Podcast appearances and mentions of Laura Thompson

As part of the US HUPO sponsored "All the Parts", Ben and Ben sat down to talk with Dr. Laura Thompson, Mystic Aquarium.keywords: exhaled breath condensate; diving physiology; decompression sickness; neuroimmune response; adaptive inflammation; Le Grand Bleu (The Big Blue; 1988)

An app that helps teachers and coaches make sports more inclusive has been awarded a grant to help it expand, develop new features, all while remaining free for users. The app, Ahei, ­has seen massive growth since it launched less than a year ago, and so-far has 5000 users across the whole country including Stewart Island and the Chathams. Teachers and coaches had wanted to make sports and activities more accessible and inclusive, but weren't sure how and this meant many children were unintentionally excluded from meaningful participation in movement. The app provides practical support, advice, and lesson planning and is the brainchild of world champion Paralympian cycling pair Laura Thompson and Emma Foy. It is one of six recipients of Ministry of Disabled People's new 'Access Activator' grants programme, which is designed to launch or boost companies that are focused on innovative ways to improve accessibility.

Subscribe to DTC Newsletter - https://dtcnews.link/signupWe surveyed 540+ DTC operators on how they plan and forecast. This episode, we break down the data and see why most brands are stuck reacting. We're joined by Laura Thompson, co-founder of Three Ships Beauty, one of the few who's figured out how to run a tight, fast, 8-figure brand without drifting into chaos, and Mike Chiasson, Senior Solutions Engineer from Keen Decision Systems, to pressure-test the Three Ships Beauty playbook against the data.Grab your free copy of the report here: https://www.directtoconsumer.co/thereactiveloopreportIn this episode:The biggest gaps in how DTC brands planWhy "revenue is a lagging indicator"The bottom-up forecasting Three Ships usesThe KPI ownership system across the whole teamWhen scenario planning is worth the time, and when it's just noiseIf you're a DTC operator past $5M who wants to stop reacting and start running a solid plan, this episode is a must listen.Timestamps0:00 Planning vs reacting in ecommerce2:03 Why most brands only plan 1–6 months ahead4:02 Bottom-up forecasting vs top-down forecasting6:06 Scenario planning and external market risks9:02 When media spend actually works harder11:01 The reactive loop hurting DTC brands14:03 Why brands over-invest in bottom funnel15:06 Weekly KPI reviews and forecasting systems18:02 The danger of reacting to noisy data20:04 Leading vs lagging indicators in ecommerce23:02 How talent impacts business performance24:58 Product launch delays and forecasting pivots26:53 Scenario planning for tariffs and supply chain risk31:55 Should brands worry about oil shocks?35:34 The biggest gap between planning and execution38:02 KPI systems that drive accountability42:16 The right way to plan for growth44:02 Why reactive brands fall behindSubscribe to DTC Newsletter - https://dtcnews.link/signupAdvertise on DTC - https://dtcnews.link/advertiseWork with Pilothouse - https://dtcnews.link/pilothouseFollow us on Instagram & Twitter - @dtcnewsletterWatch this interview on YouTube - https://dtcnews.link/video

Bill Horan talks with Laura Thompson, author of A CULTURE OF VALUES. Laura will discuss value driven leadership, the benefits of value driven leadership, how can we find out our true values and why communication is such an important part of understanding and sharing our values.

