Podcasts about Land Rover

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

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.

#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.

In this episode, Martin Domoney and Steve Miller are joined by Land Rover Life contributor and intrepid Series explorer, Vicky Turner.Vicky recounts her epic adventure around the Outer Hebrides in her Series IIA Searle Safari Sleeper, and some slight carburettor issues in the following weeks.Her refreshingly honest approach to Land Rover maintenance and upgrades will resonate with many listeners, and why her Marine Blue 88" is the perfect stealth camper.The guys debate a listener's response to the recent slating of Defender 110 double-cabs, and of course Feature of the Week and Product of the Week star.Got questions or feedback? Send them to editorial@lrm.co.uk or leave a rating on your preferred streaming platform. Enjoy the episode!

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.

In this week's episode, Land Rover Monthly's Martin Domoney meets up with Land Rover Life's Helen Tait Wright and Marcella Kirk to talk all things rallying.Starting with how their new One Ten came into their lives, Helen and Marcella talk building a rally Land Rover, regulations, the terrain, navigation and getting stuck in the sand.Sorry for the audio on this one, we were recording right next to the arena!Don't forget to drop us a rating or review on your preferred streaming platform, and send any questions for the guys to editorial@lrm.co.uk – enjoy the episode.

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.

Welcome to ohmTown. The Non Sequitur News Show is held live via Twitch and Youtube every day. We, Mayor Watt and the AI that runs ohmTown, cover a selection of aggregated news articles and discuss them briefly with a perspective merging Science, Technology, and Society. You can visit https://www.youtube.com/ohmtown for the complete history since 2022.Articles Discussed:Thumper has a Follow Up Beat Demo Availablehttps://www.ohmtown.com/groups/warcrafters/f/d/thumper-one-of-the-best-rhythm-games-weve-ever-played-has-a-follow-up-and-you-can-try-the-demo-immediately/Demon Slayer Infinity Castlehttps://www.ohmtown.com/groups/the-continuity-report/f/d/demon-slayer-infinity-castle-is-the-highest-grossing-anime-ever/Boaty McBoatface meets Ctrl Alt Deleafhttps://www.ohmtown.com/groups/warcrafters/f/d/remember-boaty-mcboatface-the-polar-research-vessel-now-we-have-ctrl-alt-deleaf-the-leaf-cleaning-train/We were on a Break! Yells Blizzardhttps://www.ohmtown.com/groups/mobble/f/d/blizzard-swears-it-didnt-use-ai-for-new-overwatch-2-art/A Tattoo Cancer Link you don't expecthttps://www.ohmtown.com/groups/wanted/f/d/scientists-find-a-tattoo-cancer-link-but-its-not-what-youd-expect/Truck Crash was pretty sweet, maybe if you can say that.https://www.ohmtown.com/groups/four-wheel-tech/f/d/truck-crash-causes-whopper-of-a-candy-spill-on-new-jersey-highway/Cyber attack shuts down Land Rover production.https://www.ohmtown.com/groups/hatchideas/f/d/jaguar-land-rover-shuts-down-production-after-cyberattack-costing-the-company-more-than-a-billion-so-far/Vanity Plates with Regerts.https://www.ohmtown.com/groups/four-wheel-tech/f/d/5-vanity-plates-owners-regretted-getting/Scuba Gear Thief Robs Disney Restauranthttps://www.ohmtown.com/groups/mobble/f/d/thief-in-full-scuba-gear-robs-disney-restaurant-then-swims-away/Stolen Car jumps Drawbridge

Today, the Range Rover, more than 55 years on since its launch in June 1970, has more than earned its success and this upper luxury 4WD has set a benchmark that few have come close to. I’ve just driven the Range Rover P530 Autobiography 4WD at $349,000. And frankly, at that eyewatering price you’d expect it to be good, but it’s not just good its exceptional. Powered by a BMW sourced twin turbo 4.4-litre V8 with an 8- speed automatic, all-wheel drive and all wheel steering.2385kgs of upper luxury 4WD that is breathtaking in the way it provides ride and comfort. Few if any will venture off road, but I’ve driven these vehicles at Land Rover’s legendary off-road course in the U.K. in mud up to the door handles and they’re exceedingly capable. One criticism - some of the options fitted to my test vehicle should have been standard fare – charging another $1,000 for privacy glass and $360 for a luggage net seems petty when you’re paying a base price of $330,000. Everything about the interior of the Range Rover Autobiography however speaks luxury – top notch seats, materials, fit and finishers. Warranty, five years/unlimited km with complimentary servicing for five years/130,000kms. The best part the driving – details next.See omnystudio.com/listener for privacy information.

Driving the latest top end Range Rover P530 Autobiography 4WD – a simply stunning vehicle, the build quality on the test vehicle exceptional and one could argue at $349,000 it should be. However, keep in mind some upper luxury 4WD’s are twice this price yet the Range Rover Autobiography sets a benchmark. Once its won you over on fit, finish, comfort and materials its ability for a large 4WD on and off the road is simply astonishing. Powered by a BMW sourced 4.4-litre twin turbo V8 with an 8-speed automatic, all-wheel-drive and all wheel steering this 2585kg 4WD is breathtaking in the way in provides ride, handling, and comfort. Land Rover have now set a benchmark with the Range Rover that few have come close to. Given its bulk and weight its handling response on a winding road on 23-inch alloy wheels is very reassuring – a fully adaptive electronic suspension and all wheel steering makes it shrink around you, but we shouldn’t forget that Range Rover pioneered electronic air suspension back in 1992. I managed 14.4L/100km without driving for economy. This is one vehicle it is very easy to rave about, yes the price is eye watering but in upper luxury 4WD’s its simply the best.See omnystudio.com/listener for privacy information.

Na hun belevenissen op resp. Goodwood en Mariënwaerdt te hebben verteld vervalt ons duo al snel in de gebruikelijke sferen: de Austin A40 is über-fout, de misère bij Land Rover komt langs, evenals de nieuwe politie-diesels, Prinsjesdag en de voorlopige plannen voor Petrolheads 400 op 25 oktober. Volle show dus, enjoy!

Na hun belevenissen op resp. Goodwood en Mariënwaerdt te hebben verteld vervalt ons duo al snel in de gebruikelijke sferen: de Austin A40 is über-fout, de misère bij Land Rover komt langs, evenals de nieuwe politie-diesels, Prinsjesdag en de voorlopige plannen voor Petrolheads 400 op 25 oktober. Volle show dus, enjoy! 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 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.

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.

In this week's episode, Martin reports back on his first night away in his Vickywood Small Willow 140 roof tent, and it's good news!Martin also explains his rationale behind not changing the timing belt on his One Ten's engine, and reveals a significant development in the 1985 Land Rover's future.The guys revisit a Work in Progress that appeared in the magazine back in 2023, and prove that just one Land Rover is never enough...Steve contemplates his spare wheel carrier situation, in conjunction with a side-hinging tailgate. Would you drill into fresh bodywork to fit accessories?In other news, the guys discuss the most overrated non-Land Rover classic cars, and throw around the idea of an LRM Podcast and Subscriber pub meet. Keen? Register your interest at editorial@lrm.co.uk.As always, enjoy the episode, and please do drop your questions and feedback to the guys at editorial@lrm,co.uk

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!

