this episode, these two gentleman are also getting into the importance of being genuine particularly in a sales or entrepreneurial endeavor, being able to recognize opportunity and having the fortitude to seize on it when it is presented, and why it is never a bad idea to stop and think things through before making big decisions.  This is a truly wonderful conversation and Dr. Heist's incredible journey makes for one hell of an interesting story.  We hope you enjoy this episode of The Culture Matters Podcast.

See omnystudio.com/listener for privacy information.

The Today in Manufacturing Podcast is brought to you by the editors of Manufacturing.net and Industrial Equipment News (IEN).This week's episode is brought to you by Redzone. In this exclusive video, Claremont Foods discusses some of the exciting ways in which manufacturers are leveraging the latest tools to make productivity gains. Watch Claremont Foods Shares the Secret to OEE, right now.Every week, we cover the five biggest stories in manufacturing, and the implications they have on the industry moving forward. This week:- BlueOval Accused of Making Employees Work Off the Clock- If Trump's America First Program Works, Where Will We Get the Workers?- Thieves Steal $1M Worth in Craft Whiskey from Washington Distillery- 50-Year-Old Skateboarding Legend Hits 65 MPH as He Flies Down 22-Story Building- Fatal Workplace Incident: Robotic Machine Crushes ManagerIn Case You Missed It- Police Pulled Over a Self-Driving Waymo But Had No One to Ticket- Lufthansa to Replace 4,000 Jobs Using AI, Digitalization- Engineers Make a Working Parachute Cut from a Sheet of Plastic 

Back on solid land, the 7th Tower gang has some downtime and gets in some rope trouble.Cast- Reza- LenaThe Magnificent Figaro- Danny DelucaGamemaster- Jared WitkofskyAl Key- Chris FrenchPerberton- Andrew Collins-AndersonKevin- Morgan JustFeaturing music by Pressure Highway, Jordan Fickel,  Danny Deluca and Motoshi Kosako  This work is based on Blades in the Dark (found at http://www.bladesinthedark.com/), product of One Seven Design, developed and authored by John Harper, and licensed for our use under the Creative Commons Attribution 3.0 Unported license (http://creativecommons.org/licenses/by/3.0/). 

The question: can one host of a podcast that was planning to do a chatty chat episode proceed at the last minute while the other host is unfortunately out sick? Wish our dear pal Scott a speedy recovery and wish ya boy luck as he threads this needle. We discuss — I discuss? — the heist of Mexico's financial system, the European airport hack, and a slew of other tech tales.  As I say in the ep — if one guy talking into a mic telling weird tech stories alone isn't your jam, I will not blame you for rejoining us in the next one when your TWO intrepid cohosts are back at it in what I'm assuming will be full health.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Whiskey heists, billion-dollar gaming buyouts, and a rare single malt review? This week's episode of the Bourbon Bytes Podcast covers it all. Clifton dives into the jaw-dropping $1 million Westland Distillery heist, breaks down the shocking $55B buyout of Electronic Arts, and closes things out with a Byte-Sized Review of Single Cask Nation's Westland American Single Malt. It's whiskey news, gaming drama, and one of the fruitiest American single malts I've ever tasted. Cheers, and Game On!