What a delight to talk to laura thompson about Agatha Christie. Above all, this episode was fun. Laura really does know more than anyone about Agatha and we covered a lot. What did Agatha Christie read? What did she love about Shakespeare? Was she pro-hanging? Why so much more Poirot than Marple? Why was she so productive during the war? We also talked Wagner, modern art, the other Golden Age writers, nursery rhymes, TV adaptations, poshness, nostalgia, Mary Westmacott, and plenty more. TranscriptHENRY OLIVER: Today I am talking to the very splendid Laura Thompson. All of you will know Laura's Substack. She has also written books about the Mitfords, heiresses, Lord Lucan, many other subjects, and most importantly today, Agatha Christie, who died 50 years ago. And there's a new book coming from Laura about Agatha Christie's 1926 disappearance.Laura, welcome.LAURA THOMPSON: So lovely to be here, Henry. I'm such a fan of your Substack, as you know.OLIVER: Well, same. Same. This is a mutual admiration call.THOMPSON: Well, thank you. Well, that's what we like.Christie's Favorite WritersOLIVER: Now tell me, what did Agatha Christie like to read?THOMPSON: Oh, a lot the same as us. I discovered she was a huge fan of Elizabeth Bowen, as we are. And Nancy Mitford, Muriel Spark. But her big love really was Dickens. She absolutely adored Dickens. I mean, she grew up in a house full of books, you know, and she wrote a screenplay of Bleak House for which she was handsomely paid. And it was never—I know, don't you long to know what that was like? Can you imagine—OLIVER: We've lost it? We don't have the typescript?THOMPSON: I've never seen it. I mean, maybe—I don't know whether it exists somewhere. But I just wonder how she tackled it, what she did. But yes, so that happened. And of course, Shakespeare, as we know from her books, which are full of subliminal and—I mean, you kind of notice them, but you don't have to.OLIVER: Yes. There's Shakespeare in every book?THOMPSON: No, but it's there, particularly Macbeth, which I suppose figures.OLIVER: Yeah.THOMPSON: Like The Pale Horse is completely Macbeth themed. And when I was a kid reading them, I think she really—Tennyson she uses a lot—she affected my reading in a good way.OLIVER: She sent you back to Shakespeare and the poets?THOMPSON: Well, sent me to them as a kid, probably. And also, there's a lot of Bible in her books, as I'm sure you've noticed.OLIVER: Yes. Yes.THOMPSON: Very easy facility with quoting the Bible.Christie and ShakespeareOLIVER: Now, what did she learn from Shakespeare? Because she clearly knows the plays in detail. She sees them a lot. She reads them. She and he are, I think, quite good plotters.THOMPSON: Is she even better than he is?OLIVER: Well, let's not get into that. But there is a sort of, in a funny way, a kind of affinity between them as writers.THOMPSON: That's so interesting.OLIVER: What do you think she learned from him?THOMPSON: Tell me how you—how you see that.OLIVER: Well, do you know that Margaret Rutherford adaptation, which probably you don't like and I do—THOMPSON: Go on.OLIVER: It's called Murder Most Foul, isn't it?THOMPSON: Yes.OLIVER: And there's something about the way that they can both walk the line between the sort of dark and deadly and the histrionic. Margaret Rutherford can't walk that line, but Agatha Christie can, right?THOMPSON: That's really interesting.OLIVER: And Miss Marple could come onstage in a couple of the plays. She's not so far off from being a Queen Margaret or some—in her angry moments maybe, do you think?THOMPSON: More rational, maybe.OLIVER: Much more rational.THOMPSON: Not so mad. Well, she's not mad, Margaret, is she? But she's upset.OLIVER: She starts off as a much sort of nastier character—Murder at the Vicarage, right?THOMPSON: Yes, she does. She was more acidic and then gradually—OLIVER: Waspish.THOMPSON: Waspish, and sort of mellowed. I see what you mean. And almost in the way that she calls herself—although that's obviously not Shakespeare—calls herself Nemesis.OLIVER: And the sense of atmosphere.THOMPSON: Yes, and the way they're structured. That's not necessarily just true of Shakespeare, but there is this sort of act three entanglement and this beautiful act five resolution that goes on with a soliloquy, I suppose.OLIVER: And some people think they both get confused in act four, but that's obviously not true, that this is the real mess of the plot. I think she might have learned quite a lot from Shakespeare, right?THOMPSON: That's really interesting. But, you know, the way she writes about Shakespeare in her letters to her second husband, Max, because when she was living in London during the war and almost at her most productive—I mean, her productivity levels are insane. And hitting every ball for six, really, you know: Towards Zero, Five Little Pigs, a couple of Westmacotts, which I'm sure we'll talk about. But she spent a lot of time going on her own to see Shakespeare.She's very—I hope I'm right in saying this—she's very sort of Ernest Jones [CB1] in her approach. She doesn't regard them so much as the products of words on a page; she regards them as rounded characters. Why were Goneril and Regan the way they were? What's wrong with Ophelia? You feel like saying, “Well, whatever Shakespeare wanted it to be,” but she sees them in that way. And Iago particularly—OLIVER: Yes.THOMPSON: —is the one that gets her. Yes. In one of her, I better not say which, but a major, major novel.And the book that she wrote under the name Mary Westmacott, The Rose and the Yew Tree, which I think might well be her best book of all. I think—well, I'll just say she wrote these six books under a pseudonym, Mary Westmacott. People call them romantic novels; that's sort of the last thing they are. And they're very, very interesting mid-20th-century human condition novels, and they're full of lots of stuff that she had to distill for the detective fiction. And she talks a lot about Iago in The Rose and the Yew Tree really interestingly, I think.Christie on Shakespeare?OLIVER: Now, Max said she should just write a book about Shakespeare, all this Shakespeare all the time. But she didn't. Why?THOMPSON: No. I don't think she ever liked being told what to do.OLIVER: [laughs]THOMPSON: His letters to her are quite annoying, aren't they?OLIVER: Yes, yes. I've only read what's in your book, but yes, I didn't warm to him.THOMPSON: I'm glad because people do. He gets a really good press even though he was unfaithful. But it worked, the marriage, because they both got what they wanted from it. But he said that, yes, and she says, “Oh no, they're just thoughts for you.” I don't think she would've felt the need, somehow. I think she liked saying things in her own more oblique way.OLIVER: Save it for the novels.THOMPSON: Yes, she's a great mistress of the indirect, I think, really. The way she writes about Macbeth in The Pale Horse, which I think is a really underrated novel, including thoughts on how it should be staged, which are really interesting and very, very good. I think she would've preferred to do that and use it to her ends.And of course, she has an incredibly powerful sense of evil, which I suppose is also in Shakespeare. Hers is a Christian sensibility, I mean, no question. People never talk about that, but it really is.OLIVER: Was she pro hanging?THOMPSON: Well, I think she took a kind of utilitarian approach that the innocent must be protected. And she took a view that if you've killed once, it becomes very easy to kill again because something in you has shifted, so you become a danger to the community. So I suppose in that sense she was.I mean, Miss Marple was. She's quite—“I really feel quite glad to think of him being hanged.”OLIVER: It's one of her most striking lines.THOMPSON: It is, isn't it?OLIVER: Yes.THOMPSON: So I suppose she was. I mean, I suppose she was. You know, she's very modern, she's very subtle in her thinking, but at the same time, she is a late Victorian product of her society. Yes.Dickens and Christie's FamilyOLIVER: Now, you mentioned this Bleak House script. She loved Bleak House. Do we know what she loved about it? It's obviously the first detective novel. Are there other factors?THOMPSON: You are going to know—this is when I'm going to start coming across as an idiot. Is it written before The Moonstone? Yes, of course it is.OLIVER: I think so. Yes. Yes. It's the first time there's a police detective in a major English novel.THOMPSON: Okay. I think she—do you know, this is a really good question. I don't actually know why she loved Dickens so much. She grew up—she had that rather intriguing upbringing whereby she had two much older siblings, a sister who was 11 years older, a brother who was 10 years older. Father died when she was 11.So she grew up incredibly close with a really rather intriguing mother, Clara. This is in the house at Torquay. And her mother encouraged her in a way that, it seems to me, quite unusual for the time and for the class to which she belonged. Because it was never deemed that it would interfere with her marrying and leading a more conventional life. But she always wanted to express herself creatively. And I think her mother possibly was a frustrated creative. I don't know. She had a lot of go in her.And whether it was just something she read with—I think anything she did at an early age with her mother would've made a huge impression on her. I think what you read when you're that age, you never quite—I never read Dickens at that age, so I've never quite got the habit.OLIVER: But if she's born in 1890, presumably her mother is just about old enough to have been alive when Dickens was alive. And so she's got a somewhat direct—THOMPSON: Yes, she was.OLIVER: You know, it's sort of back to the original culture of it, as it were.THOMPSON: Yes. Isn't that extraordinary?OLIVER: Yes. Yes. It's crazy to think. So she must have taken it in maybe in a more original way, somehow?THOMPSON: Possibly. Certainly Tennyson, I get that feeling, because her mother wrote this rather leaden sub-Tennysonian poetry. [laughter] It's like Tennyson on the worst day he ever had, but worse than that.OLIVER: But worse, yes.THOMPSON: Yes. And she wrote poetry like that, the mother, which is really rather sweet and touching to read. And obviously she would've been alive at the same time as Tennyson. So, yes, I'd never, ever thought of that before. Isn't that extraordinary? I mean, they went to see Henry Irving.OLIVER: Yes.THOMPSON: Yes. And yet she feels—it just amazes me, this—so I'm leaping slightly here, but this 21st-century halo of cool that she has around her, Agatha Christie. [laughter] I know, it's awful in a way, but the way she can be reinterpreted—that is a bit Shakespearean, in a way.I don't mean to make extravagant claims, but there's a sort of translucent quality to what she writes that means that people can impose and pull it and twang it and know that she won't let them down, as we are seeing constantly at the moment.Art and MusicOLIVER: Yes. No, I agree. Other arts—we know about all this, she loves reading. What music did she enjoy, for example? Did she like paintings?THOMPSON: Yes, she loved paintings. She liked modern art. She was painted by Kokoschka. It's very good. And she writes about modern art. In Five Little Pigs, the painter in that is a modern artist.And then music was her grand passion. I mean, music was her original career choice, as you know, of course. She must have had a good voice. She thought she could make a career of it. And she could play the piano. Beautiful piano at Greenway, it's still there.And they used to do this thing—I think it's a lovely idea—as a family. They would fill in what they called the book of confessions, and it would be questions like, “What is your state of mind? If not yourself, who would you be?” And at the age of 63, which is the last time she filled it in, she wrote, “An opera singer.” So that was still what she would've dreamed of doing. She loved Wagner very, very deeply.OLIVER: Okay. Interesting.THOMPSON: And there's a Wagner theme in a very late book, Passenger to Frankfurt, the one that everybody hates except me. And music, I mean, as a girl when—so her voice wasn't strong enough for opera. I think her ultimate—same as I grew up wanting to be a ballet dancer, I think her ultimate would've been to sing Isolde at Covent Garden.And in some of her short stories and in her first Mary Westmacott, which is called Giant's Bread, which is about a musician—and she really inhabits this character, Vernon, and it's all about modern music. And somebody who knew about this stuff, which I don't, told me, “No, she knew. She knew what was going on. She knew about the trends.” This is in the late twenties.And she always went to Beirut, and that was her real, real, real passion. She was one of those restlessly creative people. And her mother, God bless her, encouraged it.Christie's UniquenessOLIVER: What is it that distinguishes her from the other detective fiction writers? Because she doesn't, to me, feel—she's obviously part of this whole generation, this whole golden age, whatever you want to call it, but she doesn't feel the same as them somehow.THOMPSON: No.OLIVER: What is that?THOMPSON: Do you think it's her simplicity, that distilled simplicity that she has? She doesn't write linear; she writes geometric, I always think.OLIVER: Tell me what you mean.THOMPSON: Well, if you think of a book, the one I admire the most, as I constantly go on about, which is Five Little Pigs—you think about the amount of stuff that's in that book. It's a meditation on art versus life. The solution is unbelievably intriguing, I think. There's a whole family psychodrama in there. And every move of the plot, she's also moving on a—every move of the plot is impelled by a revelation of character. So plot and character are utterly intertwined, distilled together.I don't think any of the others can do that. I think Dorothy Sayers would take twice as many pages. And she'd dot every i and cross every t, and she couldn't bear loose ends or anything, could she? And she liked to reveal her knowledge of other things, almost to—I think the others like you to know that they're a bit better than the genre, maybe. Their detectives are superhuman, almost; wish-fulfillment man, almost.She doesn't do that with Poirot. He's just pure omniscience, really, plus a few tics and traits and, you know, mustache. I think it's that distillation and simplicity and the way she inhabits the genre in a way that the others don't quite do. And at the same time, she's redefining it from within.OLIVER: There's something as well, I think, about—she gets past the kind of Sherlock Holmes model in a different way. They still all have a bit of an overreliance on that, maybe.THOMPSON: Yes.OLIVER: Whereas Poirot in, what is it? In something like, is it Murder in the Mews? Very sort of Sherlock and Watson—THOMPSON: Yes.OLIVER: —kind of dynamic. But within, I don't know, two or three novels, that's gone, and he's Poirot as we know him, as it were.THOMPSON: Yes, yes.OLIVER: And she kind of, as you say, makes it her own thing and goes off in new directions.Christie and the TheaterTHOMPSON: Yes. She's sort of conceptual and the others aren't quite, I think. She doesn't do—she does something completely different with the whole concept of what a solution is, it seems to me. She doesn't—it's not Cluedo, is it? It's not, there's six of them, and eventually it has to be one of them; however many tergiversations or however you say that word, you sort of know that. Whereas with her, it's: it's nobody, or it's everybody, or it's the policeman, or it's a child, or there's something bigger and bolder going on.And she writes—I think she writes very theatrically. I think she writes scenically. I think she's incredibly good at character and action. That scene where you know the girl's a thief because Poirot leaves out 23 pairs of silk stockings, and he goes back in the room and there's 19 or something like that, tells you everything. It's all in there.OLIVER: The solution to 4.50 from Paddington, which we shan't reveal, but—THOMPSON: That's Cards on the Table. But what I mean is, she's given us a little scene that tells us all we need to know about that person, really: a sort of timid thief who can't resist—OLIVER: Yes, but that's what I'm saying. At the end of 4.50, the solution is staged.THOMPSON: Oh, sorry. Yes.OLIVER: It is literally a little re-creation of the drama, if you see what I mean.THOMPSON: Yes, I do. Sorry, Henry. Yes, absolutely.OLIVER: No, no. We're crossed wires.THOMPSON: Yes, yes, yes.OLIVER: But she is very theatrical, yes.THOMPSON: No, you are absolutely right. That's a reenactment.OLIVER: Of something that was seen almost like in a—you know, the whole thing is very—THOMPSON: Yes, yes. Well, she was a great—I mean, obviously Shakespeare, but she was a great lover of the theater as a medium. And of course, she wrote plays, as we know, which I think are far weaker than her books, myself.OLIVER: Even The Mousetrap?THOMPSON: Especially. [laughter] When did you last see it? Or have you not—OLIVER: I've seen it once. I've seen it—you know, I don't know, before I had children, a long time ago. And I thought it was great. It was a lot of fun. The ending of act one, when someone opens a door and they say, “Oh, it's you.” It's very dramatic moments. You don't like it?THOMPSON: No, I think you're right. I wouldn't mind seeing it done really, really well. There's something strong at the heart of it, that theme that haunts a lot of her books about what happens to children who are unwanted.OLIVER: Yes.THOMPSON: Which is in loads of her—no, not loads. It's in Ordeal by Innocence. It's in Mrs. McGinty. That's, I think, because that happened to her mother. Her mother was given away as a child. Her own mother was a poor widow and gave up her daughter to be raised by her rich sister, which is not—it's not abandonment, but I think—OLIVER: Well, yes.THOMPSON: — it's not great. And I think all these things were absorbed by Agatha as a child. She grew up in what we would today call a house of—I hate this—strong women. I hate that “strong woman” thing, but they were strong women. Her mother was very, you know, as we've said, a sort of driving little person. And the rich grandmother, the poor sister, the dynamic there, they both fed into Miss Marple.And then her older sister, Madge, who was a big personality and actually had a play on in the West End before Agatha did, which I've always thought was extraordinary, just to write a play and have it on in the West End in 1924.And the men were—the father was feckless and charming and a rather grand New Yorker, he grew up as, and then settled in Torquay. And the brother was the Branwell Brontë. [laughter] He ended up a drug addict, which is also a type that feeds into her fiction: the man who could have made something of his life and goes wrong.The TV AdaptationsOLIVER: So all this theatricality in the books is obviously why she adapts so well to TV, and again, a lot of the others don't.THOMPSON: Yes, that's true.OLIVER: How famous would she be now without the TV adaptations?THOMPSON: Well, by 1990, so the centenary, she was a hell of a lot less—and that's really when the Poirots got going, which she never wanted. She never wanted—she didn't really want Murder on the Orient Express. It was only because it came via Lord Mountbatten. I don't know. I don't know because I think they're mostly not very good. I don't know what you think about the adaptations. But maybe that's deliberate, that they're less—if they drove you back to the books, you'd probably get quite a pleasant surprise.OLIVER: It's hard for me to say because I saw them all more or less after I'd finished reading her.THOMPSON: What did you think?OLIVER: I love Joan Aiken—not Joan Aiken, what's she called?THOMPSON: Yes, Joan Hickson is marvelous. Yes, absolutely.OLIVER: Hickson. I think she's just perfect because as you say, the simplicity, the not overstating. The “Pocketful of Rye” episode where she turns up and quotes the Bible, and the vicious older sister is there, and they have that moment. It's all so cleanly done.THOMPSON: Yes, I agree.OLIVER: David Suchet, I quite like him. I think he has those wonderful moments. “I cannot eat these eggs. They are not the same.” I think that's very good. It's very funny, you know, he gets it.THOMPSON: You prefer him in spats and art deco mode to when he became—he became like a de facto member of the House of Atreus by the end, hadn't he? It had gone very, very—OLIVER: I mean, I certainly didn't watch them all, no, no.THOMPSON: No. Well, I sort of had to.OLIVER: Yes, you did.THOMPSON: But I could never get through those short story ones. I don't think I've ever got—OLIVER: The moral sort of doom of it all, yes.THOMPSON: Well, the early ones, when they always had—you could see they'd hired a car for the day. [laughter] And I don't think I've ever got to the end of one of those.But I think—sorry, going back to your question, I think they probably did make a massive difference. You know, they're really, really popular. And whether she would have—what you think her—she might be read as much as somebody like Sayers if it weren't for all those adaptations. But then the fact of all those adaptations tells its own story in a way, because that wouldn't happen to one of the others, as you rightly said.Resurgence and PopularityOLIVER: No, they don't have that quality. And also, she was bigger than them. That's why they picked her, because she was bigger than them anyway.THOMPSON: And simpler. Because when I used to read them at university between the pages of Beowulf or whatever, like porn, [laughter] it was a bit mal vu. You read her for entertainment. But you certainly—I don't think—she's always been admired by a certain kind of French intellectual, hasn't she, for that subtextual quality that she has, that sort of fathomless quality that she has.But when I researched that biography, which I started in 2003, I can remember going on the radio. And names will not be named, but I was like a figure of fun with a couple of other detective writers, quite well known, who just sort of openly mocked me for taking her seriously and more or less said, “Oh yeah, we love her, but she's terrible” kind of thing. “Why are you taking her seriously?” I mean, it was regarded as a bit of a joke to take her seriously.I'm not saying I changed the game or anything like that, but I think there must have been a movement around that time in the early twenty-naughties—whatever the damn thing, decade's called—to start seeing that she is an interplay of text and subtext, facade and undercurrents, and these powerful foundations that underpin her books. Murder on the Orient Express is, you know, “Does human justice have the right to exert itself when legal justice has let it down?”There are these very strong—I think this is part of why she's survived the way she has. We intuit powerful truths underneath the Christie construct, if you like. I always say she's not real, she's true. I think she's incredibly wise about human nature, possibly more than any of them.You take a book like Evil Under the Sun, and there's a femme fatale who's murdered. “Oh, the femme fatale. No man can resist her.” Turns out she can't resist men. She's prey; she's not a predator. And of course, women who are so dependent on their looks and so on, that is what they are. They are prey. They're not predators. They're very, very vulnerable. Just a really small thing like that. And I just think, oh, you're very—there's so much easy wisdom in there somehow.And she deploys it perhaps differently—I mean, Ruth Rendell is wise, but it's very, “I am wise and you're going to pay attention to me.” You know what I mean? It's all very, “I'm very dark and very wise and very,” you know. I love her, but everything's so easy with Agatha. It's so, to coin a phrase, two tier. You can read them and have fun with them. You can read them and there's so much stuff going on underneath, and yet she presents this smooth face. I don't think any of the others are quite that resolved, if you like.Self-AdaptationsOLIVER: Now, you wrote that her own stage adaptations of The Hollow and Five Little Pigs lack the subtlety of the original books, quote, “almost as if Agatha herself did not realize what made them such good books.” How much of her talent do you think was unconscious in that way?THOMPSON: Yes. That's such a good question. I do think that, about those plays, it could have been that she just thought, “That's not what my audiences are going to want from me. They're just going to want to be entertained by”—we know she can do the other thing because of her Mary Westmacott books, where everything is laid out. They're not distilled at all; they're quite the opposite.I think they must have been such a pleasure for her to write because she didn't have to constantly—they're unresolved; they ask questions that don't have to be answered. She could have done that with those plays, I'm sure, but I think she would've thought people aren't coming to see them for that. I think she had a very good opinion of herself, in the best possible way.OLIVER: Hmm.THOMPSON: Like I said to you earlier, she didn't take a lot of notice of anything anybody said to her. Because it is like writing this other little book, the one I've just done about 1926. She was very acclaimed right from the start. I didn't emphasize that enough in the biography. And she was really recognized as very special right from the start.And I think it's extraordinary to me how—it's so difficult for us today, isn't it? We're so at the mercy of “That won't sell, don't do that, blah, blah, blah.” She really did not just plow her own furrow, but create that furrow in a way that you can only compare with, like, Lennon and McCartney. Or whether the time was absolutely right that they let her run, they trusted her to do what she wanted, and because she had the gift of pleasing readers . . .You do really feel, although those books are very tight and taut, you do feel an instinctive ease in what she's doing, an instinctive sort of—there's a kind of liberated—which sounds perverse because they are so controlled, the books. But I always feel she's doing exactly what she wants to do because she knows what it is and she knows how to do it. Because I think, would she be amazed that you and I are having this conversation now? I don't know that she would be, really. What do you think?OLIVER: No, I agree with you. I think she had what Johnson said, the felicity of rating herself properly. I think she knew she was really good.THOMPSON: You might know he'd say it right.OLIVER: Yes. [laughs] But there's a—I think there must have been something about—I think it's in Poirot's Christmas, one of those, where someone gets killed in the night in their bedroom, and they go up. And one of the women says, “Who would've thought the old man had so much blood in him?”And the quotation just sort of occurs to—I think there's quite a lot of that in Christie, right? Things are coming up and it fits. And she's good enough to run on instinct at times.THOMPSON: That's right. That's it. Exactly. That's absolutely right. Like the way she quotes from the—yes, I love the bit when she quotes from the Book of Saul in One, Two, Buckle My Shoe, which is really quite a profound novel about whether—I mean, it's terribly timely—whether it's better to be run by a corrupt capitalist or to let in the radicals. And as I said in the biography, the corrupt capitalist wins on points. But then another element enters, which is what power does to people. And that's when she quotes from the Book of Saul.And it's just like you said, this—an instinctive that she—I do always feel her as an instinctive writer, even though—her notebooks are intriguing because obviously some plots she really has to work away at. And yet they feel felicitous. A coup like The ABC Murders, and she's really—that went through lots and lots of iterations. But what she'll often do is scribble down a line of dialogue, a line of “There they are.” It's the whole—it's not bullet points, which is a loathsome concept. It reminds me of a bee going from flower to flower and knowing exactly which—and she's got this gift of knowing what flowers we're going to need.I sometimes fear I overdo it. I don't want be like one of those people who's writing a PhD on, what was the thing I said on Substack, gynocracy in St. Mary Mead or whatever. It's not—I do think that's a bit overdone these days, the rummaging in the subtext, because she's an interplay. And that's why I write that chapter in the book called “English Murder,” which is about the facade, you know, “smile and smile and be a villain.” And there's nothing more interesting. There's nothing more interesting than murder among classes who are trying to cover things up.And she does that—that's at the heart of golden age murder, I suppose. And I just think she does that better than anybody because she's so all the things we've been talking about. She's so distilled, she's so simple, she's so smooth, she's so instinctive. And she's doing it the way she wanted to do it because of your wonderful Dr. Johnson quote. She knew not to take notice of other people, including her—Quick Opinions on ChristieOLIVER: Should we have—THOMPSON: Yes. Go on.OLIVER: Sorry, sorry. Should we have a quick-fire round?THOMPSON: Please.OLIVER: I will say the name first of a few of her books—THOMPSON: Oh, god.OLIVER: —and then a few other detective writers, and you will just give us your unfiltered opinion: good, bad, ugly, indifferent.THOMPSON: Okay. What fun.OLIVER: You can “nothing” them if you want to.THOMPSON: Okay. [laughter]OLIVER: Hallowe'en Party.THOMPSON: Underrated. Very interesting on sixties counterculture and the effects of societal breakdown, et cetera. What do you think?OLIVER: I think it's a real page turner. I remember reading that for the first time. I loved it. Yes. Nemesis.THOMPSON: I can't keep saying the same thing. Underrated. [laughter] Very interesting philosophy of love in that book, I think. I think it harks back to her first marriage. However badly it turns out, it's better to have experienced it. It's quite a mournful novel.OLIVER: The Mr. Quin—THOMPSON: Oh.OLIVER: Oh, sorry.THOMPSON: No, no. Sorry. You carry on. Marvelous. So inventive, don't you think? Such a clever character.OLIVER: Why didn't she do more of him?THOMPSON: Yes, that would've been good. And she was always interested in the commedia dell'arte. She wrote poems about it as a girl. And the concept of Mr. Quin, yes, as this sort of evanescent figure who's also a moral force, isn't he really? Or—yes, I wish she'd done more. They're marvelous.OLIVER: Towards Zero.THOMPSON: Oh, top notch, don't you think?OLIVER: One of the best.THOMPSON: Yes, I agree. Frightening motive. Very Ruth Rendell.OLIVER: It's very distinct in her. I haven't read all of her novels, but it's very distinct.THOMPSON: But the plot is, again, typical of her because it redefines the word contingent. [laughs] I mean, Dorothy Sayers would be having palpitations. She's very bold and grand like that. “Oh, there's a loose end. Oh, who cares?” You know, I mean, it's so—it just drives along that book, doesn't it? Yes. But I agree with you, one of her best.OLIVER: Death on the Nile.THOMPSON: Quite moving, I think. I think it's one of those ones from the