Join us at Bradgate Park in Leicester with Jules Acton, author, former podcast guest and Trust ambassador, while our regular host Adam enjoys a summer holiday. We meet senior park ranger Matt who gives us a tour as he explains his role in caring for the site and its amazing trees. We've come to the park to see one in particular: a magnificent 830-year-old oak. It's in the running for Tree of the Year 2025. This year's contest celebrates our cultural connections with trees, shining a light on those that are local landmarks, sources of passion, inspiration and creativity. Find out what makes Bradgate Park's oldest oak special and vote for your favourite by 19 September.   Don't forget to rate us and subscribe! Learn more about the Woodland Trust at woodlandtrust.org.uk Transcript You are listening to Woodland Walks, a podcast for the Woodland Trust. We protect and plant trees for people to enjoy, to fight climate change and to help wildlife thrive.  Jules: Good morning. I'm Jules Acton. I'm an ambassador for the Woodland Trust. I've been in this job for 10 years this month and it's been a fantastic 10 years. I've loved every day because I get to meet some amazing trees and woods and even more than that, I also get to meet lots of amazing people who love trees and woods and who are inspired by them. So Woodland Trust members, other supporters, staff and volunteers. And I think one of the reasons people love trees so much is not just for the fact they provide all the wonderful services they they store our carbon, they provide fresh air, they can help filter pollution. But they're also absolutely entwined in our culture. And that's been taking place over hundreds and thousands of years. So our, particularly our native tree species tree species are absolutely embedded in our culture, and every old tree has a story to tell. Now, the reason we're here today is that we're going to talk about Tree of the Year and the theme of the Tree of the Year is culture and the way trees are embedded in culture. Ten magnificent trees have been chosen by a panel of experts. Each has a wonderful story to tell, and members of the public can go and vote for their favourite tree on the Woodland Trust website.  We are here in Bradgate Park car park. It is a golden morning and we're surrounded by trees. I can see oak trees, hawthorns, birches, hazels. It's absolutely gorgeous with the dappled sunlight falling down on us through the leaves. We're here to meet a particularly special tree. It's Bradgate Park's oldest oak tree, and it's about 20 minutes walk from the car park. So I see my colleague Natasha. She's over there waiting at the edge of the car park, waiting for Matt. Hello Natasha.  Natasha: Hello. Ohh hi!  Jules: Can you tell us a bit about your role, Natasha and what you do at the Woodland Trust?  Natasha: Yeah, I'm a social media officer, so I just help create and schedule all social media content, jump on whenever there's an opportunity like today.  Jules: And today you're going to be helping with the recording.  Natasha: Yeah, getting a few clips behind the scenes of how we record the podcast so we can share that and a few bits for our website as well and YouTube.  Jules: Thanks Natasha. Now I think we have just seen somebody drive up who might well be Matt. He's he's appeared in a very groovy looking buggy. And here we go. I believe this is Matt. Hello.   Matt: Good morning, Jules.   Jules: Hello, Matt, hi, lovely to meet you.  Matt: Nice to meet you. Welcome to Bradgate Park.  Jules: Thank you. Can you tell us a little bit about your role, Matt?  Matt: So yeah so I've I've worked at Bradgate Park for just over 20 years now and main sort of roles on on the site are woodland management and caring for the ancient trees that we've got that that are of European importance. And I also get quite involved with the drystone walls and repairing them. I lead a a group of volunteers on a Thursday and as we go across the site, I'm sure I can show you some of the work that we've been doing.  Jules: Oh brilliant, and you're going to particularly show us a very special tree, I believe.  Matt: Yes, I believe we might be able to find that. Yeah, the tree is approximately 830 years old. It predates the Magna Carta and I'd certainly like to take you to the tree and tell you a bit more about it.  Jules: All right. We're just getting ready to go and all around us are people enjoying the park, there are some people walking up hills. There are lots of dogs. There's one very cute little brown dog that's having a little dip in, in a little stream, a little brook, really at the edge of the park and it's already quite a warm day, so I think it's having a nice little cool down.  We're back en route towards the special tree with the beautiful drystone wall to our right and across to the left are, well there's a tree, there's a plantation, and then there's also a sort of a bit of a wood pasture environment would you call it Matt, with some native trees dotted around in the landscape?  Matt: Yeah, very much so. So this is Hallgates Valley. We're looking across to Dale Spinney. The park itself is 830 acres, of which spinneys represent about 10% of the parkland area, so it's quite a large proportion. All the spinneys were planted on the, on the hilltops across the park, that's that's not just by chance. And they were created around about 1830s-40s by the 6th early of Stamford and and now we see the spinneys that we've got here today so you've got quite a mature, mature standard trees. Quite a lot are softwood, but then we've got a mixture of hardwoods in there. We certainly replant hardwoods in the spinneys.  Jules: How would you define a spinney as opposed to, you know, other kinds of woods?  Matt: Nice easy question *laughs*. I would I would say you've obviously got different names of woodlands and you know we're, we're, we're in Charnwood Forest, but a a forest isn't just trees, it's clearings. And I would say a copse is a small woodland. I would say the spinney is is probably like slightly larger than that and then you go up towards a wood. I could be totally wrong! *both laugh*  Jules: I like it though. So Matt you say, you've you've been here 20 years.   Matt: Yeah, 22.  Jules: 22. So you obviously love it. And what is it that keeps you here?  Matt: I was born in Leicester and came here as a young child playing and you know to end up working here as a job, it's certainly a nice place to be coming to and huge, beautiful surroundings, fresh air and and then I've I've just got a real passion for particularly the a lot of the heritage crafts that we keep alive on the estate. So yes, we go down and we manage the woodlands, but we're actually carrying out coppicing operations and that, they go back to the Stone Age and and then other work on the site for instance drystone walling, which we're approaching a gap now that we've been repairing and is obviously another heritage craft, and for me, I I just think it's really important that we're passing on these skills, heritage crafts on to the next sort of generation.  Jules: That that's brilliant. And do you do you train sort of volunteers or or is it staff members in in this kind of thing?  Matt: I've trained up to Level 2 in walling. That's something I I went up to Derbyshire to do. We've actually got another chap on site now, Leon. He's, he was in the armed forces and and and Leon is doing his levels in walling as well. I believe he's already got Level 1 and 2. He's working towards his 3, we might be able to pop and see him in a bit, but I guess the focus should be trees today *laughs*.  Jules: Yeah, well if we have time, that'd be great. See how we go.  Matt: This is certainly a large gap of wall that we've been doing on the estate. We've got 17 miles of drystone wall to maintain. The deer park itself goes back to 1241, but it's, the boundaries changed slightly over over the years and the largest extent of the deer park was probably around about 1550 and that would have, certain parts of the boundary are drystone wall and and that's obviously what what we're left with today and we need to maintain that. Not only does it keep the deer inside the park, which is obviously beneficial for a deer park, it's fantastic habitat for various, you know, sort of reptiles to live in and adders, grass snakes, things like that.  Jules: Fantastic, so we're looking at at one of the drystone walls and it's I'd say about shoulder height, would you say and it's a grey sort of almost sort of slaty looking stone actually, do you, can you tell us what kind of the stone it is?  Matt: Yeah so on on this side of the park, it's it's it's it's a little bit more slaty towards Newtown Linford, that's that's more of a granite, the walling that we do on the, that we we do on the park is is called random coursed walling. So yes, as we build the wall up, you start with the larger stones at the bottom and as the as the wall tapers up, it angles in, that's called the batter of the wall, you can see the frame we've got and that that we're working to, we've got the building lines in. So this one is 80 centimetres at the bottom, tapering up to 40 centimetres at the top. Originally this was actually a lime mortar wall and a lot of walls on the park are lime mortar, but it is possible to rebuild dry, but we do a mix a mixture of both on the estate.  Jules: That's great and it's just lovely to see these heritage practices being kept alive and you mentioned the coppicing as well, which is absolutely very much part of woodland culture going back centuries. I believe it goes back to the Vikings, maybe even earlier, I don't know if you know anything about the history of it, Matt?  Matt: Yeah, well, certainly the Stone Age coppicing going back, going back to the Stone Age, it's the process of cutting the tree down to ground level. Not all trees will coppice, certainly oak will. That's where Copt Oak gets the name from, coppiced oak. Hazel is the primary tree species that we are coppicing, certainly in Swithland Woods and we've got a management plan in place. We've we've just come to the end of a 10-year management plan that was supported by, there's a lady called Liz Sharkey who comes up with a great plan for us. We're just starting in, in November will be the next 10-year plan and the intention of that is to create the most diverse habitat that Swithland Woods is and it will create a mosaic of habitats, different age stands within the structure of the woodland and and part of that will be coppicing rotation and that will open up and the the the floor of the woodland, let light in and that will benefit bluebells and wood anemone and all the related bird species and invertebrates.  Jules: This is all music to our Woodland Trust ears. Thank you, Matt. Shall we continue on our little tour?  Matt: Yeah, yeah, yeah, I will turn this very loud... *banging*  Jules: *laughs* I'm not actually sure how to get out the car, but ohh, OK, yeah, yeah. Natasha's on it. Thanks Natasha. OK, so we are walking up to not the tree we're here to see, but we couldn't resist this one because it's really special and it's a gnarly oak tree, kind of growing out of what looks like a big craggy load of rocks. Yeah, Matt, could you tell us a bit more about this tree?  