The September edition of the Pinball Industry News PINcast sees Jonathan from Pinball Magazine and Martin from Pinball News bringing us two new game reveals, lots of new pinball products, the latest code updates, and a special guest in the latest edition of What's Cooking with…? .Last month Stern Pinball teased their next cornerstone title, but now we get the full reveal of Star Wars: Fall of the Empire. Stern hosted another Media Open Day two days before the official reveal to give media folks the chance to play the new game, talk to the design crew, and prepare assets in advance of launch day.The second new game comes from newcomers Deluxia Studios with their Nezzex City mini-game for the Multimorphic P3 platform with the Heist! playfield module. This immersive new title is available to download now and comes at an attractive price.Moving from new titles to designs up to half-a-century old, as an upcoming auction sees many concept, prototype, and draft playfield, backbox and cabinet artworks from the ‘80s and ‘90s going under the hammer. Also up for auction are various molds for playfield models found on popular Bally & Williams games. Find out what's available and how you can get a piece of pinball history.There's lots of new code for games from Stern, Spooky and American Pinball, plus a new online score and achievements tracking system from HEXA Pinball which they hope other manufacturers will buy into.Pinball Expo is only a few days away, so Jonathan and Martin bring you not just one member of the Berk family but two.Brigitt Berk brings us her recipe for Apricot Chicken – a quick and easy-to-prepare dish which always goes down well – in the What's Cooking with… feature, but also reveals how she first met her future husband, Expo Chairman, Rob Berk, as well as giving us a taste of the preparations she has been working on for Expo.Then, Rob Berk tells us what he's been cooking up for this 41st Pinball Expo, with numerous special games and equally special guests heading to Schaumburg. Covering the full gamut of years from the 1930s right up to the very latest releases, together with a huge homebrew section helping find the designers of tomorrow, lots of tournaments, seminars, vendors and hundreds of free play games, it's the “something for everyone show”.There's also news of a new publication from cartoonist Ryan Claytor, more Roger Sharpe branded apparel and how to get discounted tickets for next year's Texas Pinball Festival.There's all this and much more in this latest packed PINcast episode covering September and - to bring you all the very latest news - the first day of October too.So, make sure you download or stream this brand new edition of the Pinball Industry News PINcast right now from your favourite podcast supplier. You'll also find it on YouTube and YouTube Music, or you can get it direct from Spotify on the link above, and don't forget you can also subscribe to the PINcast for free to guarantee you get the latest episode delivered straight to you every month, the very moment it is released.With lots more developments in the pinball world coming out of Pinball Expo, join Jonathan and Martin each month to guarantee you don't miss any of the excitement. After all, it's the podcast the pinball industry listens to.

A massive, brazen smash-and-grab heist at Heller Jewelers in San Ramon, California, shocked the Bay Area. This episode details the daylight robbery where two dozen masked, armed thieves stormed the store. The suspects were temporarily trapped when the security doors locked, forcing them to shoot their way out. We explore the minute-long coordinated attack, the ensuing police chase tracked by drones and aerial surveillance, and the arrests of seven suspects. The case highlights a disturbing organized retail theft trend, where large rings use overwhelming force to target high-value goods. --For early, ad free episodes and monthly exclusive bonus content, join our Patreon! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Jeremy and Phillip kick off a brand-new season of Cast Conversations with fresh energy and plenty of Disney fun! They dive into the latest Disney news, from a mysterious scuba heist at Disney Springs to the buzz about a possible Figment movie, before challenging each other in a hilarious round of Name That Ride—where the sounds of Disney attractions put their knowledge to the test.Then, the adventure continues as they welcome special guest Magically Maggy, a cast member from Pirates of the Caribbean. Maggy shares behind-the-scenes stories from one of Disney's most iconic rides, from the unforgettable smells of the attraction to pirate lingo and even some spooky ghost tales. Packed with laughs, insider details, and a true dose of Disney magic, this episode is the perfect start to an exciting new season!

True Crime and Comedy - School of Humans

Join Euan and Jay as they sit down with Mojo member Amber Heffernan, a standout athlete on Heist Ultimate—Madison's elite women's ultimate team! With Nationals right around the corner, Heist is gearing up for the big stage, and Mojo is proud to rally behind them.We're hosting a special Community Workout Fundraiser on Saturday, October 11th at 8:30 AM at our Fitchburg gym. Every drop-in fee ($25) goes directly to support Heist's travel expenses, and members are encouraged to donate as well. Come sweat, support, and celebrate with us—let's send Heist to Nationals in style!

Exploration, exploitation, and human error. These are some of the things on display on our tour today. Order the official Cabinet of Curiosities book by clicking here today, and get ready to enjoy some curious reading!See omnystudio.com/listener for privacy information.

Vanished without a trace A loving mother drops her two children off at school like she does everyday. Then disappears.. Join our PATREON ! (Get extra episodes, research articles and more)