thirties that, again, is talking about love in a way that—I think it just strikes a personal note to me because she was very in love with her first husband, Archie Christie. And he did fall in love with another woman, and it did cause her extreme pain that some people said to me she never quite got over.And I feel that a little bit in that book. There's a shadow of something quite powerful in that book, I think. Again, very, very loose and lovely plot, but powerful. Would you agree? Very good on the place as well, I think, Egypt.OLIVER: I love it. I think the solution is great.THOMPSON: Yes.OLIVER: And it makes a really good film.THOMPSON: It's a great film, yes. Wonderful film.Other Mystery WritersOLIVER: Yes. Okay. A few other detective writers: Michael Innes.THOMPSON: You've got me. I haven't read him. Should I?OLIVER: Oh, I think you will like him. Yes. Try Hamlet, Revenge!THOMPSON: Okay. Okay. Oh, I like it already.OLIVER: Yes, yes, yes. Oh, this is exciting. Gladys Mitchell.THOMPSON: Can't get into her.OLIVER: No.THOMPSON: What do you think? Should I try a bit harder?OLIVER: I read two. I thought they were good. I was not intrigued.THOMPSON: No, somebody told—OLIVER: The ones I read—Spotted Hemlock is a wonderful, like, wow, that's great.THOMPSON: Okay. Okay. Somebody said to me, I know she really—no, I didn't—I read it in a book that she really hadn't liked Agatha Christie, but you know, who knows? All that Detection Club rivalry, you can imagine. But okay, Spotted Hemlock—if I'm going to read one, try that, yes?OLIVER: Yes, that's a great book. Margery Allingham.THOMPSON: Kind of love her, but I never understand her plots. I always feel I'm in a bit of a fog, but she's quite a good writer. Do you think? Or what do you think?OLIVER: She's good at the fog. She's good at that sort of whirligig sense that there's a lot going on—THOMPSON: Yes, whirligig.OLIVER: —and you've got to get to the end before they do, kind of thing.THOMPSON: Also, she had a pub in her sitting room. Now, I like a woman who has a pub in their sitting room.OLIVER: [laughs] E. C. Bentley.THOMPSON: You've got me again, Henry.OLIVER: Oh, The Blotting Book mystery. You'll like this.THOMPSON: Okay. Okay.OLIVER: The other one is not so good, but you'll like that a lot.THOMPSON: Okay.OLIVER: Edmund Crispin.THOMPSON: Didn't get on with him.OLIVER: Why not?THOMPSON: Don't know. Don't know. It sounds like I don't read the men, doesn't it? Which is not the truth at all.OLIVER: I think that's fair enough, isn't it?THOMPSON: Well, I don't know. I don't think anyone's ever come up with a really good reason why women have shone so brightly in this genre. I don't know. Why didn't I—I read that one, the toyshop one [The Moving Toyshop] or whatever. I don't know. I just didn't get on with it.OLIVER: Too glib?THOMPSON: Possibly.OLIVER: Bit flippant, bit sort of funny-funny?THOMPSON: Possibly. I just couldn't quite get hold of it in some way. I don't know.OLIVER: I quite like Edmund Crispin, but I do think he's got a bit of a “he's a very clever boy” about him.THOMPSON: Maybe that's what it was. Maybe that.OLIVER: Something, yes. G. K. Chesterton.THOMPSON: I haven't read Father Brown. Oh, this is awful, isn't it? I'm starting to sound like a radical feminist by accident.OLIVER: [laughs] Maybe that's what you are, Laura. Maybe you just need to admit it. [laughs]THOMPSON: No, it does. It sounds really bad because I do really love almost all the women. I just, I don't know why I haven't read him.Christie and NostalgiaOLIVER: Was Agatha a nostalgia writer?THOMPSON: No, I don't think so. I don't think so. I don't think anyone who was a nostalgia writer would've written At Bertram's Hotel, which is an entire spin on the riff of nostalgia. Really clever. I think that's such a clever book. The way she traps us in her golden age, you know, this phantasmagoria of the re-created golden age. And then she says, “Ha, really fooled you.”I've written about this. I think she moved with the 20th century far more than is realized. I love those Cold War novels she writes about her dislike of ideologies. I love her postwar books about the fragmentation of the hierarchical society. I think she's—well, she's an incidental social historian, as are, I think, P. D. James and Ruth Rendell, but they're much more underlined about it. Again, I'm intrigued what you think. Do you think she is?OLIVER: I think there's definitely some quality, particularly to the Miss Marple stories—as you say, the social history sort of becomes a way of preserving something that's disappearing. One of them, written in the sixties—you can tell me which one—it opens with that description of all the new houses in the village and the mothers who give their children cereal for breakfast. And what sort of a thing is that to give a child? They should have bacon and eggs. Bacon and eggs is a real—you know, and she does have a real something heartfelt and real sense that this part of England is going, and this new thing is coming in.THOMPSON: That's true. That's absolutely true. That's The Mirror Crack'd. And it's—OLIVER: The Mirror, yes, yes.THOMPSON: Yes, and that whole thing of Mrs. Bantry's house has now been bought by a film star and blah, blah, blah. Yes, no, you are absolutely right. I didn't think hard enough before I answered your question.OLIVER: But no, what you said is also true. I can't sort of work out to what extent she regrets it, to what extent it's just useful material for her, you know?THOMPSON: Both. I mean, some of her late books, including Endless Night, I think, which is an incredibly modern book—that whole “me, me, me” culture of “I want, therefore I will have now,” which is written when she was quite an old lady. And then a book like Passenger to Frankfurt, which is—it's a bit sub–Brave New World, but it's very honest and pessimistic about a future—well, the one we are living in, really—full of fear and uncertainty and almost dystopian.She was a realist. You know, she is Miss Marple in a lot of ways. She was a realist in a way that I think a lot of us would find it difficult to be. And her American publishers were often—would sort of say, can she tone this down? Can she not have a young person who's completely evil? Readers want to know, is she going get any therapy? [laughter] And it's so true. There's quite a lot of that going on.She's very clear-eyed. So if she—I'm a bit nostalgic for Blur, do you know what I mean? I mean, you can't help it, in a way, like that brilliant example you give at the start of The Mirror Crack'd. But I would say her image is quite at odds with the reality of her in that way. But the image—OLIVER: And the adaptations don't help with that.THOMPSON: No. No. But at the same time, that Christie image, you know, the gentlewoman, the tea or the eternal bridge party, blah, blah, blah, that has a huge power of its own. So just being too iconoclastic about her, I think, is also a lie. Because I think, again, it's that interplay. She used the image, and the image—I hate the word cozy. I loathe the word cozy, but there's no denying that any book of that kind does have that quality. So I suppose even that's nostalgic in a way.Christie's PoshnessOLIVER: In a way, yes. How posh was she?THOMPSON: Good question. I've been thinking about that a lot. Quite, I would say. Quite grand, with that confidence. Her father really was—as I said, he was a young blade in New York dancing with Jennie Jerome and blah, blah, blah. And then it so happened that he ended up in Torquay, which of course then was very posh. And the fact that when she disappears, she disappears to Harrogate, [laughs] which is like the Torquay of the north.I remember her grandson saying to me, “She dealt with her literary agent. To her, he was staff.” You know, that kind of thing. Her sister, there is a—well, her sister ended up very grand indeed with a huge house up in Cheshire.I think she just had that internal confidence, really. She wasn't—and that there wasn't much money. I mean, there was very little money when she was growing up, as of course you know, but that didn't matter. I mean, her voice is insane. Her voice is, [affecting a posh voice] “Oh, it's lucky it just happens.” [laughter] But yes, there's a part of her that is real late Victorian upper middle class that, again, underpins her books.It's amazing really how broad-minded and cosmopolitan she was. But possibly, I mean, possibly that does—she was—you know, when she disappeared, she was described in foreign newspapers as an Anglo-American, the embodiment of Englishness, and that's how she was described. And then of course she was genuinely cosmopolitan in her love of travel and her love of other cultures and all that obvious stuff. Yes.Inspirations for Miss MarpleOLIVER: How much of her grandmothers is in Miss Marple?THOMPSON: Quite a lot, I would say, particularly the—OLIVER: Drawn from life?THOMPSON: Well, in an essential way not, because Miss Marple has no real experience of life in that way. We're occasionally told about some chap who came calling who wasn't suitable or whatever, but she's almost defined by nonexperience of life in a sense, but observation of life. She's an observer. She's not an outsider in the way that Poirot is. She has a place within the social hierarchy and whatever, and that village has a reality to it. And the way it changes has a reality to it. But she is defined by being an observer, I would say.But Margaret Miller, who was the rich grandmother, who is the one who had the big house at Ealing and was—you know, she's the one who would go to the Army and Navy stores and all that stuff that's in At Bertram's Hotel. She was—there's a lot of her in Miss—I think, as I say in the book, she grew up with the sound of female wisdom in her ears. You know, her grandmother was the sort of—if she'd seen her up in Harrogate, she would've known exactly what was going on. You know, one of those kind of women who could spot an affair at a hundred paces, just a wise sort of woman, worldly, worldly woman.And Miss Marple is worldly in her thinking, but not in her experience, particularly in a book like A Caribbean Mystery, which I think is—she's a real sophisticate, Agatha. I mean, I'm reading The Hollow again at the moment. And it's really astounding to me how there's a love affair at the center of it with a young woman who's kind of a self-portrait and this married man. And not only, there's not—it's not only nonjudgmental; there's literally no concept of judgment being in the vicinity. It's really, really sophisticated, grown-up stuff, I think. And again, I think that's maybe not recognized about her that much.Nursery RhymesOLIVER: What are the importance of nursery rhymes to her?THOMPSON: Yes, that's interesting. They're part of that distilled quality she had, I suppose, that really simple ability to catch hold of something that is simple and familiar in itself and then subvert it. There's books where she—I don't think she needs it in Five Little Pigs. I think the book is almost too good for that.But is it not to do with that—like her titles, which are really, really simple with a faint frisson of the sinister about them. Is it not that ability she has to catch, to take something really, really simple and subvert it for her own ends? What do you think? Do you think that's right? Or do you think it's something more than that?OLIVER: No, I think the simplicity is the point, and I think it probably gives her a way of talking, of showing how fundamental the wickedness is. And as you say, the children can be evil, and it's part of the darkness in a way, but it gives the appearance of innocence and, oh, One, Two, Buckle My Shoe? You know, children do this. And so it leads you through and makes it worse somehow. [laughs]THOMPSON: Yes. Exactly. Exactly. But I know I've—how many times have I said the word simple? But I really do feel that's the heart of her. And I also feel it's the heart of why she was misunderstood when I was growing up reading her because it was mistaken for simplistic.Wartime ProductivityOLIVER: Why was she so productive during the war? I mean, there were four books one year.THOMPSON: Yes.OLIVER: And as you say, they're some of the best. I mean, what is it about the war that gets her so busy?THOMPSON: Well, she was on her own, which she had never been, really. Well, obviously she divorced her first husband in 1928. So there's a couple of very bleak, dead years before she met her second husband and married him in 1930. But she wasn't completely on her own because she had her friend Charlotte Fisher, who was a sort of secretary-companion, but much more than that—really, really good friend.But in the war, Max Mallowan was abroad. Her daughter—she had one child—her daughter was married and living in Wales. And she was living in the Isokon building in North London, which I love because that's like, “You think I'm chintzy and old fashioned. And here I am socializing with the sort of left-wing intelligentsia at the Isokon building.” And there's something about being in that adorable little flat—they're so fabulous, those flats—and being alone but not feeling abandoned, as she had after her first marriage.And I suppose also, you know, war is, you either cower in despair or you think, “Right, well, better get on with it.” War is stimulating in that way. I think it was to quite a few writers, maybe, or quite a few creatives. The shadow of death. But there was something about that solitude but not abandonment, plus the stimulation of not knowing whether it was your last day on earth that did—it did. I mean, it's absolutely insane how productive she is.And then she wrote—she had a week off. She was also working as a dispenser at a London hospital, and she had a week off. And she wrote a Mary Westmacott, Absent in the Spring, which is one of her best Westmacotts, I think. I mean, she's got a week off and she writes a book. I mean, Jesus, there's a challenge to us, Henry. [laughter]The Mary Westmacott NovelsOLIVER: What are those Mary Westmacotts like? Because I've never read them, but you seem very—THOMPSON: Oh, have you not?OLIVER: You're very up on them. You like them?THOMPSON: I am. I really am. Well, for a biographer, they were a treasure trove because they're very revealing. Unfinished Portrait is, I think, as close as you are ever going to come to a true autobiography, as opposed to the actual autobiography, which is charmingly disingenuous.OLIVER: And also dull. No? I mean, it's just so dull.THOMPSON: Do you think? It is a bit.OLIVER: I couldn't read it. I couldn't read it. No, it was so long and so leaden. I felt like she didn't really want to tell me the story of her life. Just couldn't.THOMPSON: Well, I think that's probably right. It was very heavily edited after her death. And her daughter was very, very protective of her. So, Max Mallowan as well. So maybe there was a much better book in there somewhere. Who knows?OLIVER: So we should read Mary Westmacott if we want the unfiltered Agatha?THOMPSON: I would say Unfinished Portrait. It really fascinates me because the worst time you've ever gone through in your life—so in 1926, she lost her mother and her husband in the space of four months. And I think an awful lot of people, even writers, would think, “I'm going to put that behind me and get on.” But she had to reopen the wound. She had to go through it all again eight years later. I find that really, in itself, incredibly revealing about her.Poirot vs. MarpleOLIVER: Why is there so much more Poirot than Marple?THOMPSON: Yes, I've wondered that because there is this little thing that she hated him, which I don't really think she did. It's just something people say, isn't it?OLIVER: Well, it's a common thing about artists. They're supposed to hate their most successful work, but—THOMPSON: Yes. Yes. All I could come up with was that he was easier to put in different places. He could conceivably be on the Nile or in Mesopotamia or—I mean, it would be a—she does manage to get Miss Marple to the West Indies, but it's certainly—OLIVER: There are only so many holidays your nephew can send you on.THOMPSON: He was really successful, that nephew, wasn't he? Who do you think he was like? Sort of Ian McEwan or—OLIVER: [laughs] I know. It was sort of crazy, isn't it?THOMPSON: And very kind to her.OLIVER: It might be to her credit that she doesn't do a Midsomer Murders thing and just sort of wave away and say, “Oh, we can just have as many of these murders as we want.” She says, “No, we can only fit—” Do you think maybe that's it?THOMPSON: I think there might be a bit of that. I mean, her notebooks sort of—some of the books were originally Marples, like Cat Among the Pigeons and Death on the Nile, in fact. And then they became Poirots. I just wonder whether he's a bit more malleable because she is a more rooted, fixed entity.And he is—I don't mean to denigrate David Suchet because he's a fantastic actor, but he does root him more than I think the written version. I think he is a sketch on the page. And one of her great skills, I think, is how she can sketch, and they've got that quality of aliveness on the page, which you just can't analyze, really. I don't—well, I can't. And that's how I see Poirot. So he was more movable in that sense.And she's incredibly good at certain—like Sleeping Murder, there's no way you could have him in that. And Miss Marple is—her qualities are so perfect for a book like that, which has suddenly reminded me of how she got me into John Webster. I never read John Webster until—OLIVER: [laughs] That's great.THOMPSON: The way she uses The Duchess of Malfi is so clever. Do you think that's right about Poirot? Do you think there's something more . . .Reader Preferences and SalesOLIVER: I can see that. I wondered if there was some reader's prejudice involved.THOMPSON: Oh.OLIVER: Poirot is the sort of exotic—Sherlock Holmes, one thing that makes him popular is that he's a bit wacky, you know. And Poirot—he's always talking about, “You English are so xenophobic. Excuse me, I am Belgian.” And with the eggs and all the little—whereas Miss Marple's just the kind of old lady that we all wish there were more of. And how much of that will readers take? I don't know.THOMPSON: Yes. Although, as I say, she, she did—I mean, I think her publishers did like her to do Poirot, but I don't know that she would've been influenced by that necessarily. I mean, maybe she was—maybe I'm overdoing her—OLIVER: Well, she had these terrible money problems. Didn't she have to be a little bit focused on the dollar?THOMPSON: She did. She did, but she didn't—well, I mean, the money problems are insane because they were absolutely no fault of her own. They were to do with test cases, and it was just this sort of accumulation of horror that put her in tax problems during the war. And she really never could dig her way out of them and was advised to go bankrupt twice, which is unbelievable, just as a way of clearing it. I mean, it's terrible.But I don't know that she—I think her attitude was a bit more, “Well, why should I even bother if they're just going to take it away from me?” In 1948 she didn't write anything at all because I think she thought, “What's the point?” But then, that wasn't her way. But I don't know that she thought of writing as a way of digging out of it necessarily. But I could be—OLIVER: The Marples, did they make less money? Were they, did they sell less?THOMPSON: Not really. I think they all sold. Even poor old Passenger to Frankfurt sold hugely, absolutely hugely. I think people—I mean, my parents would—it was like people just wanted them, the Christie for Christmas.Rereading ChristieOLIVER: How many times have you read these books? Do you ever get bored?THOMPSON: No.OLIVER: Really?THOMPSON: Well, I have them on rotation, and I don't—as you know, I do interleave them with our beloved Elizabeth Bowen, who's my passion at the moment, and other people. But they are consolatory, I suppose. They are—there's bits of—there is this kind of—there's bits of them that I just know completely off by heart, like the gramophone record in And Then There Were None and all that.But there's something—and maybe I should have said this earlier, when I say—I've said it on Substack—that they're fairy tales for adults. There's something about that. There's an almost physical sensation of pleasure, really, when the resolution comes. It is a bit like act five of Shakespeare. I'm not going to say she's quite on that level. Not even I am going to say that.But there is—and it is like being a child again and reading the end toward the happy-ever-after, even though her happy-ever-afters are sometimes compromised. And there is something almost primal in that pleasure. And it almost sounds borderline mad, me saying it like that, but I do think there's something in it because the resolution is so—because it's character based, and at her best, she's character and plot as one, as in Five Little Pigs or The Hollow or Murder on the Orient Express or blah, blah, blah.Her resolutions do tell you something about human nature. You do think, “Oh, yes, that is what that would be. Yes, it would be all about money. Yes. Yes, doctors are untrustworthy,” or something on a more profound level than that. There's something that is a satisfaction, both childlike and I'm experiencing it as an adult. In my defense, P. G. Wodehouse said you can never read them too many times. [laughs] It doesn't matter if you know who did it. There's so much pleasure in them.Thompson's CareerOLIVER: Now, I want to ask a little bit about your career.THOMPSON: Mm-hmm.OLIVER: You were at a sort of stage school, then you studied at Merton, and then you worked at The Times.THOMPSON: Yes. Very briefly. Yes.OLIVER: How does one therefore go from all of this to being the biographer?THOMPSON: Well, I did always think I would have a career in—I wanted to direct plays. I directed Hamlet after university, which is probably the thing I'm still proudest of. But what it was, was that I wrote a couple of books. I won an award when I was quite young.And then I had an agent who—I said to him, “I want to write a biography of Nancy Mitford.” And he wasn't very keen on the idea, but I must have written an okay proposal. Again, because I thought Nancy Mitford was a little bit undervalued, that she's a lot more than just a posh girl. And at the time her reputation was quite low. And so somebody bought into that idea, and it sort of went from there, really.But it's a bit—I sometimes look back at the books I've written, including a memoir of my publican grandmother, and I think, gosh, this is all quite scatter-gun, but maybe that's okay. Maybe you should just write the books you really want to write. But it was a passion for Nancy Mitford that sort of started that particular ball rolling.And then I had the idea of—oh, no. I was down in Devon with a boyfriend, and he said, “You never stop talking about Agatha Christie. Why don't you try and write her biography?” And that was just a luck of timing because her daughter was still alive. So I met her, and she liked me because I knew the Mary Westmacotts so well, and that sort of happened. I mean, quite often these things are very fortuitous, don't you think? Did you not find that with your book?OLIVER: Yes, yes. No, I did. I did. I think some writers, as you say—I don't think of it as scatter-gun. I think of it, it's sort of an emergent thing, and you happen to have these different interests, and you just follow your nose, and that's fine.THOMPSON: Yes, exactly.OLIVER: Tell us about this production of Hamlet.THOMPSON: Oh. Do you know, I think it was not bad. I had a very good Hamlet. I think if you've—well, you're in trouble without—who is now quite a successful actor. And we were all really young, but he was—I saw him in something and said, “Do you want to play Hamlet for me?” And he said, “Okay then.” And it was a room above a pub in Chelsea, and it was very spare and very quick.And it was about—I can't bear when people overanalyze the character of Hamlet, and why does he delay? He delays because Shakespeare wants him to, so that he can write all those incredible speeches. That's a bit simplified, but it was—he was so, he so understood the translucent power of those soliloquies, this actor. So it just sort of worked because we didn't do too much to it. And it was, yes, it was good. I think it was good. But then I did Macbeth, and that was much less good.Secretly Reading ChristieOLIVER: And you've said here, and I think you said it in your book, that when you were at Merton, you were reading Agatha Christie between the covers of what you were supposed to be reading.THOMPSON: Yes, yes, I was.OLIVER: That can't be—is that a slight exaggeration, or did you really not get on with the syllabus?THOMPSON: Well, hang on. I was a bit stuck in the first term. Can you imagine coming from a performing arts school—OLIVER: Yes.THOMPSON: —and then being told, “Read that bloody, you know.OLIVER: Yes, yes. No, it's intense.THOMPSON: All I knew was French. How I got in is a minor mystery, but there it was. I've tried to do it honor ever since by writing as best books I possibly can. But I was okay once I got over that bit. Once I got into my beloved Tennyson and all the people we've been talking about, Hardy and blah, blah, blah. Larkin, about whom the best thing I've ever read—the best thing I've ever read about Larkin is your Substack about him, without a shadow of a doubt.OLIVER: Oh, thank you.THOMPSON: Just wonderful. So I sort of winged it a bit, but I had a very nice don. And the autodidact side of me, which is very like Agatha Christie, who barely went to school, and Nancy Mitford—I think it can be a good thing in a way, because you have such a respect for learning and truth. I always try to be truthful in my biographies, which as we know, not everybody is. [laughter]And I think you carry on wanting to learn and carry on wanting to fill all the gaps because I only had half an education, because in the morning you would do ballet and drama and all that kind of thing. So it is a bit odd, but in some ways I think it's been a good thing.OLIVER: Now, the new book is about the 1926 disappearance. When can we expect it to be published?THOMPSON: It's only a short book—OLIVER: Yes.THOMPSON: —because obviously I covered it a lot in the biography, and it doesn't—but I have found out a couple of new things. And that will be out in August here and in November in America. And I have come up with a slightly different slant on it, but mainly—and I treat it a little bit like a cold case. And it was—I had to write—I wrote it in five weeks, but it was incredibly good fun. Oh, and I reenacted her journey, which was very interesting, to Harrogate.But mainly it's such a pleasure because I, you know, on Substack, and I think, “Oh, you can't write about Agatha Christie again.” There always seems to be quite a lot to say. I'm intrigued by how you, who I think of as a true intellectual, how you have clear regard for her.Henry on Agatha ChristieOLIVER: I started reading her when I was about 12, and I just thought she was great, and I went through most of them. But I read them at intervals. So I was reading her into my twenties, thirties. And before this interview I tried to—I thought, “Laura's always saying Five Little Pigs is the best one. I'm going to read it.” And I just sort of found that I've lost the taste, in a way.THOMPSON: Okay.OLIVER: Which I was quite, I don't know, just maybe—I feel like this is my failing. Maybe I should take a week off and sit by the pool and read it properly. But I've always thought she's really, really great, and very few people can do that many very compelling stories without you sort of thinking, “Oh, I've read this one. I know. Yes. It's the same as the other one, isn't it? Yes. Yes, it was the”—as you say, it's not Cluedo. Even Dorothy L. Sayers, I don't think I could read much more by her, frankly. Great, she's great, but it's enough. [laughs]THOMPSON: Well, I quite like her. The whole—most girls who went to Oxford are quite keen on Gaudy Night, and the character of Harriet Vane is quite satisfying, I think.OLIVER: Indeed, indeed. And Strong Poison is great. And there—but I just mean if she'd written as many books as Agatha, you can't imagine it would've sustained the level of quality.THOMPSON: No, no. There is that lightness in Agatha and that terrible cliché of, “I wrote a long book because it was too—I didn't have enough time to write a short book,” and all that kind of thing. The brevity amazes me. When I said at the start, most writers would take twice as many pages to get all that in.She has style—I don't know if you can call it a style, but there is something blindingly effective about it that nobody can imitate. And it does—there's something so fathomless about her, and that's what continues to compel me. But I think it's very lovely of you to do this if you are no longer an admirer because you've let me sort of—OLIVER: Well, it's not that I'm not an admirer. It's just that I don't—I had this with P. G. Wodehouse. I read quite a lot of it, and now, I don't know, somehow I've reached a point where it's—I sort of get it, but it's just not that funny anymore. I don't know, just need some time away.THOMPSON: Well, maybe. Maybe, but you know, I'm a bit—she's part of my life now. It's like if somebody said, “You can't read her anymore,” it would be like, “You can't listen to the Rolling Stones anymore.” I mean, it'd be like a kind of death. She's part of my life the same way they're part of my life. She's now inseparable from just the way I go on, as is Shakespeare. And if I had to lose one of them, trust me, it would be her, you'll be reassured to know. [laughter]OLIVER: Very good. Laura, this has been a lot of fun. Thank you very much.THOMPSON: Oh, I've really enjoyed it. I really have. And I was really looking forward to it, and it's been even nicer than I thought it would be. So thank you.OLIVER: Oh, it's been delightful.THOMPSON: Thank you so much, Henry.OLIVER: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Everyone says they're building a community. But very few brands actually are.In this Add To Cart Playbook, we break down what it really takes to turn customers into a community that drives loyalty, repeat purchases and word of mouth.Featuring insights from Tara McKeon (Proud Poppy), Briony Kennedy (Adorn Cosmetics), Anastasia Lloyd-Wallis (Retail Doctor Group) and Laura Thompson & Sarah Sheridan (Clothing The Gaps), this episode explores why the brands winning today aren't just building audiences: they're building belonging.In Today's Playbook:How Tara McKeon built a 22,000-member community around Proud Poppy that drives repeat purchasesWhy the strongest ecommerce brands focus on community before conversionHow letting customers lead the conversation can create deeper loyalty than any campaignWhy status and belonging can outperform discounts in loyalty programsHow brands like Clothing The Gaps turn customers into participants in a community-driven missionConnect with TaraExplore Proud PoppyTara's main episodeAdorn Cosmetic's main episodeClothing the Gaps' main episodeSMS us to request a guest!Support the showWant to level up your ecommerce game? Come hang out in the Add To Cart Community. We're talking deep dives, smart events, and real-world inspo for operators who are in it for the long haul. Connect with Nathan BushContact Add To CartJoin the Community

