Podcasts about Land Rover

This week on Everybody in the Pool, we're starting in full aspirational mode (with one of my least climate-friendly obsessions) — with iconic classic cars rebuilt as state-of-the-art EVs. Think: vintage Porsches, Land Rovers, Pagodas, even a GT40… all stripped to bare metal, fully restored, and reborn as clean-air electric machines. Yeah, I'm dying over here.My guest is Justin Lunny, founder and CEO of Everrati, a company that electrifies beloved classic cars while also building a cutting-edge EV powertrain platform used by new low-volume automakers around the world.It's a story about craft and circularity — giving existing cars a new, zero-emission life — and about how aspiration drives climate adoption. Wealthy early adopters (and their garages) help prove what's possible, push down cost curves, and build social permission for the EV future.We get into:How Everrati “redefines” classic cars using full CAD modeling, advanced engineering, and hand-built restorationWhy their EV powertrains use motors and components normally found in hypercars and Formula EThe economics: donor cars, bespoke builds, and why the least-loved 964s are perfect candidatesWhy keeping old cars alive — electrically — is a circularity winThe B2B side: powering new sports cars and specialty vehicles for low-volume OEMsWhy electrifying halo cars helps drive broader consumer aspirationBattery modularity, future upgrades, and designing for long-term sustainabilityJustin's personal journey from tech entrepreneur to climate-driven car nutLinks:Everrati: https://everrati.com/All episodes: https://www.everybodyinthepool.com/Subscribe to the Everybody in the Pool newsletter: https://www.mollywood.co/Become a member for the ad-free version of the show:https://everybodyinthepool.supercast.com/ Hosted on Acast. See acast.com/privacy for more information.

In this episode, Martin and Steve are joined by Mat Allcroft – AKA Fitter Mat – to react to your unpopular Land Rover opinions.Is the Isuzu Trooper better than a Discovery 300Tdi? Do you need mud-terrains to do the NC500? Can Defenders actually be made good to drive? Is the Grenadier the Defender Land Rover should have made? Okay, we all know the answer to the last one, but there's lots of other unpopular opinions crammed into this episode of The LRM Podcast.The latest issue of Land Rover Monthly is on sale today! As well as Fitter Mat's guest column it's packed with other great, fresh Land Rover content – and you'll also get Land Rover Life, and a stunning 2026 calendar! Get yours today or hit the link and subscribe: https://www.landrovermonthly.co.uk/store/subscriptions/land-rover-monthly/

In this week's episode of the Underpowered Hour, we dive into the exciting reveal of the new Land Rover Defender Dakar Rally livery featuring a desert-inspired Geo Palette design. Hosts Steve Baris and Ike Goss share their first impressions and discuss the vehicle's earth-tone aesthetics and practical modifications. The duo also covers essential winterizing tips for your Land Rover, from using tire chains and choosing the best antifreeze to preparing for winter workshop projects. Don't miss insights on chassis protection, maintaining engine performance in freezing conditions, and more. Plus, hear about ongoing projects at the Beres Collection and Pangolin 4x4, including the Land Rover Dakar Classic and the unique Wooden Land Rover build.