Fluent Fiction - Danish: Startup Heist: The Race to Reclaim Innovation Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2025-09-30-22-34-02-da Story Transcript:Da: I Københavns travle startup-inkubator var der altid hektisk aktivitet.En: In København's busy startup incubator, there was always hectic activity.Da: Luften var fyldt med summen af ​​kreative ideer, og duften af friskbrygget kaffe blandede sig med de kølige efterårsbriser.En: The air was filled with the buzz of creative ideas, and the aroma of freshly brewed coffee mingled with the cool autumn breezes.Da: Lars, en energisk entreprenør, gik hurtigt gennem lokalet.En: Lars, an energetic entrepreneur, walked quickly through the room.Da: Han havde et mål: at præsentere deres nye blockchain-applikation ved den kommende tech udstilling.En: He had one goal: to present their new blockchain application at the upcoming tech exhibition.Da: Men alt afhænger af én ting: deres prototype.En: But everything depended on one thing: their prototype.Da: Freja, en dygtig programmør med en forkærlighed for gåder, sad ved sit skrivebord omgivet af notesbøger fyldt med kode og diagrammer.En: Freja, a skilled programmer with a fondness for puzzles, sat at her desk surrounded by notebooks filled with code and diagrams.Da: Emil, en marketingekspert der drømte om et stor gennembrud, skrev ivrigt på sin laptop, mens han kontaktede potentielle investorer.En: Emil, a marketing expert dreaming of a big breakthrough, was typing eagerly on his laptop while contacting potential investors.Da: Dagen før udstillingen skete det utænkelige.En: The day before the exhibition, the unthinkable happened.Da: Prototypen, hjertet af deres projekt, var pludselig væk.En: The prototype, the heart of their project, was suddenly gone.Da: Det lille team var i panik.En: The small team was in a panic.Da: "Vi må finde den!En: "We must find it!Da: Uden den går vi glip af denne store chance," sagde Lars nervøst.En: Without it, we will miss out on this big opportunity," said Lars nervously.Da: Freja kiggede op fra sin computer.En: Freja looked up from her computer.Da: "Vi skal finde ud af, hvad der skete," sagde hun beslutsomt.En: "We need to find out what happened," she said decisively.Da: Sammen med Lars begyndte hun at lede efter spor.En: Together with Lars, she began to look for clues.Da: I mellemtiden skulle Emil sørge for, at de ikke tabte momentum på andre opgaver.En: Meanwhile, Emil made sure they didn't lose momentum on other tasks.Da: De begyndte deres efterforskning.En: They began their investigation.Da: De gennemgik overvågningsbilleder, interviewede kolleger og ledte i hver krog af inkubatoren.En: They reviewed surveillance footage, interviewed colleagues, and searched every corner of the incubator.Da: Freja opdagede spor af dataoverførsler på netværket, der ikke gav mening.En: Freja discovered traces of data transfers on the network that didn't make sense.Da: "Se her, Lars.En: "Look here, Lars.Da: Der er noget, der ikke stemmer," sagde hun og pegede på skærmen.En: Something doesn't add up," she said, pointing at the screen.Da: Det var tydeligt, at nogen havde haft øje på deres prototype.En: It was clear that someone had their eyes on their prototype.Da: Men spørgsmålet var, hvem?En: But the question was, who?Da: Emil, med sin charme og vedholdenhed, lykkedes at få nogle oplysninger fra en rivaliserende startup.En: Emil, with his charm and perseverance, managed to get some information from a rival startup.Da: Det var her det blev klart, at en tidligere ansat havde set muligheden for at sælge deres idé.En: It was here it became clear that a former employee had seen the opportunity to sell their idea.Da: Lars og Freja fulgte sporene og fandt deres prototype på en lokal café, afleveret af en skyldig medarbejder, som ikke ønskede at fortsætte tyveriet.En: Lars and Freja followed the clues and found their prototype at a local café, handed over by a guilty employee who didn't wish to continue the theft.Da: Med prototypen i hånden og taknemmelige smil, vendte de tilbage til inkubatoren.En: With the prototype in hand and grateful smiles, they returned to the incubator.Da: Lars indså værdien af teamwork og betroede sin succes til Frejas skarpe sind og Emils vedholdenhed.En: Lars realized the value of teamwork and credited his success to Freja's sharp mind and Emil's persistence.Da: På udstillingen præsenterede Lars applikationen med stor succes.En: At the exhibition, Lars presented the application with great success.Da: Investorerne var imponerede.En: The investors were impressed.Da: De vidste, at de sammen kunne skabe noget stort.En: They knew that together they could create something big.Da: Lars havde lært, at sammenhold og tillid i teamet kunne overkomme enhver udfordring.En: Lars had learned that unity and trust in the team could overcome any challenge.Da: Og så, mens Københavns efterår trænger sig på udenfor, begyndte de en ny rejse sammen - en rejse mod at realisere deres drøm.En: And so, as København's autumn pressed on outside, they began a new journey together—a journey towards realizing their dream. Vocabulary Words:hectic: hektiskaroma: duftentrepreneur: entreprenørprototype: prototypefondness: forkærlighedbreakthrough: gennembrudunthinkable: utænkeligtdepend: afhængeopportunity: chancenervously: nervøstdecisively: beslutsomtmomentum: momentuminvestigation: efterforskningsurveillance: overvågninginterviewed: interviewedetraces: sportransfer: overførslercharm: charmeperseverance: vedholdenhedrival: rivaliserendeemployee: medarbejderguilty: skyldigtrust: tillidunity: sammenholdachieve: overkommejourney: rejserealize: realiseredream: drømbuzz: summenpotential: potentielle