Laura Thompson, MA, PCC, is a globally renowned Executive Leadership Coach, Social Impact Advisor, Thought Leader, and Speaker joins Enterprise Radio. Listen to host … Read more The post A Culture Of Values: The Principles of Transformational Leadership appeared first on Top Entrepreneurs Podcast | Enterprise Podcast Network.

January 26 isn’t just another public holiday. For many First Nations Australians, it marks the beginning of invasion and the impacts of colonisation that are still felt today. That’s why we're interupting your normal Money Diaries programming to bring you this conversation, with very special guests Laura Thompson and Sarah Sheridan. Laura and Sarah are the co-founders of Clothing The Gaps, the Aboriginal led and controlled, and majority Aboriginal owned business and social enterprise behind the Not A Date To Celebrate campaign. In the ep they explain what often gets missed in the public debate, how economic empowerment plays a role in real, lasting change, how First Nations–led businesses approach impact differently, and what refectful and informed support can look like on this date and beyond. EPISODE LINKS: Clothing the Gaps websiteNot a Date to Celebrate campaignSign the petition here.Download their MP letter here. Join our Facebook Group AKA the ultimate support network for money advice and inspiration. Ask questions, share tips, and celebrate your wins with a like-minded crew of 300,000+.And follow us on Instagram for Q&As, bite-sized tips, daily money inspo... and relatable money memes that just get you.Acknowledgement of Country By Nartarsha Bamblett aka Queen Acknowledgements. The advice shared on She's On The Money is general in nature and does not consider your individual circumstances. She's On The Money exists purely for educational purposes and should not be relied upon to make an investment or financial decision. If you do choose to buy a financial product, read the PDS, TMD and obtain appropriate financial advice tailored towards your needs. Victoria Devine and She's On The Money are authorised representatives of Money Sherpa PTY LTD ABN - 321649 27708, AFSL - 451289.See omnystudio.com/listener for privacy information.