Mike Palmer & Chris Wall Events & Rallys Stories Buy me a Tea

Dive into the inspiring story of Hall Farm Estate in Devon, a fairytale land once owned by Trust founder Ken Watkins. We meet current custodian, tenant farmer Seb, to discover how crucial conservation work is continuing here as the 300-acre farm integrates more trees into a regenerative farming system. As we walk through picturesque heathland and wood pasture on the edge of Dartmoor, Seb tells us of the ambitious plan to get an astonishing 20,000 new trees in the ground and how they'll benefit his cows and the local landscape. Full of enthusiasm and love for the land, he hopes the project will encourage more landowners to adopt tree‑rich, nature‑friendly approaches.   Don't forget to rate us and subscribe! Learn more about the Woodland Trust at woodlandtrust.org.uk We're supporting the sharing of farming activity at Hall Farm thanks to funding from Dartmoor's Dynamic Landscape, made possible with the National Lottery Heritage Fund and National Lottery players.  Transcript You are listening to Woodland Walks, a podcast for the Woodland Trust, presented by Adam Shaw. We protect and plant trees for people to enjoy, to fight climate change and to help wildlife thrive.  Adam: Well, for this podcast we're going to Hall Farm Estate in Devon, which is very special. It once belonged to the Woodland Trust founder, Ken Watkins, and it's where he brought to life his vision to protect and restore nature, which is continuing today. Five decades later, that vision is still at the heart, really, of what the Woodland Trust does. Now, the farm I'm going to sits on the fringe of Dartmoor at Harford. It's made up of Gorage Waste, Hall Plantation, Kingswood, and Hall Farm. And there's a rich mix of habitats, it includes ancient and veteran trees, mature hedgerows, ancient woodland, and even, so unusual, not just in the UK, but of course in the world, it also includes temperate rainforest species. And what's going on at Hall Farm is particularly exciting, and I think it's fair to say ambitious as well, because in addition to continuing the conservation work that Ken Watkins started, it integrates woods and trees within regenerative farming. And so it's bringing together a proper commercial farm and a sense of looking after the land and the environment around you in a very particular way. I'm going to find out how that works and to meet the people doing it. If you want to know where Hall Farm Estate is, if you know what you're doing with maps, it is grid reference SX632592, map reference explorer 28, OS Land Ranger 202. Or you can just go to the Woodland Trust website and look up Hall Farm Estate. That's woodlandtrust.org.uk. Enough from me. Let's go to the farm.  Seb: Good morning. I'm Seb Powell and me and my partner Freya have just, well, six months ago taken on Hall Farm, the tenancy at Hall Farm. And we're going to show you around.  Adam: Brilliant. And we're starting at the, his is really lovely. There's old farm buildings over there. It's all super picturesque, much more picturesque than many of the farms I've been on.  Seb: Yeah, it's definitely a special place. I think, I mean, the first time I came here, I fell in love with it pretty much instantly. And I think it has that effect on most people. It's described as a fairytale land, I think, in a sort of historic book about Hall Farm. And why is that? I suppose it's just rich in natural character. There's these old walls, there's a beautiful lea, I think we'll walk past in a minute, so you've got this trickling sound of water in a lot of the parts of the farm. Lots of trees, obviously. And we're on the edge of the moor.  Adam: We're going to go for a walk, but we're starting with a map to explain where on earth we are, the sort of... the journey we're about to go on. So just talk me through what we're going to see here.  Seb: The map shows us, obviously, the farm, it's 300 acres of which about 80 acres are woodland and the rest is pasture. So it's an upland farm. And then we've just thought, well, how can we integrate all sorts of different types of tree planting? So on this map, we have an idea here, which is in one field called the dehesa, which is based on a Portuguese, Spanish, like cork oak, not plantation, but where livestock would basically live in amongst the woodland. So we're going to try and do that here. Not with cork oak, but with native oaks, but also walnut trees, for example.  Adam: Oh, look, is that a neighbour passing through?  Seb: That is actually, we've got an event here today, they're demonstrating the use of no fence collars. So yeah, part of the farm actually is we have quite a lot of sort of outreach stuff going on and it's great, it gets us involved with all the neighbours.  Adam: Brilliant. Okay, so that noise of that Land Rover is a bit of the outreach. Very good. Okay, so you've got... That's about, okay, that's a great place to start. I want to talk to you about that. So lead on to wherever we should go first.  Seb: Well, let's go, we're going to go down the hill a little bit. We're going to go to a place where trees have already been planted about 40 years ago. So when we were coming up with this map and the ideas of what we're going to do, we looked at what was here already and trees have already been incorporated here and we thought, well, we can learn from this. That's what we're going to do.  Adam: Lead on. So one of the special things about this farm is its use of something called silvopasture. So what is that?  Seb: Silvopasture, in essence, is integrating trees and livestock. So it's sort of bringing woodlands, where woodlands meet pasture, I suppose, and trying to integrate the two, merge the edges of where those blurred lines of woodland in theory can come into field and think of all sorts of ways how we can sort of recreate that.  Adam: Okay, so I'll hold on. So, okay, so what is the purpose of silvopasture? Is it just a charitable thing to get trees into the ground or is it a different type of farming? I don't quite understand the benefit.  Seb: Yeah, it really is a different type of farming where you incorporate trees into the farming system and then the trees will have benefit to the farming system or the livestock in the system. So in our case, we've got cattle and they will benefit in a dry, hot year from the shelter of the trees. And in the winter, if the cattle are outdoors, they will benefit from the, as you know, the trees acting as a windbreak.  Adam: Which sounds sort of obvious and easy. So why doesn't everyone do that? I mean, just a tree providing free shelter rather than having to take the cows into barns or something. It sounds like a cheap way of doing it. Why isn't everyone doing this if it's so straightforward?  Seb: Well, I think it's an old practice and most people know that, you know, we're in a modern time where we don't always use old practices anymore. So there's a bit of a revival of what in Devon used to be called the Devon Barn, which is basically just cattle up against the hedge. And we're just trying to revive that really and use it with a modern twist, incorporating trials of how trees could, you know new tree planting, not just traditional hedges, could be incorporated into fields in trees.  Adam: And how complex is it? I mean, the way you describe it sounds very simple. Look, we need some shelter. We'll chuck some trees in the ground and wait a few years and then there'll be shelter. Is it that simple or is there something more complex going on?  Seb: I think in essence, yeah, it is really simple. I mean, decide where you want the trees and plant them. The only complexity probably comes in is how long is it going to take for those trees to grow? Did you decide that where you planted them was actually the place you wanted them or are you going to go in five years and decide that you want them over there? And are they going to be eaten by anything? Are they going to survive? Is there going to be a drought? So there's challenges, but I think that's part of our sort of journey in a way, is also to learn from the process.  Adam: I want to ask you some more of that, but we've come to, not a puddle, I'd say this is a minor lake we've got to cross here! Okay, so there's a fence. So we're going to open the fence. Oh, are we going to climb across that?  Seb: Yeah there's a very cleverly perched...  Adam: Okay, right, we're crossing. Sorry, I'm just concentrating so I'm not talking or holding the microphone. We're crossing a sort of little stone bridge, which is very nice. I thought I was going to have to try and leap across that. Okay, so yes, we're talking about planting trees and everything. Is there any downside to it at all?  Seb: I think in the short term, if you look at it, you look at tree planting with like a conventional farmer's hat on, you're losing potentially productive land. So you've got to wait, you've got to offset that, you know, for maybe five or ten years, there's going to be less, this land is going to have less pasture. And we're going to accept that and realise that, but in 10 years' time, there's going to be these trees and they're going to offer all these benefits. Does that make sense?  Adam: Yeah, it does. Very good. Okay, we're through the... wettest part without opening to a much broader field. Is this one of your fields?  Seb: This is, yeah, this is Welsh Hill, and this is actually one of the first fields, or the first field, where we put the cattle into when we moved here, because there was some grass here. And the cattle, the first thing they did was, in fact, we let them into those woods, which are about 40 years old. And they went in for the shelter, because there was a howling easterly wind, and they started calving in there.  Adam: Wow, that's so the cows here are living outside all the time. Is that the idea?  Seb: Yeah, try and keep the cattle out for the whole year.  Adam: And the advantage of that is what?  Seb: Well, so having the cattle out all year, the main benefit to us is it simplifies the system. In a traditional farming system, you'd make hay or silage or whatever to feed the cattle when they're in the barns in the winter. You'd also have to bed them. And there's a whole process there involved that you're making hay and then you bring it in, then you're feeding it every day in winter, then you're mucking out the sheds, then you're spreading the muck. We've kind of turned it a little bit on its head, and this isn't a new practice, it's just a practice that's being revived. You could call it regenerative agriculture if you want. You could call it traditional farming, you could call it organic farming. But basically it's just a very low input approach which simplifies our life and means that the cattle actually also have a simplified life as well. They're outdoors doing what they want to be doing.  Adam: That sounds amazing. It just sounds so obvious to me. I'm just thinking it can't be that obvious because otherwise everyone would be doing that. And it sounds like your response to that is, well, people are just stuck in their ways. That's not how a lot of farmers behave because that's not how they behave, is it?  Seb: Yeah, very good question and possibly one I can't answer. All I know is that it's working for us and that we try and upsell our end product as best we can, so we're getting the most value we can for our milk and our beef, and reduced as much as we can the costs involved in producing those products. So outwintering the cattle, having the cattle grazing, having, you know, I quite often think of myself as a human muck spreader, but I'm not muck spreading, I'm just moving the cattle, if that make sense. Is it replicable? I don't see why it isn't. And there's more and more farms now that are realising that they could actually adapt this system with whatever numbers of cattle you have. And actually, weirdly, works better with higher stock numbers, believe it or not. So the concept of mob grazing, which you might have heard of, which is something we're using to graze our cattle, which is basically move them around in little mobs so that they put fertility into the soil in concentrated doses, and then they have the soil and the grassland has maximum rest period. It's basically replicating what happens in like the Savannah where like herds are, will they be wildebeest?  Adam: Yeah. Wildebeest in the Savannah, yeah, not in Devon, but in the Savannah, yeah.  Seb: That's what they're doing. And they are like having that sort of almost like slash and burn effect like happens in the Amazon of rejuvenating the soil and then giving it a rest. So we're just duplicating something that is a natural process.  Adam: Great. So, but you've not got any trees in this field. I can see a couple over there.  Seb: Yeah, interesting. So there's existing tree planting that's happened before us. So 200 years ago, maybe plus, where the temperate rainforest down in the valley along the River Erme has been buffered with trees. And we're going to basically do another tranche of buffering that woodland again, so doing our little bit to extend existing woodland around this farm.  Adam: And it's interesting, you said that the trees over there were pre-existing, but you said how long ago?  Seb: I think only 40 years ago.  Adam: Yeah, that's what I thought you said. I mean, I think often we think about forests and trees, I'll plant them now and it's always that old phrase, you know, you plant it there for your children, not you will never benefit from the shade. But these aren't small trees, these are huge trees. And that's grown in a few decades. That's surprising, isn't it?  Seb: Yeah, it's surprising and it's also quite topical in that I think the person who had the foresight to get those trees planted was Ken Watkins, who's founder of the Woodland Trust. So we can learn from what his vision was on this farm. He was like, I think trees might fit in the corner of this field. Little did he know that 40 years later, a farmer comes along and he's like, they're really useful and we're going to put our cattle in there. In the summer, I think it was August, the cattle were here and I actually came to check them and I couldn't see them anywhere. And initially they were all in the bottom of that barn. And the reason they were in the bottom of that barn was because it was a cool place. They'd all crammed into the bottom of the stone barn. But then I thought, well, why don't we let them into the trees? They don't have to be jammed in the bottom of a barn. So we cut open the fence of this 40-year-old tree planting and they went in.  Adam: And they don't damage the trees?  Seb: I mean, these are now established trees. You know, they're, what are we talking, they're like 12, 15, 20 metres high. If anything, they have, like the trampling effect they have in there is almost having a positive effect. The hooves will clear a bit of ground. In theory, then if we close that off, there would be some natural regeneration would happen. You know seeds could take in the areas that the cattle had disrupted the surface of the ground.  Adam: Okay, where to?  Seb: I think where we're going to go next is into a place called Blacklands Corner, which is at the bottom of a really beautiful bit of heathland. Quite wet.  