Matt: Yes, I can. So it's English oak and some of the, it's growing out of granite and some of the rocks on the park are actually some of the oldest rocks, certainly in Britain and and the world, 560-million-year-old rocks that we've got on the park and it's all part part of the designation, actually, of the park, it's a SSSI, geological interest in the park and also the veteran trees are also part of that designation and we have just become a National Nature Reserve as well, Bradgate Park.  Jules: Well, congratulations! Could you just explain the SSSI to us just so people understand what the abbreviation means?  Matt: It's a Site of Special Scientific Interest, so there's many layers to Bradgate Park, people might just want to come have a nice walk, enjoy the views, and people that might be more interested in the geology of the park, so we get a lot of people that are coming out and looking at the rocks and looking for fossils and they're able to from that age, the rocks on the park and then other designations that we've got are related to the ancient trees and and that all forms a a bigger picture that makes the park so important that it has to be protected.  Jules: Fantastic. And one of the things that I've just noticed on both this very old oak tree and also on the rocks are, there's a lot of lichens. They're gorgeous. So they're sort of just splattered with them, some of them just look like, like, little sort of paint splats, don't they? They are different colours, we've got white ones, green ones on the rocks, I'm looking at, sort of greyish ones. Some are crusty, some are very flat, which is I think the nature of lichens. Do you know much about the lichens?  Matt: I certainly know that we need to keep the lichens exposed to the sunlight, so we have to clear bracken so they're not getting shaded out. They take a long time to form and I certainly know that they need good clean air. So that is a good sign, if you're seeing lichens, you're in a good place as a human being.  Jules: Yeah, absolutely. And and one of the things about oak trees as well is because they, they're long-lived trees, they provide particularly important habitat for lichens, cause some, many lichens are really, really slow growing, so they need a very slow, you know, stable habitat, so whether it be the rocks or or the very old tree and you'll get different species associated with the different environments as well.  Matt: Yeah, exactly right. And and you can see as well as the being lichens on the rock, you look up into the oak tree and in to the, up the, into the crown of the tree and we are seeing lichens on on the oak tree.  Jules: Yeah. Aed one of the other things about lichens is that they are also embedded in our culture as well, so we use them to to make dyes, some people cook with them, so again, a bit like bit like the oak trees and and other native trees, they're really entwined in our cultural history. This isn't the tree we're here to see, but it's absolutely marvellous! So I, gosh, I hope this becomes, goes on the Tree of the Year shortlist at some point because it deserves it!  Matt: Well, it's nice to have more than one entry.   Jules: Yeah, that would be good, wouldn't it?  Matt: I guess it would in in increase the chances of winning, but seeing as it's the first time you've come to the park, Jules, I thought you may as well see this.  Jules: Yeah, yeah. Yeah, I love it. It looks quite elephantine from this, elephantine I should say, from this angle with this sort of like this great, long limb sticking out, it's almost like a trunk isn't it and up into the into the blue.  Matt: It certainly is, and I think that's certainly going to be the word of the day. I'm not, I'm not certainly going to try and trump that!   Jules: OK, yeah, let's, let's, let's try and use it again, in the next stop! *both laugh* OK. We're going back to the car now the the buggy, the T, TVA. No, the, what is it?  Matt: The ATV *both laugh* As we go back towards the ATV, we can see a absolutely stunning tower on a hill. It's gorgeous. It's kind of like, well it looks like it's in a fairytale to me. Could you tell us a bit about that?  Matt: So Old John Tower was, they started building it 1784 and and it is a folly and it was somewhere that the Greys, the owners, the Earls of Stamford could entertain guests and around the base of the tower, the rear is the remnants of an old racetrack, at the side of the tower, there's an old stable block and the Greys were certainly great horse fanciers and they entered racehorses into various events and along the the the old racetrack there's still remnants of old furlong markers and they were able to entertain the guests, stand up on the the roof of the of the tower and get an idea of of how good the how well the horses were performing.  Jules: Brilliant. And and the the Greys being the family of Lady Jane Grey, is that right?   Matt: Yes, that's right yeah.  Jules: OK. So it's it's absolutely stunning. It looks like the sort of, yeah, if you're drawing a scene in a fairytale, you'd be drawing a little turrety round tower on top of a hill, wouldn't you? And there'd be probably Rapunzel at the top, letting down her hair. On this occasion we've got a, on this occasion we've got a a very fit looking person who's just run a ring around the bottom of the tower and is now running towards us, obviously making use of this wonderful environment to to keep up their fantastic fitness. Right. OK. Now we are going back to the vehicle. And I think is next stop the the tree, our destination?  Matt: Yes it certainly is.  Jules: OK, OK, brilliant. I think I've actually worked out how to get in this time, which is ohh no, Matt's letting me in, thank you, what a gent, thank you. Right, we are now out of the vehicle and we are walking towards the special tree. And how long, how much of a walk is it from here?  Matt: So I can see it already and I'd say we're only about 200 yards away from it.  Jules: *laughs* Ohh, I still haven't seen it!  Matt: I'm I'm I'm deliberately walking in a way that it's going to appear.  Jules: Oh he's hiding it from us.   Matt: Yeah. There we go, fallow deer.  Jules: Ohh, there's ohh my goodness two fallow deer. The beautiful spotty backs, sort of trotting away. And then they've stopped and have given, they're looking at us. They're not too shy, actually are they?  Matt: No, no, they're not.  Jules: They look just like double Bambi. They're very beautiful.  Matt: You'll you'll you'll notice on all the trees, and there's about a dozen smaller oak trees that we planted, and these are about 30 years old now. Again, you can see how we've we've literally topped the smaller trees and and that's because we don't want to leave these trees just to get huge a. and maidens and straight and tall. So we want these to be stunted and more open grown. And so we've cut the tops off and and thinned them slightly. And then, again, we're hoping that that will make them longer lived.  Jules: Yeah, yeah. And of course, the oak trees love a lot of light, don't they? And these have got quite a lot of light and space around them.   Matt: Yes.   Jules: Ohh, I can see it now. Oh my goodness. What a beast. How fantastic. So it does, so it's the Bradgate Park's oldest oak, isn't it, so does it have a name, another name beyond that?  Matt: I think people people give it various names but it's just ‘the oldest tree in the park' *laughs*  Jules: Yeah, yeah.  Matt: Trying, I suppose for many years we've tried to keep it a bit bit sort of secret. That's probably for the benefit of the tree and certainly, the fact that it's within a spinney, people aren't walking up to it, and that's helped the tree. I feel that it's in a, it's obviously found some good growing conditions and despite the general habitat of the park being poor, upland soil, shallow, it's found some incredible growing conditions here it's been sheltered so that it's not being exposed to too much, too much wind force. And also it's it's nice and open so as the, as you know sort of from midday to right through into the evening, it's gonna get plenty of light as well. So there's I think there's been a number of factors that have certainly helped to prolong the life of the tree.  Jules: Yes, absolutely. Wow, it is a stunner. So just to try and describe this tree, it it's immensely tall. It's probably about the size of a, what about the height of a house would you say?   Matt: Yeah it's a good, good 45 feet.  Jules: Yeah. And it's got a very gnarly bole. I call it a bole rather than a trunk because it's really big, broad, and it's kind of split into two, kind of more than two. And it's got some dead branches coming out the middle. It's got one gorgeous, great, long, twisted limb reaching out. And it's that that's they're they're propped up, but it's kind of snaking, isn't it, ooh, it's elephantine that's what it is! Yeah, let's use our favourite word of the day.  Matt: I'd I'd say it's definitely elephantine *both laugh*  Jules: Yeah. And you can see kind of, it looks like there's faces everywhere, aren't there? It's like in that they've dead bit of branch there, you can see like a sort of twisted sort of face and a great long nose. And ohh it's, what a beautiful beast. So Matt, could you tell us a bit about its cultural connection to human beings?  Matt: Well, it certainly, it it was aged back in 2014 by a tree consultancy called Bosky and we we obtained a grant funding to tag and map many, many trees across the estate of this, being one of them, and it was it was aged at 818 back then, which puts us at around about the 830 mark now. In terms of relations to humans, it predates the Magna Carta and one of the most notable former residents of Bradgate Park obviously being Lady Jane, when she was a child living on the park, the tree would have already been quite a mighty oak of about 300 years.  Jules: Gosh, so, so Lady Jane Grey would have known this tree.   Matt: Yes, yeah.  Jules: She would probably sat underneath it.  Matt: Which is somewhat remarkable.  Jules: Yeah. Maybe had a little picnic under here. *Matt laughs* That's what I would have done. Fantastic. And it's wonderful that you're protecting it and actually, despite this sort of really craggy bole, it's it's looking in pretty good health, isn't it, it's got loads of leaves all around. Are you feeling sort of confident about its its future given given how it is?  Matt: Well, certainly, yeah you you've you've pointed out the props and these props have been in place supporting certainly this this limb. If we walk around the other side of the tree, you can you can get a bit more of an impression as to what the props are actually achieving for the tree and in due course, and I believe we'll we'll probably upgrade these props, which are basically telegraph posts with Land Rover tyres that have been cut, which is certainly an effective way of doing things, but we have evolved the propping techniques that are now, you can see the tree in the distance over there by the compound that's called the Pheasant Garden. And there's a there's an oak tree there that supported by a prop and that is manufactured using metal, sort of steel work and then there's a cup section that's manufactured and then that that's a more sympathetic way of actually supporting that bough.  