In this episode I am joined by the USPC Equine Welfare Task Force, made up of: Dr Stacy Anderson, Heather Bell, Dr Laura Thompson, Christina Keim. In creating this, they are leading the way for education on equine wellness and will have a huge influence on a new generation of horsemen. This is so important and I'm excited to have these wonderful women on the pod. I think you'll love hearing about what they've created and will be left feeling optimistic. About the Guests:Christina Keim, M.Ed., M.F.A. is an award-winning equestrian journalist and professional horsewoman with over 25 years experience in the industry. Her written work has appeared extensively in top equestrian publications, and she is the author of the new book, Unwanted: the Causes and Effects of America's Horse Population Crisis. For nearly twenty years a top intercollegiate hunter seat coach, Ms. Keim now teaches compassionate horsemanship and offers Equestrian Yoga and Mounted Mindfulness sessions both on the road and out of her Cold Moon Farm in Rochester, New Hampshire (christinakeim.com). Heather Bell: Life member of USPC. Graduate A. Career as a Wildlife biologist specializing in endangered species recovery, and leading agencies through contentious decisions and change.  Dr. Stacy Anderson DVM, PhD, Dipl. ACVS-LA is an equine surgeon who serves as Dean of the Richard A. Gillespie College of Veterinary Medicine at Lincoln Memorial University. A Pony Club Graduate ‘A,' she has served as a USPC National Examiner, national committee member, and contributor to the USPC Equine Welfare Taskforce. Dr. Anderson has trained and competed horses and riders through Preliminary level eventing and Prix St. George level dressage. She is a USDF Bronze and Silver medalist, and is currently working toward her Gold medal with her12 year old Swedish warmblood gelding. Dr Laura Thompson has been an ambulatory equine vet in northern Colorado for almost 25 years. She teaches part time at Front Range Community college for the last 20+ years. She has her USPC H-A rating and still rides and competes. Her daughter competes at the FEI level in vaulting and they trained their own horse from scratch to FEI. About the Host:Karen Rohlf, author and creator of Dressage Naturally, is an internationally recognized clinician who is changing the equestrian educational paradigm. She teaches students of all disciplines and levels from around the world in her clinics and the Dressage Naturally virtual programs. Karen is well known for training horses with a priority on partnership, a student-empowering approach to teaching, and a positive and balanced point of view. She believes in getting to the heart of our mental, emotional, and physical partnership with our horses by bringing together the best of the worlds of dressage and partnership-based training.  Karen's passion for teaching extends beyond horse training. Her For The Love Of The Horse: Transform Your Business program is a result of her commitment to helping heart-centered equine professionals thrive so that horses may have a happier life in this industry. Resource Links:Article about USPC Equine Welfare Task Force: https://www.chronofhorse.com/article/uspc-brings-equine-welfare-to-the-forefront-with-happyhealthyhorse-initiative/ Pony Club Vision & Values:

This week on Swimming with Allocators, Earnest wraps up the “Best of” moments of the year for the podcast. These moments feature insightful conversations with leading voices in venture capital and fund management. Topics include the challenges LPs face in today's market, strategies for selecting and supporting emerging fund managers, evolving industry trends in fintech, crypto, and AI, and the critical importance of transparency, humility, and strong client relationships. Key takeaways highlight the necessity for a compelling thesis, expert communication, and adaptability in a hyper-competitive market, providing actionable lessons for both established players and new entrants in the venture ecosystem. Don't miss the top moments from the show this year!  Highlights from this week's conversation include: Season Highlights and the Best Of Countdown (0:34) Reflections on Venture Capital Lessons and Year-End Energy (3:45) Laura Thompson and Her Impact on LP Transparency (7:37) Challenges of Fund Underwriting and the Importance of Reference Work (11:21) Trends in Fintech, AI, Crypto, and Their Effect on Manager Selection (15:12) How to Approach Reserves and Portfolio Construction (18:55) The Difficulties and Opportunities for Emerging Managers Today (22:41) Capital Formation Insights With Guest Megan Reynolds (26:25) Why Client Experience Is as Important as Fund Performance (30:10) Industry Institutionalization, Reporting, and Relationship Trends (33:57) The Evolving Retail LP Market and the Future of Venture Access (37:41) What Makes Great Emerging Managers and Fund Builders Stand Out (41:25) Lessons Learned, Teamwork in Investing, and Season Wrap-Up (45:12) Swimming with Allocators is a podcast that dives into the intriguing world of Venture Capital from an LP (Limited Partner) perspective. Hosts Alexa Binns and Earnest Sweat are seasoned professionals who have donned various hats in the VC ecosystem. Each episode, we explore where the future opportunities lie in the VC landscape with insights from top LPs on their investment strategies and industry experts shedding light on emerging trends and technologies.  The information provided on this podcast does not, and is not intended to, constitute legal advice; instead, all information, content, and materials available on this podcast are for general informational purposes only. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join me for an important conversation with Laura Thompson and Sarah Sheridan from Clothing the Gaps about their "Not a Date to Celebrate" campaign. This episode explores how small businesses can create meaningful social change, the power of authentic advocacy, and practical ways you can get involved - whether you're in Australia or listening internationally.This conversation covers the history behind why January 26th is problematic, how Clothing the Gaps successfully campaigned to "Free the Flag," and their current petition that's gained over 73,000 signatures. You'll learn about building effective campaigns, using your business platform for good, and why this 87-year-old conversation is more relevant than ever.If you are First Nations and need some help right now in the lead up to 26 January, check out: 13 YARNBeyond BlueSign the Not a Date to Celebrate petition hereConnect with Clothing The GapsNot a Date to Celebrate Education HubInstagram: @clothingthegapsTikTok: @clothing_the_gapsWebsite: Clothing The GapsSign Up as Brand Partner: (Scroll to bottom and fill in form)Connect with My Daily Business:Instagram: @mydailybusiness_TikTok: @mydailybusinessEmail: hello@mydailybusiness.comWebsite: mydailybusiness.comResources mentioned:Vanta AIAI Monthly Chat Group for Small Business OwnersHow to Get Your Book Published course Join our AI Chat Group for small business ownersMy Daily Business courses - mydailybusiness.com/courses Special thanks to our sponsor, Vanta AI. Get $1000 off at vanta.com/mydailybusiness Want to get your #smallbusiness sorted in 2026? Check out our 1:1 business coaching packages from a one-off session to 6-months of coaching. Want to know more about AI and how to harness it for your small businesS? Join our new monthly AI chat for small business owners. You can join anytime at www.mydailybusiness.com/AIchat Try out my fave AI tool, Poppy AI here and use discount code FIONA. We also love Descript. Connect and get in touch with My Daily Business via our shop, freebies, award-winning books, Instagram and Tik Tok.

Laura Thompson is the Co-Founder of Three Ships Beauty, a clean skincare brand that's gone from flea markets to $8.5M+ in annual revenue and nationwide retail. In this episode, we get into her startup journey, how she built traction on a shoestring budget, rebranding, stepping back from Target, smart capital allocation, hiring lessons, and how she's scaling with intention. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

They first met at a café in Richmond in Melbourne, and Jack and Shane admit, it was connection at first sight. The pair realised straight away that they shared a passion for leadership, growth and a fascination for people and their stories. What began as a professional relationship at the Richmond Football Club, turned into a friendship and partnership co-hosting TWO AM I.In this final episode of season 6, Jack and Shane reflect on their past nine guests, Ariarne Titmus, Daniel Sih, Yasmin Poole, Bianca Chatfield, Beau Miles, Borden Kelly, Laura Thompson & Sarah Sheridan, and Adam Ferrier, and their key takeaways from each conversation. To learn more about Jack and Shane: Jack on Instagram Shane on Instagram Jack on LinkedIn Shane on LinkedIn Jack and Authentic Leaders Group Shane McCurry Find TWO AM I on social media here: TWO AM I YouTube TWO AM I Instagram TWO AM I Tik Tok TWO AM I LinkedIn TWO AM I LinktreeSee omnystudio.com/listener for privacy information.