Adam: Okay, I'm prepared for wet. Off we go. Okay, so we've come into what we were talking about, the wood pasture, which is lots of trees and some grass. So the cows come in here and graze amongst the trees. All very picturesque, isn't it? It's a beautiful part, I wish I had a proper, we were just saying, I wish I had a camera crew here, we could have made a beautiful video, so maybe next time. But it's a nice place to pause for a moment, just as the cows find it nice, I too find it nice to stop here. I'm just interested in how, your journey here. So were you always a farmer or were you always interested in this area? What brought you to this farm in Devon?  Seb: Good question. I was brought up on a farm. My dad was a farmer and then we left the farm. I loved everything about the farm and I followed my dad like, you know, like he was just everything he did was gold. And we left the farm when I was about 10 and I just always knew I wanted to farm. Skip forward 20 years, I did all sorts of other things, driving buses around Scotland and tourists around South America and having a great time and avoiding real life. And then I met my partner Freya and someone inadvertently said, you don't fancy milking cows? And I said, yes, that's the ticket. And then it all began eight years ago and we bought some cows and away we went.  Adam: That's a huge change from driving tourists around the Highlands of Scotland and Latin America to farming in Devon. What is the appeal of this lifestyle then for you?  Seb: I think, I mean, I've got a lot of nostalgic memories, I suppose, of growing up on a farm. I love the outdoors. I've always loved the outdoors. I like good food. Farming combines a lot of those things. It's loving the outdoors, like you're basically just, you're in the outdoors, so you're doing something really nice, feels wholesome. It's quite direct, what you're doing, you know, producing food whilst looking after a beautiful place. It just ticks a lot of boxes of things that I'm interested in, really.  Adam: One always hears it's a hard life being a farmer, is it?  Seb: Depends which day you ask a farmer on, I suppose. I think you can sometimes find yourself being a bit of a jack of all trades. So, one day you might be trying to work out your invoices or, the price of your yoghurt and the next day you're trying to work out where you're going to plant however many trees. I think yes and no. There's lots of amazing moments of beauty and then there's bits where you're like, God, what am I doing? Normally I start off at get the kids off, they're off at 7.30 to school, and I go off and get the cows and milk the cows. We only milk the cows once a day, so in theory, when you milk them, could be midday, could be six in the evening. So kind of the system we're designing is also one that's sustainable for our life, if that makes sense.  Adam: Okay, that also surprises me. You see, I'm a city boy, I used to present breakfast news and we had to start at 3.30 in the morning. And I always thought, me and the milk farmers, we're up at 3.30 in the morning, but that's not true. It's just breakfast news presenters who are starting that shift. So that's really interesting. So this farm is different and special because of its connection to the Woodland Trust. How did you get involved in the Woodland Trust and, not your farming journey, but what made you interested in the importance of trees?  Seb: I think I've always known that trees are important. They're a good thing. I was actually born in Finland and Finland is covered in trees. So whether it's like in my genetics, I don't know. But as we started farming, we soon started integrating trees as part of our farming. And now, being tenants of the Woodland Trust, we've got the full backing of all their, I suppose, knowledge and know-how and passion to support us in integrating more trees.  Adam: I mean, we never want to be too political, but we happen to be talking on the day that I hear the Conservative Party is perhaps thinking of dropping net zero targets for lots of reasons that they feel will be popular amongst a lot of people that are worried about cost of energy and the competitiveness of British industry. But I think it'd be worrying to a lot of the environmental movement. So I'm just interested in your view, not on that policy, but generally on how tuned in the nation is to the environmental message, do you think everyone's on board, there's still people to be brought over, or that it is a live debate? And you know, well, maybe planting trees everywhere isn't the right thing. I don't know. What's your view about this debate in the nation and what people feel about it?  Seb: Interesting. Definitely a political question, which I don't feel I'm very connected to, living out here in like a bit of a rural idyll. I'm also conscious that some of our customers are, it's quite a niche custom, you know, if you decide you want to eat good food and you're willing to pay a little bit more for it, that's already a decision or almost a liberty that you're able to do. Actually, just driving back to the farm yesterday, I was thinking that we're still reliant on fossil fuels, like we still use, you know, we've got our car we use to take the kids to school and we've got the pickup we use to take the cattle to slaughter. So there's always more we can do. I think we need to keep focused on those targets and maybe we need to raise the profile of what's currently going on to reach those targets. For example, what we're trying to do here, which is low input farming and tree planting.  Adam: Talking of which, whilst we're paused here, we've been talking a lot about planting trees and the importance of trees on farms like this. What's the scale of the plan here? I mean, how many trees are we talking about you planning on planting and the sort of timescale we're talking about?  Seb: So the plan we've got is take our 300 acre farm, I think a third of it will have trees, new trees on, in various different densities. So some will be really low density, like, you know, 25 trees in a small field. Others will be 1,000 stems per hectare, which is, if you're in old money per acre, that's like 2,500 trees per acre. It's quite a lot of trees. In total, I think it's 20,000 trees we're going to plant, is the plan, all going well over the next two years. So 10,000 trees a year.   Adam: Wow. That's not just you and Freya planting those, are you?  Seb: No, I'm hoping that all the Woodland Trust volunteers are going to come along and have a day out and anyone else who's interested.  Adam: I was going to say, because you should be busy planting, you shouldn't be talking to me, go get a shovel! Okay, that's a lot of trees. And the sorts of trees going into the ground here are what?  Seb: It's predominantly native trees. So we're wanting to recreate the trees that fit into this landscape, like, we're in the national park, so there's also like a visual, it's got to look aesthetically okay, but we can also play within that little bit with, I mean, something really interesting we've been looking at actually with the Woodland Trust is climate projections for 2080 and what temperature are we going to potentially be dealing with and what tree species might like it here. So we spoke earlier about this idea of the Spanish dehesa, which we've called now the Devon dehesa, which is, in theory could have a few cork oaks in there and in 2080 they might be doing just fine.  Adam: So actually you're planting trees really to anticipate climate change and which might do well in half a century's time or so. So that's really interesting. So sort of the Spanish cork oaks might go in here. And predominantly you've talked about native trees. What sort of trees are we talking about?  Seb: Yeah, so there'll be, I mean, we're looking here at oaks, hazels, what else have we got? There's a lot of beeches here, but I don't think we're planting too many beeches. Yeah, rowan, willow, wlder, alder.  Adam: Right. All of them. Rowan, my favourite, I think. Rowan, my favourite. Okay, very good. Where are we off to next?  Seb: I think we're going to go through this little heathland, which is again one of my, one of my favourite bits of the farm. We're going to pop out and we should see the cows, which...  Adam: Cows, of course. We've been talking about cows and I've not seen any. It could all be an elaborate con, that he hasn't got any cows, so we will have a look *laughs* I spy cows in a field. They're all sitting down. How long would they be in this field for before you rotate them?  Seb: This field, they'll probably be in, they went in Tuesday morning. Where are we, Thursday? I'll probably move them this afternoon or tomorrow morning.  Adam: So they're only two or three days in a field?  Seb: Yeah, and the rotation speeds up at different times of the year. So now the grass growth is slowing down. So the rotation will either, like, we either start excluding fields or we'll go faster and then totally stop. And then you'll see as we go into the next field, you'll see bits that we've made for hay and where we're going to graze in the winter, which will be rolling out bales of hay called bale grazing. A bit of a revolutionary practice.  Adam: Tell me about that, but I tell you what, strikes me is I know nothing about cows. Could you give me a one-minute primer? You're just closing the gate, hold on. Now, yes, what do I need to know about cows in a minute or so?  Seb: I can tell you about our cows?  Adam: Yes, yeah, your cows.  Seb: So we've got, what breed have we got? We've got Jersey crosses, which are like a New Zealand cross. So they did originally come from Jersey.  Adam: Jersey crosses?  Seb: Yeah.  Adam: I think they said Jersey clotted, like that's where clotted cream comes from, straight out the cow. Okay, Jersey crosses.  Seb: Kiwi crosses, you can call them as well. So they're bred predominantly in New Zealand on a place which is very wet and grows lots of grass. And that's all they do. So we've got Jerseys, we've got a Beef Shorthorn bull, which is a British breed. And so then we have these crosses, which we get a Jersey and a Beef Shorthorn cross, which is the little calf you're looking at here.  Adam: Right, so are there bulls as well? No, there won't be bulls in this.  Seb: The bull is with the milking herd, which is the other gang we'll go up and see in a minute. These are all the young stock, so these are all sort of 15 months old. There's younger calves, the smaller ones, which some of them have just been weaned. And there's a few beef suckler cows in here. So the big shorthorns, the big red cows in there, they've got their calves on them all the time.  Adam: And that's also different here, isn't it? Because often in large scale dairy farming, the calves get taken away from the mothers very early on. But you don't do that, do you?  Seb: Yeah, so that is a practice that actually Freya has like basically insisted we start with because she's a mother. We thought that it would have, yeah, it would go down well with some of our customers and it has done. We try and keep the calves on their mums. So we're basically sharing the milk up to three or four months. At three and a half months old, the calves are basically drinking all the milk. So then we go, all right, we're going to now sell some of that milk. But it's definitely better than, or we feel it's better than, weaning them at, you know, a day old and then having a whole other process of having to rear those calves on milk, which is a process. You need someone to do that. Whereas the cows are just producing milk anyway.  Adam: Interesting. And so again, ignorant question, but these are not bulls, they're cows, but they've got horns.  Seb: Yeah.  Adam: So it's not just bulls that have horns, cows have horns?  Seb: Cows can have horns, yeah. Again, another practice that we've thought we don't really feel we believe in or fits with what we're doing, de-horning cattle, we think they've got horns for a reason, like they grow, let's let them have them. We don't, we're not pushing our cattle in any way that they're stressed, so they're not coming to basically jab us with their horns. Touch wood!  Adam: I was going to say, it's interesting because I think quite recently I've started reading about how dangerous cows are and how people don't, they wander across fields and don't realise these are big animals and they can squash you and stuff. Is that something you have to be aware of when you're dealing with them?  Seb: I mean, I'm totally at one with these guys and they know me and I know them and yeah, I never had any issues. If you have to get them all into a little pen for some reason, like the one day the vet's here to do the TB test or something, that's a bit of an unusual situation. You're getting them in and it's not their normal sitting out in the field. They could be a bit edgy and you might not want to be in amongst them. So yeah, I think it's just, yeah, I mean, footpaths, that's quite often what comes up, isn't it that people are walking through fields of cows and the cows, if anything, are just curious, they're coming over and it's probably just daunting to have 10 big cows come to you. Your instinct is to run away. But more often than not, I think, cattle are pretty friendly, and if anything, they're scared of humans.  Adam: Well, personally, I think it's always better to be safe than sorry, and I'd advise people to be careful of cows. They are large animals, after all, but I know I'm a bit of a townie, so it's not my natural environment. Anyway, that all aside, what is happening here isn't just important in its own right, but as a sort of model for what others can do. So for those with land, those farmers interested in this kind of approach, what are the lessons that have been learned here that could apply elsewhere?  Seb: I suppose really just to be open-minded to some small changes, or big changes. I don't think there's any prescriptive size of change that counts as a valid change, you could plant an acre of trees and that's brilliant. You could plant 300 acres of trees and that's amazing. So, I mean, do whatever feels right for your farm or for your circumstance. Yeah, so the Woodland Trust are obviously our landlords here, so we have them on speed dial, but any farmer can go to the Woodland Trust for advice on tree planting. And it's great advice, I mean, I'd say hand on heart, even though you don't always speak totally openly about your landlords, like the advice they're giving us, you know, as outreach advisors is amazing and has given us basically the confidence to go and plant the 20,000 trees we've just basically signed up to plant and the what and the how and the where of how to do it.  Adam: Which is a lovely way of ending. And of course, the Woodland Trust website has tons of information you may find useful and it's a great organisation to be part of anyway. So, until next time, wherever you are, whatever you're doing, happy wandering.  Thank you for listening to the Woodland Trust Woodland Walks. Join us next month when Adam will be taking another walk in the company of Woodland Trust staff, partners and volunteers. And don't forget to subscribe to the series on iTunes or wherever you are listening. And do give us a review and a rating. If you want to find out more about our woods and those that are close to you, check out the Woodland Trust website. Just head to the Visiting Woods pages. Thank you. 