Jules: Yeah, yes.  Matt: Regarding, you know the actual cover of the foliage, like you say, totally agree that it's it's still got reasonable foliage cover, certainly certain things that we do have to watch out for is shade. And that is partly why we've cut the tops off the trees around it. But also you can see where we've got a bit of interference here with this Scots pine at the back.  Jules: Oh yes, it's actually actually touching I think, almost touching.  Matt: So that is something that we would look to keep keep in check. So this Scots pine, as as lovely as it is, that Scots pine is more like 70 years old, and we wouldn't want that to be shading out so that's something we'll we'll probably climb up there and just cut that, cut the limb off off the Scots pine and stop that, because you can see if we just leave that doing what it's doing, it's going to start shading out and it's really important that we keep the living mass of this tree, so there's a balance there between the living mass and the dead mass of the tree, the static mass. And it's that balance as a ratio for the tree, you know, if you, if you look at a younger tree there, you can say that almost almost 100% of of the of the crown of that tree is alive. Whereas you look at this tree and you start thinking maybe 50%. So the closer that ratio between the living mass and the dead mass is, the closer that gets more like to a one to one, then the the tree will will then gradually just just just be going into decline. So you know, the tree will not live forever but I'm pretty confident it's going to outlive us guys *laughs*  Jules: Yes. It's an amazing thought, isn't it? And it's obviously very loved and and and I think the importance is is not just about the tree itself, is it? So really ancient oaks like this, they support enormous numbers of species, some of which only live on ancient oaks. So that's why we need to protect this tree as much as we possibly can and also bring on those veteran oaks of the future that you you, you're, you're that you're you're doing just that, aren't you, here in the park. Absolutely vital.   Matt: Yeah, very much so, very much so. As we've driven across the park, we've seen various planting that's been supported by the Tree Council. And like you say, that has, that certainly has been planting more oak trees, but then also other nectar bearing species, rowan, blackthorn, hawthorn, gorse. And these are all important, like you say for the deadwood insects that, that, that live within the ancient oak tree and and then as the tree gets older it then develops more veteran features and those crags, holes are very important roosting habitats for, certainly for owls and bats.  Jules: Yeah. And so oak trees in the UK collectively support more than 2,300 species, some of which are completely reliant on oak trees. They couldn't survive without oak trees, and one of the things we were talking about earlier as we drove up was the fact that there are, you know, some, some beetles, for example, some longhorn beetles, for example, they spend their lives as larvae living in deadwood. But then the adults, they need nectar when they grow up, so again, it's really important to have those nectar sources nearby isn't it?  Matt: Yeah. So very, very much is. Yeah. And that's what we're looking to do on the park we are we are planting those, those supporting plants.  Jules: Fantastic. Wonderful. This incredible tree that we're standing in front of is one of the ten contenders in this year's Tree of the Year competition and the theme of this year's competition is culture and the the the the history and culture associated with trees in our world. Ancient oaks are absolutely threaded in our culture. I'm particularly interested in them, I wrote a book about about oak trees called Oaklore, and one of the things that I talked about was the way that the oak tree intertwines with our lives with with lots of different species, but also with human lives and with our culture. There were so many stories associated with the oak tree. One of my favourites is the story of Charles II and the Boscobel Oak. So before Charles II was, became king he was fighting the parliamentarians and he took a terrible drubbing at a battle. And he needed to escape. And he escaped to Boscobel House. And he was with this soldier called Colonel Careless, and this soldier suggested that they hide in the oak tree overnight rather than the house. And they did. And even though the parliamentarian troops were were wandering nearby, they didn't find the king and his soldiers, and they escaped. And eventually they returned and that led to the restoration of the monarchy. The thing I like about this story is the cultural links then go on and on. Because at that point, a day of national celebration was declared throughout the land, and that was 29 May and that became Oak Apple Day and everybody would party and if the best people at the party, the coolest people at the party, they waved oak branches and wore oak leaves and and if you were super cool, you had lots of oak apples on your, so little galls on your oak branches. And if you didn't have little symbols of oaks, then others were apparently within their rights to take a bunch of nettles and and and attacked you with nettles, which wasn't so nice. So it was also called Nettle Day. It was also known as Pinch Bum Day and Maids Ruin Day. The story goes on, but the other sort of fun cultural connection to that is it also came, it also brought about lots of pubs called the Royal Oak, and the last time I looked there were about 400 oak trees, 400 sorry pubs called the Royal Oak throughout the land, so the cultural tales just go on and on. And that's just the oak tree. But all of our native trees have some fantastic stories associated with them in. In fact every old tree has a story to tell. It's like us, like every older person, we've all got a story, a history to tell. Yeah. OK.  Matt: So yeah, we're just walking back from the oldest tree now, and we're just sort of musing over just that connection that human, humans have got to trees. I think it's the fact that an oak tree can sort of live centuries and really, that puts our lifetimes somewhat in perspective. And the fact that an oak tree can just go from the tiniest of acorns to a huge mass of of timber and that is just really fantastic, how you could you could cut open a tree and see all those different tree rings, those years of growth and then just sort of put that in context, what was happening was, was it Dick Whittington that was the Lord Mayor of London for the last time, was it was it the Battle of Agincourt, was it the Magna Carta? And and it's for people like you that actually write books about it, Jules, that can say it a lot better than me *both laugh*  Jules: No that was brilliant and we're not gonna cut this one in half though are we, Matt?   Matt: No, we're certainly not. And the fact that it's hollow, we just can't see those rings anymore.  Jules: No. Thank you. Brilliant. Right. This is our final leg on our walk and we're now in a polytunnel and it's really warm because the sun's beating down outside and it smells gorgeous and and we are surrounded by lots of little trees. Matt, can you tell us a little bit about these?  Matt: So the polytunnel was funded by the Tree Council and it's just very important that we're growing on oaks for the future from acorns that have been collected on site. So they've got the genetic continuity of the long-lived oak trees and hopefully they'll grow and carry on into long into the future.  Jules: And are they, is it a a mix of acorns from all different trees in in here or is it, or is, are you, are you taking them from specific trees?  Matt: It's yeah, it's a bit of a mix. Sometimes, you know, where where we can and where they're viable, if we if we get to the acorns from a veteran tree before the deer, then that's certainly something that we we're looking to grow on. So generally that's what we're that's that's where we'll try and harvest them from that, we've put a frame down before with a bit of a grill, so we can collect the acorns, but then they don't get eaten and that's certainly quite a good technique. And and then we we we grow on from the old trees where we can, yes.  Jules: They're really lovely. So we've got really tiny little trees with, some of them have got like, you know, about 5 or 6 leaves. And then they go up to sort of above our just above our heads. And I think what always strikes me is the, the the diversity in in leaf shape and colour that you that you see all around you. So even the same place within within oak trees, it's incredible, the different shapes and sizes you get, isn't it?  Matt: Yeah, it really is. And you know, look, looking some of the some of the oaks have been collected from Swithland Woods as well. And and where you've got a stalked leaf, that is a sessile oak.   Jules: Ah yes.  Matt: And and where you've got a a leaf that's coming off that isn't stalked, that is an English oak, but but that will have a stalked acorn.  Jules: Yes. So that's the the key way to tell the difference isn't. Yeah, brilliant. Thank you. I love it. The Bradgate Park oak is one of ten iconic trees across the UK in the running for the Tree of the Year competition. Other examples include the Tree of Peace and Unity in County Antrim. That's an iconic lime tree, I say a lime tree, it's actually two lime trees which are fused together so that the trunk has become bound as one and it's, they've become inseparable and as such they've become a symbol of harmony and hope. So newly married couples sit beneath that tree for a blessing and it became a particular symbol of peace and reconciliation when Tony Blair, David Trimble and John Hume met here in 1998 at the signing of the Good Friday Agreement. Another example is the Argyle Street Ash in Glasgow. This tree is growing right next to some historic flats and it's seen as a symbol of local resilience. It has survived all kinds of things, including Victorian industry, the Clydeside Blitz, recent development and so far, ash dieback. One of its cultural connections is that it was featured in a 1935 book by James Cowan. The book was called From Glasgow's Treasure Chest and in it he describes the tree as ‘quite the most graceful ash I have seen'. Well, that's enough of me. Meanwhile, thank you so much to Matt and Natasha. It's been great fun talking trees with you.  Thank you for listening to the Woodland Trust Woodland Walks. Don't forget to subscribe to the series on iTunes or wherever you're listening to us and do give us a review and a rating. And why not send us a recording of your favourite woodland walk to be included in a future podcast? Keep it to a maximum of five minutes and please tell us what makes your woodland walk special or send us an e-mail with details of your favourite walk and what makes it special to you. Send any audio files to podcast@woodlandtrust.org.uk. We look forward to hearing from you. 