In this episode, we're joined by Laura Thompson, PMMI's VP of Trade Show, to get the inside scoop on what's ahead at PACK EXPO Las Vegas 2025. This year marks the show's 30th anniversary and its first time passing one million net square feet. Laura walks us through what to expect, from bigger pavilions and guided tours to the newest breakthroughs in automation, robotics, and AI.Experience the future of packaging and processing—up close and in actionIt all starts here. Don't miss out—register today at packexpolasvegas.com/unpackedpodRegister for PACK EXPO Las Vegas today!

This week on Tales of History and Imagination we discuss a murdered nanny, the murderer… his awful ancestors, and said murderer's mysterious disappearance.  Trigger warnings: murder.    Sources Include: A Different Class of Murder by Laura Thompson And several dozen news articles, including this piece from Lynn Barber interviewing John Aspinall This one from Steven Morris on the many theories on Lord Lucan's disappearance This one (Morris and Angelique Chrisafis) on Jungle Barry (sometimes called Jungley Barry) This article (author not listed) from the Whanganui Chronicle on an unpleasant man named Roger Woodgate  This article by Gary Nunn on John Stonehouse This Daily Mail article by Laura Thompson on the Taxi Driver hypothesis And a handful of documentaries I never recorded at the time of writing the first attempt at this script a few years ago…            Support Tales on Patreon for $2 US a month and get access to exclusive content, or Try our 7 Day Free Trial.    Please leave Tales a like and a review wherever you listen. The best way you can support us is to share an episode with a friend - Creative works grow best by word of mouth. I post episodes fortnightly, Wednesdays. Tales of History and Imagination can be found on…   | Facebook |TikTok | Threads | YouTube | Bluesky |        

Laura Thompson and Sarah Sherican are the dynamic duo behind the Aboriginal streetwear label, Clothing the Gaps. Together the pair have journeyed from health promotion to social enterprise, and their shared belief in using merchandise to build community, led them to create "walking billboards" that spark conversations and support First Nations people. Laura and Sarah deliver a masterclass in utilising the unique strengths of people, to create meaningful social change. Links from this episode: Me and White Supremacy - https://www.hachette.com.au/layla-saad/me-and-white-supremacy-how-to-recognise-your-privilege-combat-racism-and-change-the-world Why I’m No Longer Talking to White People About Race - https://www.bloomsbury.com/au/why-im-no-longer-talking-to-white-people-about-race-9781408870587/ Our Warrior - Documentary about Robbie Thorpe - https://www.ourwarriordoco.com/ Find TWO AM I on social media here: TWO AM I YouTube - https://www.youtube.com/channel/UCvc3Lx7JoE1rRvbIENFtI-g TWO AM I Instagram - https://www.instagram.com/twoamithepodcast/ TWO AM I Tik Tok - https://www.tiktok.com/@two.am.i?_t=8gM3atQEjAN&_r=1 TWO AM I LinkedIn - https://www.linkedin.com/company/two-am-i-podcast/ TWO AM I Linktree - https://linktr.ee/twoamithepodcast See omnystudio.com/listener for privacy information.

Three Ships grew from $4,000 to $1M revenue in four years. Learn how the founders used retail partnerships, rebranding, and funding tactics to grow a beauty brand in a saturated market.For more on Three Ships and show notes click here.  Subscribe and watch Shopify Masters on YouTube!Sign up for your FREE Shopify Trial here.

Hey, it's Cindy, send me a text, get in touch![#33][SKINCARE] [CLEAN BEAUTY]They launched a skincare brand with $4K and zero industry experience… now they're in Whole Foods, on Forbes 30 Under 30, and rewriting the clean beauty rulebook.In this episode, Three Ships Beauty founders Connie Lo & Laura Thompson get real about:Building an 8-figure brand from their apartment kitchenNavigating a brain cancer diagnosis while launching a companyHiring, firing, and scaling with radical transparencyBreaking every clean beauty myth — and doing it with grit, heart, and hustle✨ This isn't your average founder story — it's raw, inspiring, and ridiculously next level.

To Subscribe to DTC Newsletter - https://dtcnews.link/signupIn this episode of the Pilothouse DTC Podcast, Laura Thompson & Connie Lo share how they built Three Ships Beauty from a condo‑kitchen startup to scaling to 8 figure omnichannel success. They discuss:

“Mrs. Dalloway said she would buy the flowers herself”: So reads one of the great opening lines in British literature, the first sentence of Virginia Woolf's classic 1925 novel, “Mrs. Dalloway.”The book tracks one day in the life of an English woman, Clarissa Dalloway, living in post-World War I London, as she prepares for, and then hosts, a party. That's pretty much it, as far as the plot goes. But within that single day, whole worlds unfold, as Woolf captures the expansiveness of human experience through Clarissa's roving thoughts. On this week's episode, Book Club host MJ Franklin discusses it with his colleagues Joumana Khatib and Laura Thompson.Other books mentioned in this episode:“The Passion According to G.H.,” by Clarice Lispector“A Girl Is a Half-Formed Thing,” by Eimear McBride“The Lesser Bohemians,” by Eimear McBride“To the Lighthouse,” by Virginia Woolf“Orlando,” by Virginia Woolf“A Room of One's Own,” by Virginia Woolf“The Hours,” by Michael Cunningham“Headshot,” by Rita Bullwinkel“Tilt,” by Emma Pattee Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

Laughers, get ready for a vibrant ride through art, business, and creative grit. In this episode, we're back with muralist and mixed media artist Laura Thompson—now operating out of the stunning backyard studio she built with her 80-year-old dad. From teaching art and mentoring creatives to slinging paint on 1,000-square-foot murals and crafting heartfelt pet portraits, Laura dishes on what it really takes to make art your full-time gig. Hear her top tips on business mindset for creatives, her tray-organizing hacks (collage lovers, take note), and why investing in yourself matters. We also talk about the power of mentorship and collaboration, the dream-come-true of a home studio built by family, and get a behind-the-scenes peek into her unique collage-meets-painting process. Stick around for a fun round of “Paint, Pitch, or Pass.” Whether you're an artist, entrepreneur, or just a creative soul looking for inspiration, this episode will leave you feeling fired up to chase your boldest ideas. Cheers! Get in touch with Laura Thompson ~ American Mixed Media Artist! Real Creative Studio: realcreative.studio Instagram: @realcreative.studio Facebook: Real Creative Studio VA — This podcast is brought to you by: FWAF [f-wahf] = The Funny Womacks & Friends We offer comedy shows, classes & this podcast! thefunnywomacks.com Facebook & Instagram: @thefunnywomacks YouTube: The Funny Womacks Get some free stuff & discounts to support this podcast!  Love Podcasts? Love Audiobooks? Get a Free One on Us!

Come share insights from AIMW25 with Julie Byington C-TAGME, Ashley Johnson C-TAGME, Samatha Ankireddy MD, and Laura Thompson MD on effective communication and navigating difficult conversations. Understanding our own emotions and personality traits—while being attentive to others' verbal and non-verbal cues—helps build emotional intelligence and promotes respectful, productive dialogue. Adapting communication styles to different personality types and approaching high-stakes conversations with preparation, psychological safety, and clear follow-up can transform potential conflicts into opportunities for breakthrough. Claim CME for this episode at curbsiders.vcuhealth.org! Website | Instagram | Twitter | Subscribe | Patreon | Free CME!| Youtube  thecurbsidersteach@gmail.com Credits Producer, Script, CME: Era Kryzhanovskaya MD Show notes, Infographic, Cover Art: Rebecca Garber MD Hosts, Editors:  Era Kryzhanovskaya MD, Molly Heublein MD Technical Support: Podpaste Guests: Julie Byington C-TAGME, Ashley Johnson C-TAGME, and Samatha Ankireddy MD and Laura Thompson MD Technical support: Podpaste Theme Music: MorsyMusic  Show Segments Intro, disclaimer, guest bio Guest one-liner/ Reflections on AIMW25 conference Exploring the Crucial Conversation Framework Learning how to maintain psychological safety  Using tools like the Mint HR Smalley Trent Personality Test to gain personality awareness  Tailoring communication styles based on personality for more productive dialogue and reduced conflict Skill for being an active listener  Take home points Outro

Highlights from this week's conversation include:Laura's Journey to Allocator (1:05)Differentiators of Sapphire Partners (6:35)Advice for New Allocators (9:54)Shifts in Manager Selection Focus (11:41)Understanding the Underwriting Process (14:57)Balancing Emerging and Established Managers (16:09)Characteristics of Successful Emerging Managers (18:04)The Importance of Fund Size and Strategy (20:11)Insider Segment: Trends in Venture Structures (27:11)Consolidation of Relationships in Fundraising (29:02)Emerging Managers and LP Categories (32:09)Evaluating Established Firms (35:26)Portfolio Construction Guidance (38:38)Reserves Strategy in Venture Capital (41:20)Challenges of Co-Investment Strategies (43:40)Sapphire's Resources for LPs (45:11)Importance of Feedback and Strategy (48:20)Final Thoughts and Takeaways (49:56)Sapphire Partners has been investing in early-stage venture capital funds since 2012 and seeks to identify and support the “New Elite'' managers across the US, Europe and Israel who are uniquely suited to invest in the next generation of technology category leaders. Through its underlying managers, Sapphire Partners has indirectly invested in over 3,200(6) companies since inception. Sapphire Partners looks to partner with managers across their journey as a GP and is focused on adding value beyond its capital commitments through value-add services, industry insights, and its efforts to demystify the ‘LP Perspective' through the OpenLP initiative. Sapphire Partners is part of Sapphire, a specialized technology investment firm with more than $10 billion in assets under management across three distinct strategies and with team members across Austin, Menlo Park, San Francisco and London. To learn more, visit https://sapphireventures.com. Sidley Austin LLP is a premier global law firm with a dedicated Venture Funds practice, advising top venture capital firms, institutional investors, and private equity sponsors on fund formation, investment structuring, and regulatory compliance. With deep expertise across private markets, Sidley provides strategic legal counsel to help funds scale effectively. Learn more at sidley.com.Swimming with Allocators is a podcast that dives into the intriguing world of Venture Capital from an LP (Limited Partner) perspective. Hosts Alexa Binns and Earnest Sweat are seasoned professionals who have donned various hats in the VC ecosystem. Each episode, we explore where the future opportunities lie in the VC landscape with insights from top LPs on their investment strategies and industry experts shedding light on emerging trends and technologies. The information provided on this podcast does not, and is not intended to, constitute legal advice; instead, all information, content, and materials available on this podcast are for general informational purposes only.

Origins host Beezer Clarkson sits down with her colleague Laura Thompson, fellow LP and Partner at Sapphire Partners, to riff on her recent conversation with Thomas Kristensen, Partner at LGT Capital Partners. Together they discuss 2025's sluggish exit market, and whether or not that's a sign that venture is broken. They also discuss the importance of reinventing yourself to stay current with the market - even though LPs don't love big changes - and if emerging managers can use founder product connectivity to their advantage. Learn more about Sapphire Partners: sapphireventures.com/sapphire-partnersLearn more about OpenLP: openlp.vcLearn more about Asylum Ventures: asylum.vcLearn more about Top Tier Capital Partners: ttcp.comLearn more about LGT Capital Partners: lgtcp.comSubscribe to the OpenLP newsletter for a monthly roundup of the latest venture insights, including the newest Origins episodes, delivered straight to your inbox.CHAPTERS:(0:00) Welcome to Origins(1:20) Aren't We Supposed to Be Investing In Companies That Want to Go Public?(4:33) Difficulties of Maintaining a Franchise(6:24) ”There's Gonna Be Some Really Difficult Vintages”(7:22) Being Paranoid to Be a Great Investor(10:33) Reintegrating AI

In this episode, we chat with Laura Thompson, vice president of trade shows at PMMI, about PACK EXPO's expansion to Atlanta. Hosted by Sean Riley, the discussion covers why the city was chosen, what attendees can expect, including hands-on demos, sustainability initiatives, and networking opportunities, and how tools like My Show Planner and PACK Match can enhance their experience. The episode highlights how the show provides tailored packaging and processing solutions for industries across the Southeast.Get ready for the biggest event in packaging and processing the Southeast has ever seen! PACK EXPO Southeast will debut in Atlanta March 2025. Check out this new hub of innovation for consumer packaged goods and life sciences companies. Dive into the latest advancements and walk away with transformative solutions to address your unique challenges, big and small. Register today at packexposoutheast.comSupport the showRegister for PACK EXPO International today!