This week in Sea of Thieves, it's time for the Gold Hoarders to sit down and have a discussion on the second act of Season 17! We spend most of our time discussing the actual event and how things are progressing. I was really happy to have as many folks as we did this episode, and I wish we had an opportunity to talk more about weapons swapping and FOV changes to the game. There's definitely going to be a lot of discussion on the table for next month, as it will most likely be after the last update for the season!   Support: https://www.patreon.com/keelhauledpodcast Contact Info: Bluesky: https://bsky.app/profile/captlogun.bsky.social Email: Captlogun@gmail.com Twitter: https://twitter.com/capt_logun Twitch: https://www.twitch.tv/capt_logun Gamertag: CaptainLogun Community: Keelhauled Podcast Discord: https://discord.gg/5VRabwR Other Places to Listen: iTunes: https://itunes.apple.com/us/podcast/keelhauled-a-sea-of-thieves-podcast/id1351615675?mt=2 Spotify: https://open.spotify.com/show/2BrEqA6prz6t31wlFgaWaS Merch: Teespring: https://teespring.com/stores/keelhauled-podcast

Skippy and Doogles wade into the deep end of financial nonsense — and it's murkier than ever. From First Brands and their spark plug shell game to RadioShack's straight-up Ponzi scheme, they dissect why scams are the market's current business model. Then it's on to a comment about Oracle's $300B AI pre-order, Jane Street's billion-dollar options arbitrage in India, and why private equity firms are drooling over your retirement account.Join the Skippy and Doogles fan club. You can also get more details about the show at skippydoogles.com, show notes on our Substack, and send comments or questions to skippydoogles@gmail.com.

Welcome to this week's episode of the PEBCAK Podcast!  We've got four amazing stories this week so sit back, relax, and keep being awesome!  Be sure to stick around for our Dad Joke of the Week. (DJOW) Follow us on Instagram @pebcakpodcast   Please share this podcast with someone you know!  It helps us grow the podcast and we really appreciate it!   Cookie banners may disappear https://www.euractiv.com/news/commission-to-reduce-cookie-banners-in-simplification-push/   Thieves steal $600k worth of gold after cyberattack https://www.lemonde.fr/en/france/article/2025/09/17/thieves-steal-600-000-worth-of-gold-from-paris-s-natural-history-museum_6745485_7.html  https://www.ctvnews.ca/world/article/gold-worth-600000-euros-stolen-in-paris-museum-heist/  https://www.kron4.com/news/bay-area/bay-area-men-named-in-1-million-robbery-at-san-ramon-jewelry-store/  https://mythresults.com/episode73   US Secret Service dismantles telecom threat https://www.secretservice.gov/newsroom/releases/2025/09/us-secret-service-dismantles-imminent-telecommunications-threat-new-york  https://www.washingtonexaminer.com/policy/foreign-policy/3819278/us-bans-iranian-diplomats-shopping-costco/   Things that were rude but now acceptable https://business.yougov.com/content/48028-unacceptable-behaviors-for-people-at-the-movies-americans-have-their-say   Dad Joke of the Week (DJOW)   Find the hosts on LinkedIn: Chris - https://www.linkedin.com/in/chlouie/ Brian - https://www.linkedin.com/in/briandeitch-sase/ Glenn - https://www.linkedin.com/in/glennmedina/

Today, the guys talk about National Coffee Day, an actress who doesn't need to learn lines, and a couple whos first date idea is criminal. Support the show: https://www.klbjfm.com/mattandbobfm/See omnystudio.com/listener for privacy information.

In 1598, Shakespeare's company secretly dismantled their old playhouse, The Theater, and carried the timbers across the Thames to build the Globe. This minicast tells the story of the midnight heist that gave us the most famous stage in history. Hosted on Acast. See acast.com/privacy for more information.