In this episode, Land Rover Monthly's Martin Domoney and Steve Miller sit down and try to make sense of the new guidelines from the DVLA that were released recently. What do you think – is it a step in the right direction, or an invite for misinterpretation?The pair also discuss the very best looking Land Rovers from every model range – Series, Defender, Discovery, Range Rover and Freelander.Feature of the Week and Product of the Week make a return, and Steve gives an update on his Ninety project.As always, we love to hear your feedback and receive your questions – you can get in touch with us on editorial@lrm.co.uk and be sure to follow us on socials to see what we're up to.You can buy Land Rover Monthly magazine in all good newsagents and supermarkets, or you can save money and subscribe – https://www.landrovermonthly.co.uk/store/subscriptions/land-rover-monthly/

Finnes det en dårlig Porsche 911, altså? Det spørs selvfølgelig hvem du spør, men den modellen David og Håkon har kjørt nå, og diskuterer i podcasten, er i det kontroversielle hjørnet. Og da dreier deg seg ikke om drivlinjen, som er fortreffelig. Før du kommer til det som er dårlig, snakkes det om opphavet til det spesielle navnet og historien bak modellen. I tillegg blir det en solid Land Rover-prat. Hosted on Acast. See acast.com/privacy for more information.

In this episode, Land Rover Monthly's Martin Domoney and Steve Miller are on location in Steve's garage as they make some progress on his 1985 Ninety restoration.Taking a break from fitting the new Pheonix Automotive rear tub to Steve's galvanised Richards chassis, the boys take a pew for a cup of coffee and a slice of Yorkshire brack to chat about what they are up to.Martin explains his week, including advertising his 110 for a grand total of 40 minutes before changing his mind, and Steve has been to a local car show where he spotted some tasty Land Rovers including a Corvette-powered sleeper.Steve contemplates 101 Forward Control ownership, and admits that even he isn't immune to the lure of the mighty Range Rover L322.Please leave a rating or review on your preferred streaming platform, it really does make a difference! And of course send your questions and feedback to editorial@lrm.co.uk.Enjoy the episode.