Origins host Beezer Clarkson sits down with her colleague Laura Thompson, fellow LP and Partner at Sapphire Partners, to unpack her recent conversation with Jessica Archibald, a GP at Top Tier Capital. They discuss Jessica's engineering-based analytical approach to answering the question “what makes a franchise?” and discuss some surprising things they learned - Jessica's view that there's only one real way to do succession, the importance of breaking good and bad news in a way that creates a performance culture, and whether or not they're going to adopt Jessica's policy of assigning letter grades to funds at Sapphire Partners. Learn more about Sapphire Partners: sapphireventures.com/sapphire-partners Learn more about OpenLP: openlp.vc Learn more about Asylum Ventures: asylum.vc Learn more about Top Tier Capital Partners: ttcp.com Read Laura Thompson's blog on why venture reserves aren't always a good thing: sapphireventures.com/blog/dirty-secret-venture-reserves-are-not-always-a-good-thing/ Read Laura Thompson's blog on fund recycling: sapphireventures.com/blog/fund-recycling-moves-the-needle-for-both-lps-and-gps-heres-how/ Read Laura Thompson's blog on QSBS: sapphireventures.com/blog/how-lps-gps-and-founders-can-leverage-qsbs-to-make-more-money/ Subscribe to the OpenLP newsletter for a monthly roundup of the latest venture insights, including the newest Origins episodes, delivered straight to your inbox. CHAPTERS: (0:00) - Intro (1:08) - Jessica Takes It In a Different Direction (3:41) - Communicating with your LP base (So There Aren't Surprises) (7:15) - Franchise Funds Are Intentional (9:44) - Getting to 1x DPI in Nine Years (15:55) - 2x is the new 3x (19:43) - Giving Funds Letter Grades

Fifty years ago, the notorious peer Lord Lucan vanished following the murder of his children's nanny, Sandra Rivett. This Long Read, written by Laura Thompson, reviews the case of the disappearing earl – and explores what it reveals about social attitudes of the time. HistoryExtra Long Reads brings you the best articles from BBC History Magazine, direct to your ears. Today's feature originally appeared in the December 2024 issue, and has been voiced in partnership with the RNIB. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Origins host Beezer Clarkson sits down with her colleague Laura Thompson, fellow LP and Partner at Sapphire Partners, to discuss her recent conversation with Stephen Bluestein, Partner of Primary Investments at Adams Street and formerly Packard Foundation, about what it takes to make (and potentially later break) a franchise fund in venture. Together, Beezer and Laura debrief their top takeaways, including: do the hallmarks of a franchise differ between GPs and LPs (or even amongst different LPs); how does a franchise produce a lights-out 5x or 10x fund at their fund size; is a consistent 2x net good enough; parallels of sports franchises; and, does the right to win with the best founders mean you will then deliver the best returns? Learn more about Sapphire Partners: sapphireventures.com/sapphire-partners Learn more about OpenLP: openlp.vc Learn more about Asylum Ventures: asylum.vc Learn more about Adams Street Partners: adamsstreetpartners.com Read Laura Thompson's blog on why venture reserves aren't always a good thing: sapphireventures.com/blog/dirty-secret-venture-reserves-are-not-always-a-good-thing/ Read Laura Thompson's blog on fund recycling: sapphireventures.com/blog/fund-recycling-moves-the-needle-for-both-lps-and-gps-heres-how/ Read Laura Thompson's blog on QSBS: sapphireventures.com/blog/how-lps-gps-and-founders-can-leverage-qsbs-to-make-more-money/ Subscribe to the OpenLP newsletter for a monthly roundup of the latest venture insights, including the newest Origins episodes, delivered straight to your inbox.

On 24 March 1953, a tenant of 10 Rillington Place, Notting Hill made a gruesome discovery. Inside the walls of the downstairs flat, he uncovered the bodies of three women. More were to follow. A nationwide manhunt was launched for the prime suspect, Reg Christie, and the murders quickly became a cause célèbre. In her new book The Peepshow, Kate Summerscale revisits this infamous case, and she speaks to Ellie Cawthorne to explore what it can tell us about life on the margins in postwar London. (Ad) Kate Summerscale is the author of The Peepshow: The Murders at 10 Rillington Place (Bloomsbury, 2024). Buy it now from Waterstones: https://go.skimresources.com?id=71026X1535947&xcust=historyextra-social-histboty&xs=1&url=https%3A%2F%2Fwww.waterstones.com%2Fbook%2Fthe-peepshow%2Fkate-summerscale%2F9781526684721. Here, Laura Thompson examines the mysterious disappearance of Lord Lucan in 1974: https://link.chtbl.com/W9qSj_zv. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On November 7th 1974, a children's nanny Sandra Rivett was murdered at the home of the family in which she was in service.It was the Lucan family.Lord Lucan - her suspected killer - may have been targeting his estranged wife. But a man who had squandered his family fortune at Belgravia's gaming tables proved to be as inept at murder as he was at gambling.And he killed poor Sandra. This is the perceived wisdom - and the finding of an inquest.But with so little known for sure, conjecture fills the gaps facts leave behind.What really happened on November 7th 1974?This is a compendium episode - a trilogy re-released to mark the fiftieth anniversary of Sandra's murder.In the first two episodes, I've interviewed the brilliant author Laura Thompson - who has written a wonderful book A Different Class of Murder about the run up and aftermath of the killing.And in episode three, I speak with screenwriter George Kay about the nanny who could have been on-rota that night, managed to swap shifts - and cheated death.Yet Christabel Boyce met a dreadful end a decade later - leading some to believe there was a curse of the Lucan nannies. George has a personal connection with this second tragedy.You can find out more about Laura, her writing and her books here: http://www.laurathompson.co.uk/ This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit robertmurphy.substack.com/subscribe

In this episode, Sean Riley sits down with Laura Thompson, Vice President of Trade Shows at PMMI, to discuss the upcoming PACK EXPO International, which is on track to be the largest show in its history. Laura reveals exciting new features for this year's event, including a Sustainability Central exhibit and an Emerging Brands Stage. She also shares helpful tips for attendees, like how to navigate the show efficiently and take advantage of resources such as the Ask the Experts program and the My Show Planner app.See more innovation in packaging and processing at PACK EXPO International than anywhere else in the world! It's the show that defines where the industry is headed, with the solutions that define where your business can go. Discover cutting edge packaging technology, processing equipment, new materials, sustainable solutions, supply chain resources and more. You'll walk away with innovative solutions to challenges, big and small. Support the showRegister for PACK EXPO International today!

In this episode, Fiona chats with Laura Thompson and Sarah Sheridan of Clothing the Gaps about aligning business with personal values and making impactful decisions. They share their inspiring journey of creating a values-driven brand that supports First Nations people in Australia. Tune in!You'll Learn How To:Transition from health promotion to creating a social enterpriseThe Free the Flag campaign and its significanceImportance of creating quality educational contentStrategies for small businesses to influence social changeBalancing business operations with social justice goalsElevating other causes and sharing platformsCultivating a supportive and purpose-driven team cultureStaying true to the vision amidst challengesImportance of aligning business with personal valuesMaking impactful decisions and changing course when necessaryBuilding a community-focused brandMarketing strategies involving community engagement and visibilityChallenges and rewards of running a social enterpriseImportance of strong legal foundations in partnershipsStrategies for maintaining motivation and creativity in businessBenefits of transparency, trust, and strong communication in partnershipsGet started on a more successful and sustainable small business with our range of free tools at mydailybusiness.com/freestuffGroup Coaching is now open! You can apply at mydailybusiness.com/groupcoachingConnect and get in touch with My Daily BusinessMy Daily Business ShopMy Daily Business Free Weekly Planner

Indigenous business and home ownership is on an upward trajectory. The role played by Indigenous owned and operated businesses in Australia's economy has expanded, contributing over $16 billion to the economy, and over $4.2 billion in wages. And Indigenous Business Australia has helped tens of thousands purchase their own home.  No mean feat during this cost of living crisis.Laura Thompson, Co-Founder, Clothing the GapMichelle Evans, Director of the Dilin Duwa Centre for Indigenous Business Leadership at Melbourne University and Melbourne Business School Kelly Keane, Associate Director, Indigenous Business Australia