Send us a textIn this special episode of the 6 Ranch Podcast, James connects with Rob Gearing and JT from Spartan Precision— from Branded Rock Canyon in Colorado. Rob shares the story behind the innovations, the challenges of building world-class ultralight hunting gear, and how decades of experience in the field shaped Spartan's newest releases. From engineering insights to real-world application, this episode dives into what it takes to design equipment trusted on the toughest hunts around the world.We also discuss Land Rovers, Land Cruisers, the INEOS Grenadier, hunting in the British lowlands and Scottish highlands and share a bunch of laughs  We also explore the philosophy behind ethical hunting, their shared belief in reducing failure points in the field, and how the right gear can shift the odds when the shot of a lifetime presents itself.Whether you're a gear junkie, a mountain hunter, or someone who appreciates craftsmanship with purpose, this is a landmark episode you won't want to miss.

The latest episode of My Week In Cars finds Steve Cropley and Matt Prior talking all things motoring, including Peugeot's new square steering wheel, the prospect of Audi making a 4x4, and the impending loss of Cropley's study/studio. Plus there's your correspondence and much more besides.You can make sure you never miss an Autocar podcast by subscribing wherever you get your podcasts. And if you'd be wiling to rate and review the Pod, we'd appreciate it more than you know, too. Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Martin and Steve are back on the Salmon Sofa for a good old yarn about Land Rovers and what's gone on in their weeks.Steve is back from the NEC Classic Car Show (we're late to the party, we know) and has lots of auction results to talk about, including the world's most expensive Freelander.The pair give a preview on next year's events, including the British Restoration hall at the Malvern Autojumble event at Malvern in February, and wax lyrical about the huge boost a couple of hours cleaning can give to your Land Rover's cabin.Steve has had a Discovery 5 for the week, and has plenty to say about it – including playing a guessing game on how much each optional extra costs.As always we love to get your feedback and answer your questions – drop us an email on editorial@lrm.co.uk – enjoy the episode.

Cuando el ciclo dorado del Land Rover Santana comenzó a agotarse, la fábrica de Linares tuvo que reinventarse para sobrevivir. En este episodio contamos cómo se encontraron nuevas oportunidades al otro lado del mundo: en Japón. La llegada de Suzuki supuso un aire fresco para la factoría y dio paso a una etapa marcada por el éxito de los icónicos Samurai y Vitara, modelos que triunfaron tanto en España como en los mercados internacionales y que volvieron a situar a Santana en el mapa de la automoción europea. Analizamos cómo fue la convivencia tecnológica entre ambas compañías, cómo evolucionó la cadena de montaje y qué retos surgieron en una planta que debía adaptarse a estándares japoneses. También repasamos la transición posterior hacia los emblemáticos Aníbal y los acuerdos con Iveco, que intentaron mantener viva la actividad en Linares en tiempos cada vez más complicados. Un repaso honesto a uno de los capítulos más intensos y decisivos de la historia de Santana. Escucha el episodio entero aquí: https://go.ivoox.com/rf/163021971 Escúchanos en: www.podcastmotor.es Twitter: @AutoFmRadio Instagram: autofmradio Twitch: AutoFMPodcast Youtube: @AutoFM Contacto: info@autofm.es

En este episodio viajamos a 1955 para conocer desde dentro el nacimiento de Metalúrgicas Santa Ana, la fábrica que acabaría convirtiéndose en un referente de la automoción española. Lo hacemos junto a dos voces únicas: Román Escudero Gallego, ingeniero del ICAI y director durante dos décadas del departamento de compras y del departamento financiero de Land Rover Santana, y Luis Giménez-Cassina, hijo de Alfredo Giménez-Cassina, uno de los fundadores de la compañía. Juntos reconstruimos el ambiente de aquellos primeros años, cuando una pequeña empresa metalúrgica de Linares empezó a crecer hasta convertirse en un símbolo industrial del país. Exploramos cómo se gestó la relación con Land Rover y qué significaba “nacionalizar” la empresa en pleno contexto franquista. También repasamos la dificultad para importar piezas y maquinaria en un sistema autárquico, el papel clave del Plan Jaén para impulsar la industrialización de la provincia, y cómo se vivió desde dentro el salto de fabricar aperos agrícolas a ensamblar uno de los todoterrenos más emblemáticos de la historia. Un episodio lleno de memoria viva, anécdotas inéditas y detalles técnicos que ayudan a comprender cómo empezó todo Escucha el episodio entero aquí: https://go.ivoox.com/rf/163021971 Escúchanos en: www.podcastmotor.es Twitter: @AutoFmRadio Instagram: autofmradio Twitch: AutoFMPodcast Youtube: @AutoFM Contacto: info@autofm.es