The hosts open the show briefly discussing Tom's experiences car shopping with his 25-year-old daughter. After test driving five cars, and much careful consideration, a car has been purchased. Listen in for details. In the news, Jill and Tom talk about Audi tariff-related price increases, Chrysler's crazy Grizzly Peak minivan concept vehicle, and the Dodge Durango going V8 only for 2026. Still in the first segment, Jill reviews the updated 2026 Subaru Solterra, which now enjoys more power and greater range. In the second segment, the hosts are joined by Justin Lunny, CEO of Everrati. Everrati restores classic cars, fitting them with modern electric powertrains. Listen in to learn what cars the company is currently restoring, and what it costs to bring a vintage Land Rover, Mercedes-Benz, or Porsche 911 back to life with an all-electric drivetrain. In the last segment Jill is subjected to Tom's “LX” trim-level quiz. The hosts closed out the show discussing the 2026 Solterra's off-road ability and AWD drivetrain. 

In this special summer breakdown episode of the Underpowered Hour, Jenna and Ike take their vintage Land Rover on an expedition from Oregon to the prestigious Pebble Beach car show in Northern California. They share their adventure, driving a 1960 Series 2 109 Land Rover, and delve into the rich history of the showcased expedition vehicles. They discuss the challenges, memorable experiences, and rare automobiles encountered during Monterey Car Week, including the Concourse of Lemons, the Range Rover House, and the official Pebble Beach event. The episode also highlights fun and interesting interactions with Land Rover enthusiasts from around the world.

Have car manufacturers been building vehicles the same way for too long? Ford's CEO Jim Farley thinks so, announcing a staggering $6 billion investment in what they're calling the "Universal EV Production System." This revolutionary approach abandons the traditional assembly line in favor of an "assembly tree" using three sub-assemblies with large aluminum castings and a structural battery that get joined together later.The ambitious manufacturing overhaul promises 20% fewer parts, 40% fewer workstations, and 15% faster assembly times. But as we unpack in this episode, Wall Street's response was lukewarm at best, raising questions about whether this represents genuine innovation or expensive PR. While Ford prepares to roll out a $30,000 midsize electric pickup from this new system, we can't help but wonder if addressing their ongoing recall issues might be a better investment of resources.Speaking of recalls, we dive into the latest automotive call-backs affecting Land Rover, Ford, and Mercedes-Benz owners. Our popular "Guess the Sold Car Price" game returns with some surprising auction results that show which classics are commanding premium prices in today's market. From AMC Javelins to Lincoln Town Cars, you'll be shocked at what some buyers are willing to pay.We also explore Chevrolet's stunning new Corvette concept cars that debuted at Monterey Car Week, the US military's curious interest in blowing up Tesla Cybertrucks with missiles, and the latest trends in auto financing. Whether you're a casual car enthusiast or die-hard automotive aficionado, this episode delivers the perfect blend of industry insights, entertainment, and automotive passion that keeps you connected to everything happening in the world of wheels.Be sure to subscribe for more In Wheel Time Car Talk!The Lupe' Tortilla RestaurantsLupe Tortilla in Katy, Texas Gulf Coast Auto ShieldPaint protection, tint, and more!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.---- ----- Want more In Wheel Time car talk any time? In Wheel Time is now available on Audacy! Just go to Audacy.com/InWheelTime where ever you are.----- -----Be sure to subscribe on your favorite podcast provider for the next episode of In Wheel Time Podcast and check out our live multiplatform broadcast every Saturday, 10a - 12noonCT simulcasting on Audacy, YouTube, Facebook, Twitter, Twitch and InWheelTime.com.In Wheel Time Podcast can be heard on you mobile device from providers such as:Apple Podcasts, Amazon Music Podcast, Spotify, SiriusXM Podcast, iHeartRadio podcast, TuneIn + Alexa, Podcast Addict, Castro, Castbox, YouTube Podcast and more on your mobile device.Follow InWheelTime.com for the latest updates!Twitter: https://twitter.com/InWheelTimeInstagram: https://www.instagram.com/inwheeltime/https://www.youtube.com/inwheeltimehttps://www.Facebook.com/InWheelTimeFor more information about In Wheel Time Car Talk, email us at info@inwheeltime.comTags: In Wheel Time, automotive car talk show, car talk, Live car talk show, In Wheel Time Car Talk

In this week's episode, Martin and Steve are fresh back from the York Land Rover Show, and one of the boys' journey back was more seamless than the other.A listener gets in touch about a rare Searle Carawagon camper that they spotted in York while taking advantage of Steve's favourite camping spot, and Martin makes a total mess of pronouncing his name.Steve spots a Land Rover from a train, and discusses the delightful sounds of a Td5 engine – who needs a radio anyway?The boys also take a look at the Anglia Car Auctions Classic catalogue, and highlight some of the fine Land Rovers and Range Rovers on offer at the end of August, including a Range Rover Sport Autobiography with less than 10,000 miles on the clock. And perhaps one to avoid....Martin ask the listeners a roof tent-related question, and of course asks you for yours – send your questions and feedback to editorial@lrm.co.uk and be sure to follow Land Rover Monthly on socials and sign up for the newsletters! Enjoy the episode.