Join Josh and Chuck live from Seattle as they (sky)dive into one of the most brazen robberies in the annals of crime and the only unsolved airline hijacking in American history.See omnystudio.com/listener for privacy information.

Bob's Movie Club Presents: Sneakers (1992). Robert Redford looked almost as good as San Francisco in this throw back Heist movie. Working from home doesn't come without its challenges - especially if you have kids. Here are the other stressors impacting WFH. Are you still clocking in on Facebook to fight about politics?

Bob's Movie Club Presents: Sneakers (1992). Robert Redford looked almost as good as San Francisco in this throw back Heist movie. Working from home doesn't come without its challenges - especially if you have kids. Here are the other stressors impacting WFH. Are you still clocking in on Facebook to fight about politics? What else does Queen Taylor Swift have up her sleeve? Rihanna welcomes her 3rd child with A$AP Rocky. They have RZA, Riot Rose, and now Rocki. Leonardo DiCaprio was almost Lenny Williams. Vinnie and Matty almost had different names too! There's a new Stranger Things hype video. Millie Bobby Brown Jovi's next role will be Kerri Strug, the badass 90's Olympic gymnast. Did you feel the (2nd) earthquake? Are a lot of little quakes a good thing? Joe Betz, the owner of SF's legendary House of Prime Rib, has passed away. Cities rate themselves on how friendly they are - okay braggers. PSA: Slime is out, stretchy yogurt is in. and a 12-year old boy took a joyride in Sacramento. Jimmy Kimmel broke his own record for most YouTube views ever for a monologue. Plus, on broadcast it was his most watched regularly scheduled episode, even with 20% of households not being able to tune in. Now that we understand the TV industry a little better, can you guess which shows are the most watched thanks to syndication? The Golden Bachelor had to answer for his ageist podcast crimes as women got out of the limo on Night 1. Sometimes you gotta break the rules for the right person. Happy National Daughters Day! Don't knock this stuff until you try it! Fast facts that have us questioning gravity. Flirting tips by generation. Plus, a reluctant update on Matty's dating life. What else does Taylor Swift have up her sleeve? Cardi B got a new piercing! Ope, and it's gone. Mason is so close we can taste it! Please enjoy today's live bloopers. Plus, ‘Friends' had every guest star in the books - do you remember them?

Let's talk about the set piece of almost every heist, the bank vault. As long as humans have had money, they've looked for ways to protect it.  

We hope you enjoyed our in-depth, deep dive into the world of heisting. We've learned a lot. Really goes to show just how hard it is to be a heister. Check out our podcast.   

Okay, so in the last chapter, we focused on the basics; now, we want to move on to the more advanced techniques of heisting. We can't talk about advanced techniques without mentioning one of the earliest and most remarkable devices we've ever encountered.  THE LITTLE JOKER - this is a tool we've discussed extensively on Heist Podcast because it's so damn cool. It's not known exactly who invented this nifty gizmo, but we do know that it was made famous by the Godfather of Bank Heisters, George Leonidas Leslie. In post-civil war, NYC, G.L.L. used the Little Loker to pull off some of the biggest heists in history. Including the Manhattan Savings Institution robbery of 1878 which won him and his crew the title of MOST MONEY EVER STOLEN. $2.5 million dollars, calculating for inflation that's approximately* $77,000,000!  

Greetings, fellow heist enthusiasts! We're Matt and Simon, the hosts, producers, and writers of the thrilling Heist Podcast “All the fun of true crime without the murder!” If you've never heard of us, check out the pod, and if you have, what's up Heist Nation?!  This book is a treasure trove of all the tasty heist knowledge we've acquired over the past five years, covering more than 200 cases. Consider it an info dump of fascinating insights and jaw-dropping facts about all things Heist. BINGO BANGO Let's get in to it.  HHHEEEIIISSST!  

Phil Taylor guest hosts MeatEater Trivia with Spencer Neuharth, Brody Henderson, Seth Morris, Ryan Callaghan, Reva Hansen, and Shelby Huber. Connect with MeatEater on Instagram, Facebook, Twitter, YouTube, and YouTube Clips Subscribe to MeatEater Podcast Network on YouTube Shop Trivia MerchSee omnystudio.com/listener for privacy information.