Esta semana en AutoFM reunimos un equipo excepcional para un programa muy especial dedicado a la historia, presente y futuro de Santana. Participan Antonio R. Vaquerizo, José Lagunar, Alex Moya, Rubén Gómez, Javier Quilón, Fernando Rivas, José María Cancer (director general de Cesvimap), Enrique Lorenzana (director comercial de Santana Motors), Román Escudero Gallego (ingeniero superior electromecánico del ICAI y director de compras y financiero en Land Rover Santana durante 20 años), Luis Giménez-Cassina (hijo de Alfredo Giménez-Cassina, socio fundador de Metalúrgica Santana) y Josema Vallejo, vicepresidente de la asociación Una Policía para el Siglo XXI. Los orígenes de Santana: de la metalurgia al 4x4 más español Comenzamos repasando la historia de Metalúrgica de Santa Ana, fundada el 24 de febrero de 1955 gracias a un grupo de empresarios liderados por Alfredo Giménez-Cassina y Antonio Sáenz, que invirtieron 3 millones de pesetas para producir 1.000 máquinas agrícolas. La fábrica creció rápidamente: amplió capital, fabricó cosechadoras, se diversificó y en 1958 firmó acuerdos clave con Citroën y después con Land Rover. Pese a la autarquía y las dificultades para importar maquinaria, los primeros Land Rover Serie II ensamblados en Linares llegaron al mercado en 1959, al mismo tiempo que los ingleses. La demanda no dejó de crecer: 296 unidades en 1960, más de 900 en 1963, casi 2.000 en 1965 y hasta 8.000 en 1976. Luis Giménez-Cassina comparte además cómo vivió todo aquello de niño. Cómo se gestionaba una industria así en los años 50 y 60 Continuamos con el contexto industrial y social de la época. Tras la visita de Franco a Jaén se impulsó el Plan Jaén, que permitió expropiar terrenos, ofrecer bonificaciones fiscales y atraer industria a la zona. Hablamos de cómo se organizaban los horarios, los retos de infraestructura —incluyendo la electricidad y las prensas de estampación— y cómo se vivía en Linares en plena industrialización. Luis Giménez-Cassina aporta recuerdos muy valiosos de aquel ambiente y Román Escudero nos ayuda a comprender cómo se profesionalizó la gestión en las décadas posteriores. Seguridad vial con Hyundai: la baliza V16 según la experiencia real de carretera En nuestra sección de seguridad vial recibimos por meet a Josema Vallejo, vicepresidente de Una Policía para el Siglo XXI, “porchista” declarado y con veinte años de servicio en carretera en la ATGC. Nos da su visión práctica y fundamentada sobre la baliza V16, cómo se emplea en situaciones reales y qué mejoras puede aportar a la seguridad de todos. El nuevo proyecto de Santana Motors Enrique Lorenzana nos presenta el renacimiento de Santana Motors: una alianza formada por tres empresas, un plan coherente, una red de concesionarios definida y un día clave —el 5— donde conoceremos más detalles. Además, avanzamos la hoja de ruta de producto: pick-up, todoterreno para 2026, otro todoterreno para 2027 y la presencia de la marca en el Dakar 2026. Sección AutoScout24: coches que salieron de Linares Alex Moya lidera la sección de AutoScout24, un portal que no solo conecta a compradores y vendedores, sino que ofrece transparencia y datos para tomar mejores decisiones. Esta semana buscamos vehículos fabricados en Linares: un Santana 109 Especial, un Santana 2500, un Santana 300 y, como bonus internacional, varios Santana Serie III y 88 Especial disponibles fuera de España. Modelos con historia y carácter que aún hoy llaman la atención en el mercado de ocasión. Curiosidades con Rubén Gómez: el papamóvil más inesperado Rubén Gómez trae una de sus historias más llamativas: el papamóvil construido sobre un Land Rover Santana 109. Una anécdota tan sorprendente como desconocida que demuestra la importancia internacional que llegaron a tener los productos de Linares. Sección TotalEnergies: el extraño matrimonio entre combustible y aceite Para cerrar, en la sección TotalEnergies con Carlos Belvis hablamos de la curiosa, y a veces problemática, relación entre el combustible y el aceite del motor. Un repaso técnico, práctico y lleno de conocimiento útil para cualquier conductor. Escúchanos en: www.podcastmotor.es Twitter: @AutoFmRadio Instagram: autofmradio Twitch: AutoFMPodcast Youtube: @AutoFM Contacto: info@autofm.es

Kelly is all business today in her business casual best and making mandated dress codes for Lizz. Will Lizz comply with orders?  Deer hunting season has started and ended for the Stumpe household. Tyler got his buck on the first day out, which was exciting for Kelly to have her husband back home with the family to help out around the house. But then that excitement ended and Tyler was put to bed. Meanwhile, Lizz spent the weekend in Indianapolis for the Marine Corp Ball. Matty is now in love with the city and is adopting the Colts as the team they will root for this season. But not everything was sunshine and roses as a bad Uber ride ended the evening early for Lizz.  There is advice coming from everywhere this week. First, a sweet moment with George leads to a great lesson on helping your kids follow their dreams no matter what they are. The Detail Shop has some green linen pants that are going to change your fall wardrobe. Finally, in advice questions Kelly has your playbook for the perfect party with friends both old and new. If you're planning a "Favorite Things" party this is a MUST listen!  In Industry News, Audi is trying to make a Land Rover rival. Will it work? Amazon is teaming with Ford to sell used cars. Why Kelly thinks this is the future of automotive sales!  Finally in Ditch the Drive-Thru, if you're not making hot dogs in the crockpot or pulled pork nachos, what are you doing with your life?  Today's episode is brought to you by ⁠⁠Clean Simple Eats⁠⁠. Use code 'Carpool10' at checkout to get 10% off your order. ⁠⁠CleanSimpleEats.com

In this week's episode, Martin is on location for a Land Rover Monthly magazine photoshoot in deepest Leicestershire, with military vehicle restorers and owners of many interesting Land Rovers, Joe Hewes and Jack Westaway from the Mr Hewes YouTube channel: youtube.com/@mrhewesKicking off with Jack's preference for Discoverys over Defenders and his recipe for the perfect Disco 2, the boys also explain why only some of the Land Rovers that were meant to be included in the photoshoot were actually driveable on the day.Joe talks us through his main Land Rover, an ex-utilities 2012 Defender 110, and the Mercedes OM606 engine conversion that he had done in collaboration with Luke Dale at DieselPumpUK.There's also a bit of background about the success of the Mr Hewes YouTube channel, in which the guys revive and restore military vehicles of all shapes and sizes, and the challenges they face along the way. You can expect to see the full story in the February issue of LRM magazine.As always, we love to get your feedback and questions, so drop us an email on editorial@lrm.co.uk – enjoy the episode.

De eerste plannen voor de Komjoenittie en APK-leden voor 2026, een uitverkocht autoherinneringenboek, een héél gezellige Jingle (oorwurm!) en het mondiale autonieuws: podcast 416 (19/11) is weer los. Laat je een uurtje bijpraten door Bas en Carlo, krijg je geen spijt van. Word lid! Want wil je 100% bewezen Komjoenittie-lid blijven, dan moet je lid worden van de APK, de Alleen Petrolheads Komjoenittie, voor gratis/met korting toegang tot Cars & Coffee, opnames van jubieum-edities, tourritten en af en toe een nieuwsbrief. Lid worden kan via www.bnr.nl/apk. Je kan ook een mailtje sturen naar petrolheads@bnr.nl en dan helpt Jorn of Ilona je verder. Abonneren & Contact Je kunt Petrolheads bereiken viaMailTwitterFacebookAbonneren op deze podcast kan viabnr.nl/petrolheadsBNR AppApple PodcastSpotify.See omnystudio.com/listener for privacy information.

Join Steve Beres and Ike Goss as they delve into a variety of exciting topics in this week's episode of The Underpowered Hour. From imitation Land Rovers and a floating Defender to Liza and Jenna's detailed recap of the SEMA show in Las Vegas, there's no shortage of intriguing discussions. They review captivating videos of Land Rovers tackling challenging terrains, dive into the financial impact of the recent Land Rover hack, and analyze the latest in vehicle imitations from Beijing Auto Works. Don't miss the insights from the SEMA show, including innovative automotive tools and cool new products discovered. Tune in for a lively conversation and all things Land Rover!

Shoot us a Text.Episode #1196: Today we're talking about Mazda finally going all-in on EVs, Impel investing in the next wave of auto-tech innovation, and Chery's viral stair-climb stunt that went downhill…literally.We'll be at Automobility LA at the LA Auto Show next Thursday, November 20 hosting the LA Auto Show Sessions. Thanks to our friends at Cars Commerce and Curbee for making it possible. 25% off registration with code MoreThanCars. https://laautoshow.com/meShow Notes with links:After years of hesitation and a short-lived MX-30, Mazda is officially moving its EV plans forward with its first dedicated electric vehicle now in testing in California. This marks a pivotal shift in strategy as the automaker works to electrify its global lineup.A prototype midsize electric crossover, resembling a smaller CX-90, was recently spotted near Mazda's Irvine R&D center.Built on the new Skyactiv EV Scalable Architecture, it's Mazda's first EV designed specifically for the U.S. market.Production is slated for 2027, with U.S. sales expected in 2028.Mazda is investing nearly $11 billion in electrification, but it has scaled back its EV sales target from 100% to 45%  to 25% by 2030.Impel is putting its money where its vision is by investing in Automotive Ventures' Mobility Fund II, signaling a strong commitment to driving innovation in the auto retail space through early-stage tech.The fund focus areas include AI, robotics, mobility, and industrial tech aimed at transforming how vehicles are sold and serviced.The investment highlights Impel's strategy to back technologies that boost dealership productivity and experience as they Impel bring their AI tools and vast dealership network to support startups within the fund.Impel joins a group of forward-looking investors aiming to accelerate innovation that benefits dealers, OEMs, and consumers alike.Michael Quigley (Impel): “Our investment... reflects our belief that meaningful transformation in automotive retail will be powered by early-stage innovation... We're helping to accelerate progress across the entire industry.”Chinese automaker Chery attempted to recreate Land Rover's legendary 999-step climb at Heaven's Gate—but instead of a viral triumph, the stunt turned into a viral fail that forced a public apology.Heaven's Gate is a famous natural rock arch on Tianmen Mountain in China, reached by a steep staircase with 999 steps and often used in extreme stunts and marketing spectacles.The Fulwin X3L SUV lost power mid-stunt, hit a railing, and rolled back into a fence.A detached safety rope entangled the right wheel, causing the mishap.Chery admitted to poor risk assessments and promised to compensate for damages and repair the area.The X3L boasts a 422 hp range-extended powertrain and is marketed as off-road capable.Join Paul J Daly and Kyle Mountsier every morning for the Automotive State of the Union podcast as they connect the dots across car dealerships, retail trends, emerging tech like AI, and cultural shifts—bringing clarity, speed, and people-first insight to automotive leaders navigating a rapidly changing industry.Get the Daily Push Back email at https://www.asotu.com/ JOIN the conversation on LinkedIn at: https://www.linkedin.com/company/asotu/