Shoot us a Text.Episode #1124: Today we break down the latest Fixed Ops Golden Metrics, showing where service departments are winning and where there's room to grow. We also look at how dealer inventory has returned to pre-tariff “normal” levels, and why Atlantans are playing cancellation games just to ride in a Waymo robotaxi.The Fixed Ops Golden Metrics 2025 report from Reynolds and Reynolds highlights how service departments are stacking up in hours, labor rates, and RO profits—plus the big gains from technician efficiency tools.Dealers are grouped two ways—by urban classification (Major Urban, Metro, Community, Rural) and by 5 volume classes based on monthly customer-pay ROs: Class 1: 1,200.High-volume Class 5 stores topped 3,000 hrs/month. Major Urban averaged 1,613 hrs/month vs. Rural at 490. Major Urban led profit per RO at $414, Rural just $225. Class 1 averaged $400, dropping to $243 in Class 5.Using recommendation software added +0.5 hrs/RO, +$18 ELR, and +$62 profit/RO—worth $9K more profit/month for a 150-RO store.After months of tariff shocks and supply swings, dealer lots look familiar again. The average automaker now has a 73-day supply of new cars — right on the industry's long-term target.Lots once ran as high as 89 days of supply during early tariff panic.Inventories plunged to 66 days when 25% tariffs first hit but have since recovered.Despite costs, prices rose just 1.5% YoY as automakers and dealers absorbed tariffs.Some brands buck the trend: Toyota/Lexus are tight with just over a month of supply, while Ram and Land Rover sit on four months' worth.Waymo has expanded beyond its California and Arizona roots, bringing robotaxis to Atlanta. But there's a catch: you can only hail one through Uber, and it's not guaranteed.Riders can select “Prefer Waymo” in the Uber app, but often get matched with human drivers.Some Atlantans cancel ride after ride—one reporting 20 cancellations on average—just to snag a Waymo.Waymo has only dozens of vehicles in the city now, with plans to grow to hundreds in coming years.Riders can improve their odds by staying inside the 65-square-mile service zone, avoiding highways, and riding outside peak times.As one rider put it, “The fact that it's so challenging to get has turned it into a game.”0:00 Intro with Paul J Daly and Kyle Mountsier1:08 We'll be at the NAMAD Annual Meeting next week1:45 Webinar on Dealer Reputation Tomorrow2:26 Fixed Ops Golden Metrics from Reynolds and ReynoldsJoin 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/

Join hosts Liza and Stephen Beres on this week's episode of The Underpowered Hour as they hold down the fort while Jenna and Ike explore Pebble Beach. The dynamic duo delve into the latest Land Rover news, including a special new edition of the Range Rover SV at Monterey Car Week. Find out about the luxurious features and customizations that come with these high-end vehicles. Plus, they discuss upcoming Rebel Rally preparations and reveal plans for a major announcement. Tune in to hear all about it and more from the world of Land Rovers.

Zdravo. Tokrat se ogrevamo s telovadbo iz nekdanjega vzhodnega bloka in preverimo zakaj so te osnovne vaje, ki smo se jih (vsaj mi) naučili v osnovni šoli, res najboljši življenski trik. Za boljše rezultate v pogovor vmešamo še kreatin in nekaj kapljic mistične vode v obliki “tekoče smrti”, da bodo rezultati res osupljivi. V začetku prvega poglavja nas na Madagaskarju pričakata Douglas in Mark - brez dveh Land Roverjev, brez helikopterja in z veliko količino kaosa. Za še “večje udobje” pri ekspediciji pa so poskrbeli Kitajci, ki so se v osemdesetih letih prejšnjega tisočletja na Madagaskarju učili asfaltiranja cest. Na koncu pa ugotovimo, da so vsi ti križi in težave šele uvod v to, kar nas še čaka.

Send us a textI sit down with Pete Human, the co-owner of Renedian Adventure Tours, a company that offers guided adventure bike tours across six continents, including Africa, Mongolia, South America, New Zealand, Scotland, Canada, and Japan. We discuss everything from his journey, starting with a fixer-upper Land Rover in the early 2000s, to the unique experiences on their tours. You'll hear about their wildlife encounters in the Okavango Delta, the stunning dunes in the Namib Desert, and the cultural richness of Japan. Plus, Piet shares valuable insights into the logistics and planning that go into these tours, perfect for any adventure enthusiast. Grab your favorite campfire beverage and hit the road with us!Check out Renedian's Instagram HERE!Click Here for the book, The University of Gravel Roads!Support the showSpecial Thanks to our Supporters of the community: Capri Campers- Everything you need- Check them HERE! Afuera Coffee: Use code smalltruckcampers for 10% off your next order! Torklift International is looking for product evaluators for their Apex Anchor system. To be an evaluator, send Jasmyne and email at: Marketing@torklift.com. Also, use code STC2025 for 10% off your order and check them out here! Shop all the STC Merch here, and support the channel! For the Small Truck Campers website, click here!To check out our Instagram, click here!For our YouTube Channel, click here!Join our Facebook Group here!

Dan Prosser and Andrew Frankel are joined by legendary development driver Matt Becker. After learning his craft at Lotus, where he was responsible for some of the world's great sports cars, Matt moved to Aston Martin and then to Jaguar Land Rover. Matt's career has spanned simple sports cars to ultra-sophisticated performance SUVs using the latest technologies, with GTs, luxury 4x4s and saloons in between. Having been an apprentice at Lotus as a teenager, he now has almost 500 people reporting into him. Matt reflects on how the job has changed over the years, what it takes to produce cars with world-class ride and handling characteristics, and how new technologies will make next-generation cars even better to drive.He also explains his father Roger's role as a stand-in stunt driver on a James Bond film. Use coupon code pod20 at checkout to get 20% off an annual subscription to The Intercooler's online car magazine for the first year! Listen to this podcast ad-free, and enjoy a subscriber-only midweek podcast too. With a 30-day free trial, you can try it risk-free – https://www.the-intercooler.com/subscribe/Find out more about JBR Capital here – https://www.jbrcapital.comUse coupon code Ti10 to get 10% off your Supernatural Car Care order – https://supernaturalcarcare.com/ Hosted on Acast. See acast.com/privacy for more information.