You read it right! LRM is proud to announce a brand-new event for 2026 – The Big Land Rover Fest! Join the guys at Newbury Showground for an awesome weekend packed with top music, bushcraft and cooking demos, tons of trade, club stands and the most immaculate festival vibes. Keep an eye on The LRM Socials, Land Rover Monthly magazine, the LRM YouTube channel and right here on The LRM Podcast for the latest news.Elsewhere in this episode, Martin and Steve are in the bad books with a Canadian listener's other half, and they answer a question about putting bodywork electrolysis right.Martin has been sealing up his 200Tdi using modern technology, and Steve has been battling his new-to-him Defender wings.Feature of the Week and Product of the Week star, and there's loads of other incidental Land Rover chat.Got a question or some feedback? Drop us a line on editorial@lrm.co.uk or leave a rating or review on your preferred streaming platform. Enjoy the episode.

In this episode of the Underpowered Hour, hosts Steve Beres and Ike Goss discuss a unique Land Rover Defender 130 transformed into an El Camino-style vehicle while humorously speculating on its practicality. The duo also explores the details of the Destination Defender event and its musical guests. In the latter part of the episode, Steve delves into his recent project of rebuilding the rear differential on a NAS 90 rally car, highlighting the complexities and challenges of the task. Additionally, the hosts entertain listeners with historical heist stories involving Land Rovers, including the Great Train Robbery of 1963.

A CMO Confidential Interview with Mike Walrath, Chairman and CEO of Yext, Inc., formerly CEO of Right Media, and SVP at Yahoo! Mike discusses what he believes is the collapse of the marketing funnel, the need to understand how AI consumes data while judgement stays with consumers, and how an "influence marketing" mindset is emerging. Key topics include: why CMOs will need to be both great brand strategists as well as scientists, the need to constantly distribute information and "tend it like a garden," and why Reddit is great for training AI, but not as important in building brand influence. Tune in to hear a story about why you shouldn't let ChatGPT talk in an unsupervised forum and why Land Rover should send me a polo shirt. This week, Mike Linton sits down with Mike Walrath, Chairman & CEO of @yext (and founder of WGI Group), to unpack why the classic awareness–consideration–conversion funnel is collapsing—and what CMOs must do next. From zero-click discovery and AI agents “front-ending” consumers to why structured first-party data now beats pretty websites, Walrath maps the new rules for brand, distribution, and measurement in an AI-led marketplace.We cover: how consideration gets outsourced to AI, why marketers will “market to agents” (without controlling the ad copy), the coming arms race in citations and data distribution, and what organizational fixes boards and CMOs should make now. If you own brand, growth, or P&L accountability, this is a playbook for the next chapter.**Sponsor — @typefaceai Typeface helps the world's biggest brands move from brief to fully personalized campaigns in hours, not months. With its agentic AI marketing platform, one idea scales into thousands of on-brand variations across ads, email, and video—integrated with your MarTech stack and secured for the enterprise. See how brands like ASICS and Microsoft are transforming marketing: typeface.ai/cmo.Highlights* Why “zero-click” compresses awareness and consideration inside AI experiences—and how to win the AI bake-off.* The end of marketer-controlled ad copy; influence shifts to data quality, recency, and distribution.* Memory and context change everything: agents know the consumer—and your brand—better than you think.* Brand matters more, not less; without brand salience you won't make the answer set.* From content to data: make every spec, price, menu, inventory, policy, and promo machine-readable and syndicated.* Citations, not vibes: first-party sites and listings dominate AI references; keep them fresh and authoritative.* Org design: hire the data athletes, upgrade infrastructure, and instrument real conversion milestones (tests, visits, units).New episodes every Tuesday on YouTube, Apple, and Spotify. If you find this useful, please like, subscribe, and share with your team.**Guests**Mike Walrath — Chairman & CEO, Yext; Founder, WGI Group.Host: Mike Linton — former CMO of Best Buy, eBay, Farmers Insurance; former CRO, Ancestry.CMO Confidential,marketing,CMO,chief marketing officer,AI marketing,agentic AI,marketing funnel,zero click,search,SEO,GenAI,LLM,brand strategy,performance marketing,Yext,Mike Walrath,Mike Linton,customer journey,personalization,content at scale,structured data,citations,data strategy,MarTech,go to market,GTM,board strategy,enterprise marketing,retail,automotive marketing,restaurants,media,advertising,Typeface sponsor,Typeface AI,typeface.ai/cmoSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, Martin and Steve are joined by Adam Wormleighton (@adamtwrm) to chat Range Rover L322s and everything to do with them. From the finest era of the model to how it compares to the later L405 and L460 eras.Adam's brought with him a Land Rover dealer Autobiography book, which is a source of much excitement to Martin and Steve. A total thing of beauty – check out a few snaps of it on socials.Adam relays his experience of shopping for a Range Rover, suffering many discount used car lots with slightly dishonest ads, before finding a real gem in the used Range Rover world, where he bought his lovely example from.There's chat about Adam's recent holiday, and the untimely breakdown of his Discovery 4... as well as his history with Land Rovers and other recent projects that he's taken care of, and a quick tip for making NATO green a bit more show-ready.As always, we love to get your feedback and questions – email editorial@lrm.co.uk and please do leave a rating or review on your preferred streaming platform. Enjoy the episode.

Even though his parking was almost up, comedian Andrew Ryan stuck around for this bonus episode. His car was clearly on his mind though as he raged against bad drivers and Land Rovers bought on finance. Despite never having seen a full James Bond film, Calvin thinks it would be more fun to be the villain than to be 007. And move over Saipan, there's a new debate about Roy Keane taking over as we ask who would win in a fight between him and Rory McIlroy?Send your listener questions to Talking Bollox@GoLoudNow.com

Join Steve Beres and Ike Goss in this week's Underpowered Hour as they delve into the latest Land Rover news, including the potential production halt due to a Chinese chip ban and exciting spy photos of the upcoming Defender 80. They also discuss the new Twisted Automotive presence in the U.S. and the luxurious yet costly Japanese special edition Works V8 Defender. Tune in for their witty banter and deep dive into all things Land Rover!

What has over 600 horsepower, and can sprint from 0-60 MPH in under 4 seconds? BOTH of the cars the Unnamed Automotive Podcast are reviewing! This weeks show starts with Benjamin's take of the 2025 Chevrolet Blazer SS EV, which is super heavy, features a huge battery, and a weird WOW feature to blast off to high speeds. But what else does it deliver for car enthusiasts? And why does it kind of look like an Equinox EV? Then Sami drives the 2025 Range Rover Sport SV Edition Two, another high-horsepower machine, but this time focused on track capabilities, with some of the biggest brakes found on the market, carbon fibre wheels, and 626 horsepower. Plus some weird gimmicky vibrating seats with tons of PR drivel around them. Finally our hosts answer a car-buying question from a listener who is concerned about towing and hauling, which lets Benjamin get his calculator out for the ultimate advice section. Thanks for listening!