This episode is a rerelease from April 20th, 2022.Brought to you by ⁠⁠Ride iQ⁠⁠, the most innovative and productive equestrian coaching tool in the world. Start your free trial at Ride-iQ.com This episode of In Stride is sponsored by Purdue University's Online Certificate in Equitation Science. Rethink tradition and train with purpose as you explore the science behind how horses think, move, and learn. ⁠Register now!⁠ On today's episode of "In Stride," Sinead talks to Tamie Smith about her unconventional path to being a top-level event rider, the role models who have guided her along the way, recent injuries she's learning to ride with, and more.Tamie is an accomplished 5* event rider with numerous top finishes at some of the world's biggest events. Tamie: Is based out of Temecula, California (one of few top-level event riders on the west coast)Won team gold at the Pan American Games in 2019 with team USAWas the Traveling Reserve for the US eventing team at the Tokyo OlympicsHas won 10 international events with Mai Baum, and placed in the top 10 at his first CCI5*-L at Land Rover Kentucky in 2021Finished 2nd in the CCI4*-S at Land Rover in 2021 with En Vogue

Join hosts Ike Goss and Stephen Beres on this week's 'Underpowered Hour' as they dive into the latest Land Rover news, including the controversial departure of Jaguar Land Rover's Adrian Martel and the political commentary from Donald Trump. They discuss new CEO PB Balaji and classic Land Rover giveaways in Australia. Watch their movie reviews of 'Ginger Baker in Africa' and cartoons featuring Land Rovers. Finally, get a sneak peek into the upcoming Pebble Beach event, featuring some legendary Land Rover models and special guests!

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

In this episode of the Underpowered Hour, hosts Stephen Beres and Ike Goss discuss the latest news from the Land Rover world, including the breaking news of Adrian Mardell's retirement from Jaguar Land Rover after more than three decades. They speculate on potential successors and share some light-hearted ideas of their own. The duo also delve into historical Land Rover projects, specifically a small 79-inch Land Rover model from the late 1950s and early 60s that never made it to production. Ike narrates how this concept parallels the development of the Suzuki Jimny, outlining their similarities and the eventual success of Suzuki's iteration. Other significant events, such as Land Rover's participation in Pebble Beach and the sad closure of Rover Farm, are also discussed. Tune in for an enlightening discussion filled with nostalgia, historical insights, and exciting future events.

OC Rover owner Gerry Barragan is one of a kind. He was raised around an automotive shop. He was working at an early age under his father's tutelage. As his father moved to from shop to shop Gerry followed and picked up more work as he got older. At just 14 years old he was working along side seasoned automotive mechanics. First working on British cars, then Jaguars and later Land Rover. We talk about the learning process, racing, becoming an owner of his very own shop and how he guides workers.

This one starts with a dodgy lane choice, a Starbucks coffee, and a misjudged underpass. As always. I'm back in the Land Rover — which might be its final podcast outing before it finds a new home — and today's episode is a rambling, reflective road trip through customer service, creative resilience, and the rapidly growing presence of AI in our industry. The day started badly. Cold shower (thanks British Gas), broken editing software, and a head full of terabytes. But it ended with a reminder of why kindness, craftsmanship, and conversation still matter. A haircut from someone I've known for 18 years. A deep chat with the owner of Michel Engineering while he lovingly took apart my ancient-but-beautiful record deck — the very same design featured in A Clockwork Orange and owned by Steve Jobs, no less. And then... a disappointing interaction with a distracted barista and a headset-wearing drive-thru operator. Same building, worlds apart. Customer service, it turns out, is alive and well — just not always where you'd expect it. But the main theme of this episode is AI. Not the doom-and-gloom kind, but the real stuff: the tools I'm already using, how they're reshaping our workflows, and how they might be reshaping entire economies. It's not AI that's coming for your job — it's the photographer who learns to harness it. We talk about: AI tools I already use (like EVOTO, Imagine AI, ChatGPT, and XCi) Using AI as a teaching assistant, sub-editor, and productivity coach The real-world implications of AI-generated ads, coding layoffs, and what it means for creatives Plans for a new AI section on masteringportraitphotography.com And if you hang in there until the end, I'll tell you about a girl named Dory, a gutsy 12-year-old contortionist, and the new edition of Mastering Portrait Photography — complete with fresh images, a decade of stories, and a very special launch offer. So pop on your headphones, admire the wheat fields if you've got them, and come along for the ride. Spoiler: there's C3PO's eye in here too. Yes, really.  

Heart researcher Professor Julian Paton is director of the University of Auckland Heart Research Centre, as well as the national Centre of Research Excellence.

of Land Rover. They cover the surprising news that Land Rover is no longer the most stolen car in the UK, the rising cost of the base model Defender 90, and the latest technology in the Discovery, including its self-driving capabilities with a trailer. They also dive into some intriguing Land Rovers up for sale on Bring a Trailer, including a 300 TDI Defender 110 dump truck and a Camel Trophy Defender 110. Tune in for an hour filled with unique insights and some humorous banter!

OC Rover owner Gerry Barragan is one of a kind. He was raised around an automotive shop. He was working at an early age under his father's tutelage. As his father moved to from shop to shop Gerry followed and picked up more work as he got older. At just 14 years old he was working along side seasoned automotive mechanics. First working on British cars, then Jaguars and later Land Rover. We talk about the learning process, racing, becoming an owner of his very own shop and how he guides workers.

#523 20 Years On Speed. Recorded live at The Motorsport Lounge. Gareth, Richard & Zog celebrate this podcast's 20th birthday. Car chat from the crowd in the room, and on stage live sketches & music as the On Speed Band Mk2 perform Endless Road, live.

In this special episode of The Underpowered Hour, Steve Beres and Ike Goss celebrate the 45th anniversary of Camel Trophy by revisiting favorite interviews with past competitors. Join them as they discuss current Land Rover news including the new six by six Defender model and a spike in Land Rover thefts. Special guests Daphne Greene and Jim Swett share their thrilling experiences from Camel Trophy 1995, offering insights into their teamwork, adventures, and the challenges they faced. Tune in for an enthralling trip down memory lane with these Land Rover legends.

Join Steve Beres and Ike Goss as they discuss the latest Land Rover news and delve into the controversy surrounding the new Range Rover logo. They share their thoughts on the rebranding, its reception, and the implications for JLR's market strategy. The episode also covers US sales data for JLR, the impact of tariffs, and introduces Land Rover's all-black vehicle editions. Tune in for insightful discussion, humor, and tips for preparing your Land Rover for road trips.

Spike and Jonny are joined by Zack Klapman from The Smoking Tire Podcast for a three-car extravaganza, reviewing the Alpine A110, Mercedes AMG GT 63 S E Performance, and Audi A3. Highlights include Jonny's hilarious story about his misadventures in Russia with Land Rover, debates on the proper pronunciation of 'Alpine,' and strong opinions on American vs French baguettes. _____________________________________________________