We deep dive into the latest insights in commercial insurance on RiskCellar, uncovering Q3 2025's leading market developments. We spotlight Chubb's record-setting $2.26 billion underwriting profit and 81% combined ratio, a testament to disciplined underwriting and strategic focus on high-value home insurance, especially in competitive states like Texas. With property insurance rates stabilizing and sector appetites opening, the discussion highlights cautious optimism while navigating the turbulence of today's market.The conversation turns to the evolving landscape of casualty insurance, where nuclear verdicts and third-party litigation financing present unprecedented challenges for carriers. We weigh in on the controversial cyber insurance space, particularly the ethical dilemma of paying ransomware, referencing the massive Land Rover supply chain hack that cost the UK economy $2.5 billion. Concerns over the insurance industry's role in possibly funding fraudulent and criminal activity remind listeners that risk extends far beyond underwriting spreadsheets.Rounding out the episode, we examine industry consolidation, cat bond alternatives to reinsurance, and the push for state cost sharing to fight climate-driven disasters. Upcoming guests, defense attorneys Matthew Monson and Todd Kozakowski, will join future conversations to debate the impact and ethics of third-party litigation financing. Coupled with candid wine reviews and a preview of the London market's expansion, This is a must-listen episode for professionals seeking clarity in a complex commercial insurance world.Takeaway List (6–8):Chubb achieved $2.26B underwriting profit & an 81% combined ratio in Q3 2025.Property insurance rates are stabilizing, with rising appetite in select regions.Nuclear verdicts and litigation financing continue to disrupt casualty markets.Cyber insurance faces scrutiny after the $2.5B Land Rover supply chain hack.Third party litigation financing raises ethical and legal questions.Wholesale brokers like RT Specialty are exploring London market expansion.Cat bonds and state-level cost sharing models are gaining traction as disaster solutions.Insurance tech firms like FreeFlow AI automate servicing and back-office work.Chapters:00:00 FreeFlow AI sponsor message00:43 Episode start, hosts Brandon Schuh & Nick Hartmann01:30 Wine reviews and insurance banter03:00 Chubb Q3 2025 profits and combined ratio breakdown06:00 Texas property insurance and market trends09:00 Casualty insurance, nuclear verdicts, litigation financing14:00 RT Specialty & London market speculation16:30 Cyber insurance, Land Rover hack, criminal funding21:00 Cat bonds & reinsurance alternatives24:00 Climate disaster, state cost sharing28:00 Upcoming defense attorney guests preview32:00 Closing thoughts & wine recapConnect with RiskCellar:Website: https://www.riskcellar.com/Brandon Schuh:Facebook: https://www.facebook.com/profile.php?id=61552710523314LinkedIn: https://www.linkedin.com/in/brandon-stephen-schuh/Instagram: https://www.instagram.com/schuhpapa/Nick Hartmann:LinkedIn: https://www.linkedin.com/in/nickjhartmann/

In this week's episode, the boys are live from Steve's garage to report on their weekends at the LRM Autojumble and Scale 4x4 Nationals.Steve buys some new front wings for his Ninety project from Malvern, and reports the presence of plenty of rare and obscure parts that don't generally come to market, Keep an eye on landrovermonthly.co.uk and on the LRM socials for next year's Autojumble and event dates.Martin warns of some insider tricks of the trade regarding upselling at garages, and washes his hands of an unnecessary brake job on Steve's Jaaaaag.A listener's question reveals that newcomers to the Land Rover scenes are still plentiful, and there's never been a better time to get into Land Rovers.As always, send your feedback and questions to editorial@lrm.co.uk – enjoy the episode.

In this episode of The Underpowered Hour, Steve Beres and Ike Goss discuss the latest updates from the Land Rover world, including the impact of Jaguar Land Rover's recent hack on production and the release of the 2026 Land Rover Defender with its new features. They also cover the return of Toyota's FJ to the Land Cruiser market and the unique project of building a wooden Land Rover at Pangolin 4x4. Plus, updates on the classic Defender 90 rally car preparing for SEMA. Join us for an in-depth look at the latest in the world of Land Rovers and off-roading!

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

This weeks episode starts off with Sami's description and review of a strange little Jeep that he drove out in Europe: the Avenger EV. Limited with a small battery and front-wheel-drive, how does this compact car translate the Jeep design language to a new market? And what can we expect in North America, with the Avenger's design team penning the new Compass? Sami explains his thoughts, though you have to hang on to understand them all. Then Benjamin reviews the 2025 Subaru WRX tS, and can't stop bringing up his memories of the STI brand. While all kinds of sport compact newcomers keep popping up in the world the old WRX STI used to dominate, Subaru instead holds back, delivering a few upgrades for a lot of money. Why is Subaru limiting itself? Finally, our hosts tackle the complex issue of JLR's cybersecurity hack, which has cost the company about $2B in damages and lost sales. Yikes! Why isn't anyone else talking about this? Thanks for listening!

Ride along with us on the Slow Baja Vintage Expedition- a week of primo off-roading and exploration in one of the world's most magical landscapes, tracing the tracks of the legendary Baja desert races. and featuring conversations with Car & Driver's Elana Scherr, Slow Baja founder Michael Emery, and Offroad Motorsports Hall-of-Famers Sal Fish and Curt LeDuc.  A hearty group in twenty classic Jeeps, Toyotas, Land Rovers, International Scouts, Ford Broncos and more traversed the peninsula from Tijuana to the Sea of Cortez, with plenty of adventure, tacos and vintage vibes along the way. Slow Baja is a journey that will refresh your soul and keep you tranquilo.JOIN SLOW BAJA: https://www.slowbaja.com/VISIT FIELDVAN:https://fieldvan.com/ELANA SCHERR'S INSTAGRAM:@challengeherVISIT RANCHO LA BELLOTA:https://rancholabellota.com/VISIT RANCHO LA CONCEPCION:https://rancholaconcepcion.com/SUPPORT THE PODCAST:https://www.buymeacoffee.com/hpheritageSUBSCRIBE to Horsepower Heritage on YouTube:https://www.youtube.com/@horsepowerheritageFIND US ON THE WEB:https://www.horsepowerheritage.comINSTAGRAM: @horsepowerheritageHORSEPOWER HERITAGE is created, produced and hosted by Maurice Merrick.Get in touch with Maurice:https://horsepowerheritage.com/contactSupport the showHELP us grow the audience! SHARE the Podcast with your friends!

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In this episode, Martin and Steve are back on the fabled Salmon Sofa for another hour of Land Rover-related waffle.Martin pulls the engine out of his 110, Steve spends £3,000 on his Jaguar (and it's still not right) and the boys take a peek at the next Anglia Car Auctions Classic catalogue.Is one Land Rover truly the best way of living your life, or is multiple vehicles the way forward?Feature of the Week and Product of the Week star of course, and be sure to grab a subscription to Land Rover Monthly Magazine so you don't miss out on any of the action!

In this week's episode, the guys are recording over the internet – so please excuse any audio quality issues.Steve is fresh back from the LRM Ripon Autojumble, and he's seen some cracking Land Rovers on his travels. Martin is corrected on the V6 petrol Discovery 3 he spotted by a YouTube commenter, and Steve brings us up to speed on the maintenance of one of his non-Land Rover vehicles.Martin brings up a subject no-one wants to hear about – the rumour of potential for classic vehicles to be charged vehicle excise duty again (absolutely unconfirmed).L322 chat is back, and Harry Metcalfe's Series I is spotted entered into the auction at the Classic and Restoration Show at the NEC.

n this episode of the Underpowered Hour, hosts Stephen Beres and Ike Goss dive into the excitement of the Rebellele Rally 2025. They discuss the ongoing competition, featuring updates on various teams, particularly the challenges faced by Land Rover participants. Joined by Ralf and Kathleen Sarek, the team shares firsthand experiences from the rally, including vehicle repairs, a thrilling airplane incident, and multiple mechanical problems encountered by various teams. This episode highlights the resilience and camaraderie within the Land Rover community and teases more updates to come on this thrilling adventure. Tune in to get the latest on the Rebellele Rally and the adventures of Team 155 and others!

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

Two teenagers have been arrested after a ransomware attack stole data from a nursery chain in London.The Met Police say the pair, aged 17, have been arrested on suspicion of computer misuse and blackmail.Cyberhackers were said to be using the pictures and names of about 8,000 children, to demand ransom money.Women who have a caesarean birth at an advanced stage of labour are about eight times more likely to devolop scars in the womb, which are known to increase the likelihood of premature births in the future.To learn more, we're joined by Anna David, Professor and Consultant in Obstetrics and Maternal Fetal Medicine at University College London Hospital, and she's also Director of the Institute for Women's Health at UCL.Plus, why gold prices have rocketed to a new all-time high.Also in this episode:Meta updates Facebook's algorithm to give you more of what you actually want to seeA modified Land Rover that even had a propeller to cross the Bering Strait, is going to auctionAn athlete runs the entire circumference of Cornwall to raise money for Alzheimer's diseaseWhat city has used enough power to make over 850 billion cups of tea? Hosted on Acast. See acast.com/privacy for more information.

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

Jack Carr joins Mike and Tyler to talk DARK WOLF spoilers and go behind the scenes of The Terminal List universe. Everything is on the table: Land Rovers, watches, Chris Pratt, Taylor Kitsch, and MORE!SPOILER WARNING: We are the thriller deep-dive after show!---

#528 Cyber Attack. JLR is forced to suspend manufacturing in the UK after hackers breach security. How did it happen and who is behind this? Max Verstappen wins his debut GT3 at the Norschleife. Plus, Pit Stop Boys perform Alain Prost, live.

Today on CarEdge Live, Ray and Zach discuss the latest news from Jaguar and Land Rover. Tune in to learn more! Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Join hosts Stephen Beres and Ike Goss on the latest episode of 'The Underpowered Hour' as they discuss the ongoing cyber attack affecting JLR and its supply chain. They also explore unique Land Rover vehicles up for auction on Bring a Trailer, including a distinctive Dormobile and a North American Spec Defender 90. Tune in for fascinating insights, anecdotes, and their signature wit.

Send us a textWatch the video!https://youtu.be/ZrokUmUntLAIn the News blog post for September 26, 2025https://www.iphonejd.com/iphone_jd/2025/09/in-the-news797.html00:00 Pod-Tastic!32:51 Vapor Pro46:16 Air Quality51:12 Land Rover On My Wrist54:58 Obviously Hidden57:40 In the Vision! Vision De Force1:01:35 In the Show! Hold Your Horses1:06:16 Brett's iOS 26 Tip: Trippy Photos with Spatial Scenes1:09:58 Jeff's Apple TV Tip: Listen with Two HeadphonesJeff's Review: AirPods Pro 3DC Rainmaker: Apple AirPods Pro 3 with Heart Rate: Sports & Fitness ReviewJürgen Kraus | Audioreviews.org: Apple AirPods Pro 3 REVIEW – View From The Cheap SeatsHartley Charlton | MacRumors: AirPods 4 vs. AirPods Pro 3 Buyer's Guide: 25 Differences ComparedJeff's Review: iPhone 17 Pro MaxMahmoud Itani | Macworld: I tested the iPhone 17 Pro Max's new telephoto lens and it blew me awayBenjamin Mayo | 9to5Mac: Friday Night Baseball to feature footage shot on iPhone cameras, a first for a live sports broadcast Ryan Christoffel | 9to5Mac: iPhone Air is here, and I already can't imagine going backEd Hardy | Cult of Mac: iPhone Air is crazy hard to bendJerryRigEverything: iPhone Air Durability test -- I AM SHOCKEDVanessa Hand Orellana | CNET: I Tested the Apple Watch Ultra 3 and It's Like a Land Rover for Your WristJuli Clover | MacRumors: 10+ Hidden Features in iOS 26Jason Snell | Six Colors: Apple announces a new set of Immersive film releasesBrett's iOS 26Tip: Trippy Photos (Spatial Scene)https://www.macrumors.com/how-to/ios-3d-lock-screen-effect-spatial-scenes/ Jeff's Apple TV Tip: Listen with Two Headphones https://support.apple.com/guide/airpods/share-audio-on-apple-tv-4k-dev28f39a9e7/web Support the showBrett Burney from http://www.appsinlaw.comJeff Richardson from http://www.iphonejd.com

#527 Ordinary Classics. Car spotting at the cars on display at the Llandudno Festival of Transport. Gareth & Phil swoon at some of the truly ordinary classic cars that are becoming surprisingly rare sightings.

Economist Stephen Miran is now temporarily on the Federal Reserve's Board of Governors. Miran wants steeper rate cuts, arguing that stricter controls at the borders and deportations will free up housing, make it less expensive, and keep a lid on inflation at a time of tariffs. We'll discuss what the data says about his claims. Also: growing threats to undersea data cables and an update on the cyberattack affecting Jaguar and Land Rover production.

Economist Stephen Miran is now temporarily on the Federal Reserve's Board of Governors. Miran wants steeper rate cuts, arguing that stricter controls at the borders and deportations will free up housing, make it less expensive, and keep a lid on inflation at a time of tariffs. We'll discuss what the data says about his claims. Also: growing threats to undersea data cables and an update on the cyberattack affecting Jaguar and Land Rover production.

Long stressful week at TCB HQ as we gear up for the release of the Strawberry Kush. Ro relives his trauma of the week in a long winded (and potentially only funny to us) story about his battle with a man named Jason. Sen also tells a story about redundancy.Our game this week is "Price is Right," as Ro quizzes Sen and Migs on various items he finds on Facebook marketplace.We end with "Recast Patrol," where we reimagine movies with a new cast, preferably from a completely different industry or genre.___________________________________________________________This episode is sponsored by Turo! Win a Land Rover defender for your next weekend getaway. Find more about Turo here: https://turo.com/au/en___________________________________________________________FULL PODCAST EPISODES

Join hosts Ike Goss and Stephen Beres as they recount their exhilarating trip to the UK. From navigating London in an 80-inch Land Rover to attending the legendary Camel Trophy reunion and the Goodwood Festival, this episode is packed with exciting adventures and anecdotes. Special highlights include catching up with fellow Land Rover enthusiasts, getting an insider tour of iconic vehicles, and even braving a micro hurricane. Tune in for an in-depth look at their journey, including exclusive interviews with Camel Trophy legends and a sneak peek at what's next for the Underpowered Hour team.

Jaguar Land Rover has extended its production shutdown until at least 24 September as it struggles with the fallout from a major cyber-attack. Also, Indian and US officials hold their first talks since Washington hit Delhi with a 50% tariff over Russian oil and weapons purchases.And Argentina's president Javier Milei insists ‘the worst is over' as he unveils a new budget.

Join hosts Ike Goss and Stephen Beres on this episode of The Underpowered Hour as they dive into a recent cyberattack on Jaguar Land Rover, explore news in the Land Rover community, and reminisce about memorable Land Rover sightings in movies like 'Congo' and 'Mighty Joe Young.' The duo also shares exciting details about their upcoming travel to the UK for Land Rover enthusiasts' events, including the Goodwood Revival and the Camel Trophy Owners Club meetup. Plus, enjoy lively banter and personal anecdotes from their adventures in the Land Rover world.

Join hosts Ike Goss and Stephen Beres on this episode of the Underpowered Hour as they discuss the exciting news of the Land Rover Defender Dakar Rally team for 2026 and delve into some of the most frustrating repair jobs on Land Rovers. From the infamous spring bushings to the tricky speedometer cable screws, they share their experiences and tips. They also talk about recent Land Rover events, including high-profile auctions and the upcoming Camel Trophy 45 event. Don't miss this fun, informative episode if you're a Land Rover enthusiast!

LAS NOTICIAS CON CALLE DE 7 DE AGOSTO DE 2025 - Sujetos amordazan y con armas asaltan y roban por media hora en casa de Cosculluela, se llevan prendas, videos y Land Rover, luego logran desatarse en Trujillo Alto - WUNO- El sospechoso caso de Shannel y su extraña muerte en la cárcel - Primera Hora/Cuarto Poder - Sigue cayendo el turismo a Las Vegas, le quitaron taxes a propinas, pero no hay turismo - LAT- Buscan salvar los corales a forma de emergencia - Metro - Presidenta UPR no descarta cierre de programas de la universidad - Metro - Exmiembros de la Junta podrían demandar ¿lo harán? - El Nuevo Día - Secretaria de Estado quiere convertir a secretaría en alcaldía de servicios directos a la gente - El Nuevo Día - Muere uno de los más grandes virtuosos de la historia de la música, Eddie Palmieri - NYT- Nuevo jefe del DMO - El Nuevo Día - En espera del busto de Pierluisi - El Vocero - Y pa dónde va ahora el plan de ajuste de la deuda de la AEE - El Vocero - En espera de los fondos para amas de llave, identificaron 15 millones para 60 pueblos - El Vocero - Lilly sube en 12% las ventas de medicamentos para rebajar - CNBC- Viene reunión de Trump y Putin para negociar paz en Ucrania, mañana era el día final para la paz había advertido Trump - Reuters - Trump va a permitir crypto en 401k y otras alternativas de inversión - CNBC- Trump le pide al jefe de Intel que renuncie de inmediato, colapsan el valor de sus acciones - CNBC - La mayoría de las calorías que comemos son de comida ultraprocesada - Axios ¿Estás comprando casa o necesitas sellar tu techo? No arriesgues tu mayor inversión. Protégete con Danosa, la marca líder en impermeabilización.Ahora es más fácil que nunca: nuestros techeros certificados te ofrecen financiamiento, para que cuides tu hogar sin afectar el bolsillo.Entra a danosapr.com (http://danosapr.com/) o llama al 787-785-4545 y entérate de tus opciones.No lo selles con otra cosa… ¡Séllalo con Danosa!Incluye auspicio