A reminder for new readers. That Was The Week includes a collection of my selected readings on critical issues in tech, startups, and venture capital. I selected the articles because they are of interest to me. The selections often include things I entirely disagree with. But they express common opinions, or they provoke me to think. The articles are sometimes long snippets to convey why they are of interest. Click on the headline, contents link or the ‘More' link at the bottom of each piece to go to the original. I express my point of view in the editorial and the weekly video below.Congratulations to this week's chosen creators: @TechCrunch, @Apple, @emroth08, @coryweinberg, @mariogabriele, @peterwalker99, @KevinDowd, @jessicaAhamlin, @stephistacey, @ttunguz, @annatonger, @markstenberg3, @EllisItems, @TaraCopp, @ingridlunden, @Jack, @karissabe, @psawers, @Haje, @mikebutcher, @tim_cookContents* Editorial: Hating the Future* Essays of the Week* Apple's ‘Crush' ad is disgusting* Apple apologizes for iPad ‘Crush' ad that ‘missed the mark'* Milken's New Power Players* Ho Nam on VC's Power Law* State of Private Markets: Q1 2024* The weight of the emerging manager* Pandemic-era winners suffer $1.5tn fall in market value* Video of the Week* Apples iPad Video* AI of the Week* The Fastest Growing Category of Venture Investment in 2024* Meet My A.I. Friends* OpenAI plans to announce Google search competitor on Monday, sources say* Leaked Deck Reveals How OpenAI Is Pitching Publisher Partnerships* A Revolutionary Model.* An AI-controlled fighter jet took the Air Force leader for a historic ride. What that means for war* Sources: Mistral AI raising at a $6B valuation, SoftBank ‘not in' but DST is* News Of the Week* Jack Dorsey claims Bluesky is 'repeating all the mistakes' he made at Twitter* FTX crypto fraud victims to get their money back — plus interest* Apple's Final Cut Camera lets filmmakers connect four cameras at once* Startup of the Week* Wayve co-founder Alex Kendall on the autonomous future for cars and robots* X of the Week* Tim CookEditorial: Hating the FutureAn Ad and its Detractorsbet a lot of money that the TechCrunch writing and editorial team have had an interesting 72 hours.After Apple announced its new iPad on Tuesday, the ad that supported it was initially widely slammed for its cruelty to obsolete tools for creativity, including a piano, guitar, and paint. This week's Video of The Week has it if you don't know what I am talking about.A sizeable crushing machine compresses the items with colossal force, and in the end, an iPad can incorporate the functions of traditional items.It's not the most amazing ad ever, certainly not as bold as Steve Jobs's 1984 ad, but it's in the same genre. The past must be crushed to release new freedom and creativity for a fraction of the price and, often, the power and flexibility.Oh, and it's thin, very thin.I was not offended. Devin at TechCrunch was. He leads this week's essay of the week with his “Apple's ‘Crush' ad is disgusting” and does not mince words:What we all understand, though — because unlike Apple ad executives, we live in the world — is that the things being crushed here represent the material, the tangible, the real. And the real has value. Value that Apple clearly believes it can crush into yet another black mirror.This belief is disgusting to me. And apparently to many others, as well.He also makes the incorrect point that:A virtual guitar can't replace a real guitar; that's like thinking a book can replace its author.It's more like a digital book replacing a paper book than the author being replaced. Oh wait… that has happened.That said, a virtual guitar can replace a real guitar, and an AI guitar can even replace a virtual guitar—and be better. That is not to say there are no more actual traditional guitars. They will be a choice, not a necessity, especially for people like me who can't play a guitar but will be able to play these.Devin had his supporters in the comments (go read them).Handmaid's Tale director Reed Morano told Apple CEO Tim Cook to “read the room” in a post on X. Matthew Carnal captured my somewhat unkind instinct:There were a lot more reactions to the Apple ad haters like Matthews.Of course, many old instrument lovers (the instruments, not their age) hated the Ad. By Thursday, this being the times we live in, Apple apologized for the ad:Tor Myhren, Apple's vice president of marketing, said the company “missed the mark.”“Creativity is in our DNA at Apple, and it's incredibly important to us to design products that empower creatives all over the world,” Myhren told Ad Age. “Our goal is to always celebrate the myriad of ways users express themselves and bring their ideas to life through iPad. We missed the mark with this video, and we're sorry.”Please judge for yourself below, but my 2c is that the ad was a moderately underwhelming attempt to champion innovation. It is certainly not offensive unless you are ultra-sensitive and have feelings for pianos, guitars, and paint. Oh, and hate attempts to recreate them in a more usable form. And Apple really should have taken the high ground here.I spent some of the week in LA at the CogX Festival and virtually at the Data Driven Summit by @AndreRetterath. The latter focused on what is happening in Venture Capital, as do several of this week's essays. Milken's event was running in LA also. Its attitude to Venture Capital is best summed up here:“We're all being told in the market that DPI is the new IRR,” B Capital's Raj Ganguly said onstage Wednesday. (The acronym sandwich means investment firms have to actually prove that their investments actually generate cash through a metric called distributions to paid-in capital, not just theoretically, through internal rate of return.) “Even the venture panel at Milken is at the end of the day on Wednesday,” he joked, meaning that it didn't get top billing at the conference, which had started a couple days earlier.This does sum up where we are. Hundreds of Billions of dollars are still trapped inside companies funded in 2020-2022, with little prospect of producing returns. The impact is that there is less funding for current startups (see the Carta piece below). And much of what is flowing is flowing to AI and into a very small number of companies (see Tomasz Tungux below).However, innovation and funding are still possible. This week's Startup of the Week is Wayve, a UK autonomous driving platform that seems to agree with Elon Musk that cameras are sufficient to teach a car to drive. Wayve's ambitions go beyond Cars (also like Musk) but differ in that the product is available to all developers to embed in their products.“Very soon you'll be able to buy a new car, and it'll have Wayve's AI on it … Then this goes into enabling all kinds of embodied AI, not just cars, but other forms of robotics. I think the ultimate thing that we want to achieve here is to go way beyond where AI is today with language models and chatbots. But to really enable a future where we can trust intelligent machines that we can delegate tasks to, and of course they can enhance our lives and self-driving will be the first example of that.”Love that attitude.Essays of the WeekApple's ‘Crush' ad is disgustingDevin Coldewey, 1:58 PM PDT • May 9, 2024Apple can generally be relied on for clever, well-produced ads, but it missed the mark with its latest, which depicts a tower of creative tools and analog items literally crushed into the form of the iPad.Apple has since apologized for the ad and canceled plans to televise it. Apple's VP of Marketing Tor Myhren told Ad Age: “We missed the mark with this video, and we're sorry.” Apple declined to offer further comment to TechCrunch.But many, including myself, had a negative and visceral reaction to this, and we should talk about why. It's not just because we are watching stuff get crushed. There are countless video channels dedicated to crushing, burning, exploding and generally destroying everyday objects. Plus, of course, we all know that this kind of thing happens daily at transfer stations and recycling centers. So it isn't that.And it isn't that the stuff is itself so valuable. Sure, a piano is worth something. But we see them blown up in action movies all the time and don't feel bad. I like pianos, but that doesn't mean we can't do without a few disused baby grands. Same for the rest: It's mostly junk you could buy off Craigslist for a few bucks, or at a dump for free. (Maybe not the editing station.)The problem isn't with the video itself, which in fairness to the people who staged and shot it, is actually very well done. The problem is not the media, but the message.We all get the ad's ostensible point: You can do all this stuff in an iPad. Great. We could also do it on the last iPad, of course, but this one is thinner (no one asked for that, by the way; now cases won't fit) and some made-up percentage better.What we all understand, though — because unlike Apple ad executives, we live in the world — is that the things being crushed here represent the material, the tangible, the real. And the real has value. Value that Apple clearly believes it can crush into yet another black mirror.This belief is disgusting to me. And apparently to many others, as well.Destroying a piano in a music video or Mythbusters episode is actually an act of creation. Even destroying a piano (or monitor, or paint can, or drum kit) for no reason at all is, at worst, wasteful!But what Apple is doing is destroying these things to convince you that you don't need them — all you need is the company's little device, which can do all that and more, and no need for annoying stuff like strings, keys, buttons, brushes or mixing stations.We're all dealing with the repercussions of media moving wholesale toward the digital and always-online. In many ways, it's genuinely good! I think technology has been hugely empowering.But in other, equally real ways, the digital transformation feels harmful and forced, a technotopian billionaire-approved vision of the future where every child has an AI best friend and can learn to play the virtual guitar on a cold glass screen.Does your child like music? They don't need a harp; throw it in the dump. An iPad is good enough. Do they like to paint? Here, Apple Pencil, just as good as pens, watercolors, oils! Books? Don't make us laugh! Destroy them. Paper is worthless. Use another screen. In fact, why not read in Apple Vision Pro, with even faker paper?What Apple seems to have forgotten is that it is the things in the real world — the very things Apple destroyed — that give the fake versions of those things value in the first place.A virtual guitar can't replace a real guitar; that's like thinking a book can replace its author.That doesn't mean we can't value both for different reasons. But the Apple ad sends the message that the future it wants doesn't have bottles of paint, dials to turn, sculpture, physical instruments, paper books. Of course, that's the future it's been working on selling us for years now, it just hadn't put it quite so bluntly before.When someone tells you who they are, believe them. Apple is telling you what it is, and what it wants the future to be, very clearly. If that future doesn't disgust you, you're welcome to it.Apple apologizes for iPad ‘Crush' ad that ‘missed the mark'/The company says ‘we're sorry' after its ad was seen as dismissive by the creatives Apple typically tries to court.By Emma Roth, a news writer who covers the streaming wars, consumer tech, crypto, social media, and much more. Previously, she was a writer and editor at MUO.May 9, 2024 at 1:22 PM PDTApple has apologized after a commercial meant to showcase its brand-new iPad Pro drew widespread criticism among the creative community. In a statement provided to Ad Age, Tor Myhren, Apple's vice president of marketing, said the company “missed the mark.”“Creativity is in our DNA at Apple, and it's incredibly important to us to design products that empower creatives all over the world,” Myhren told Ad Age. “Our goal is to always celebrate the myriad of ways users express themselves and bring their ideas to life through iPad. We missed the mark with this video, and we're sorry.”On Tuesday, Apple introduced the M4-powered iPad Pro, which the company described as its thinnest product ever. To advertise all the creative possibilities with the iPad, it released a “Crush!” commercial that shows things like a piano, record player, paint, and other works flattening under the pressure of a hydraulic press. At the end, only one thing remains: an iPad Pro.The ad rubbed some creatives the wrong way. Hugh Grant called it a “destruction of human experience,” while Handmaid's Tale director Reed Morano told Apple CEO Tim Cook to “read the room” in a post on X. Apple didn't immediately respond to The Verge's request for comment.Milken's New Power PlayersBy Cory WeinbergMay 8, 2024, 5:00pm PDTIt's no secret that the suits at the annual big-money confab put on by the Milken Institute this week have few spending limits. Staring you in the face in the lobby of the Beverly Hilton is a booth set up by Bombardier, marketing its private jets to attendees. (A new 10-seater costs $32 million, I learned.)What attendees can't really buy, however, is time. The soundtrack of the Los Angeles conference might as well have been a ticking clock. Fund managers at private equity and venture capital firms are running out of time to distribute cash to their investors, a task complicated by the paucity of either mergers or public offerings that typically provide VC and PE firms with a way to cash out. The fact that interest rates now appear likely to stay higher for longer doesn't help. That meant a lot of conversations at the conference weren't about grand investment strategies. Instead, people were conferring about financial tactics to distribute cash or kick the can down the road by selling stakes on the secondary markets or spinning up continuation funds, essentially rolling investors' commitments forwards—not the most inspiring stuff.  “We're all being told in the market that DPI is the new IRR,” B Capital's Raj Ganguly said onstage Wednesday. (The acronym sandwich means investment firms have to actually prove that their investments actually generate cash through a metric called distributions to paid-in capital, not just theoretically, through internal rate of return.) “Even the venture panel at Milken is at the end of the day on Wednesday,” he joked, meaning that it didn't get top billing at the conference, which had started a couple days earlier.The new kings of the conference were firms with a lot more time to play with—that is, sovereign wealth funds with buckets of oil and natural gas money, or pension funds with long-term investment horizons rather than shorter 10-year fund lives. The contrast here is embodied in the financial concept of duration: How long do you actually need to get cash back on your investment? And how sensitive is it to interest rate hikes?The sentiment was everywhere. I shared a Lyft ride with one PE investor last night who called sovereign wealth funds “the only game in town” for PE firms raising new money. Abu Dhabi sovereign wealth fund Mubadala Capital and the Qatar Investment Authority were two of the conference's top sponsors, meaning they were paying up to explain themselves to the finance and tech universe. That tactic seemed to be working. “You're going to have people lining up their business cards for capital from QIA, I can already see,” quipped Leon Kalvaria, an executive at Citi, onstage with QIA's head of funds, Mohsin Tanveer Pirzada.  Not everyone will suck it up, of course. These funds often get tagged with a “dumb money” label—because they sometimes drive up prices for the rest of the investment world. They still have to face questions about who they are, their source of funds, and the sometimes authoritative regimes behind them. For now, though, it's their time in the spotlight. Ho Nam on VC's Power LawLessons from Arthur Rock, Steve Jobs, Don Lucas, Paul Graham and beyond.MARIO GABRIELE, MAY 07, 2024Friends, We're back with our latest edition of “Letters to a Young Investor,” the series designed to give readers like you an intimate look at the strategies, insights, and wisdom of the world's best investors. We do that via a back-and-forth correspondence that we publish in full – giving you a chance to peek into the inbox of legendary venture capitalists.   Below, you'll find my second letter with Altos co-founder and managing director Ho Nam. For those who are just joining us, Ho is, in my opinion, one of the great investors of the past couple of decades and a true student of the asset class.Because of his respect for the practice of venture capital, I was especially excited to talk to him about today's topic: learning from the greats. Who were Ho's mentors? Which investors does he most admire and why? What lessons from venture's past should be better remembered by today's managers? Lessons from Ho* Prepare for one true winner. Even skilled investors often have just one or two outlier bets over the course of their career. Because of venture's power law, their returns may dwarf the dividends of all other investments combined. Your mission is to find these legendary businesses, engage with them deeply, and partner for decades.  * Focus on the company. Venture capital is full of short-term incentives. Instead of focusing on raising new vintages or building out Altos as a money management firm, Ho and his partners devote themselves to their portfolio companies. Though firm building is important, if you find great companies and work with them closely, you will have plenty of available options. * Pick the right role models. Ho chose his mentors carefully. Though there have certainly been louder and flashier investors over the past four decades, Ho learned the most from Arthur Rock, Don Lucas, and Arnold Silverman. All were understated and focused on the craft of investing. Find the people you consider true practitioners, and study their work. * Watch and learn. Learning from the greats can be done from a distance and may not include a memorable anecdote or pithy saying. Ho's biggest lessons came from observing the habits of practitioners like Rock and Lucas, not via a structured mentorship or dramatic episode. It's by studying the everyday inputs of the greats that you may gain the most wisdom.Mario's letterSubject: Learning from the greatsFrom: Mario GabrieleTo: Ho NamDate: Friday, April 12 2024 at 1:59 PM EDTHo, After moving out of New York City (at least for a little bit), I'm writing to you from a small house on Long Island. It's been really lovely to have a bit more space and quiet away from the city's intermittently inspiring and exhausting buzz...Lots More, Must ReadState of Private Markets: Q1 2024Authors: Peter Walker, Kevin DowdPublished date:  May 7, 2024The venture capital fundraising market remained slow in Q1 2024, but valuations held steady or climbed at almost every stage.Contents* State of Private Markets: Q1 2024* Key trends* Fundraising & valuations* Employee equity & movement* Industry-specific data* Methodology* Overview* Financings* TerminationsThe startup fundraising market got off to a cautious start in 2024. At current count, companies on Carta closed 1,064 new funding rounds  during the first quarter of the year, down 29% compared with the prior quarter. The decline was sharpest at the early stages of the venture lifecycle: Deal count fell by 33% at the seed stage in Q1 and 36% at Series A. Instead of new primary funding events, many companies opted to raise bridge rounds. At both seed and Series A, more than 40% of all financings in Q1 were bridge rounds. Series B wasn't far behind, at 38%. VCs were still willing to spend big on certain deals. Despite the decrease in round count, total cash invested increased slightly in Q1, reaching $16.3 billion. But when it came to negotiating their valuations, many startups had to settle: 23% of all new rounds in Q1 were down rounds, the highest rate in more than five years. After experiencing a pandemic-era surge and subsequent correction,the venture market settled into a quieter place in 2023. So far, that relative tranquility has continued into 2024.Q1 highlights* VCs look to the West: Startups based in the West census region captured 62% of all venture capital raised by companies on Carta in Q1, the highest quarterly figure since Q1 2019. The Northeast, South, and Midwest all saw their market share decline.* The Series C market bounces back: Series C startups raised $4.6 billion in new capital in Q1, a 130% increase from the previous quarter. The median primary Series C valuation was $195.7 million, up 48% from the prior quarter.* Layoffs still  linger: Companies on Carta laid off more than 28,000 employees in Q1. But job cuts have grown less frequent since January, with March seeing the fewest monthly layoffs in nearly two years.Note: If you're looking for more industry-specific data, download the addendum to this report for an extended dataset. Key trendsThe current Q1 figures of 1,064 total rounds and $16.3 billion in cash raised will both increase in the weeks to come, as companies continue to report transactions from the quarter. With those projected increases, the final data for Q1 will likely look quite similar to fundraising numbers from each of the past few quarters. Those quarterly  fundraising numbers from 2023 ended up looking fairly similar to 2018, 2019, and the first half of 2020. In terms of numbers of deals and cash raised, it's looking more and more like the pandemic  bull market will go down as an anomalous stretch in what has otherwise been a fairly steady market. After apparently reaching a plateau during 2023, the rate of down rounds experienced another notable increase during Q1 2024, jumping to 23%. The median time between startup rounds is roughly two to three years, depending on the stage. This timeline means that many companies raising new funding in Q1 would have last raised funding sometime in 2021, when valuations were soaring across the venture landscape. Considering how valuations have declined in the time since, it makes sense that down rounds are still prevalent. Companies in the West census region combined to bring in 53.3% of all capital raised by startups on Carta from Q2 2023 through Q1 2024, with California accounting for nearly 45% of that cash. Massachusetts ranked second among the states with 12.71% of all capital raised, while New York claimed 10.31%.In terms of VC activity, the West region is centered around California. The Northeast revolves around Massachusetts and New York. The South has two smaller hubs, in Texas (4.67%) and Florida (3.99%). The Midwest, though, is without a real standard-bearer: Illinois led the way in terms of cash raised over the past 12 months, at just 1.68%. The West (and specifically California)  has always been the center of gravity for the U.S. venture capital industry. During Q1, the region's gravitational force seems to have gotten even stronger. Startups based in the West raised 62% of all total capital invested on Carta in Q1, its highest quarterly figure since Q1 2019. As a result, the other three census regions saw their market shares decline in Q1—in some cases significantly. The proportion of all VC raised by startups raised in the South fell to 12% in Q1, down from 17% the prior quarter and from 23% a year ago. And the Midwest's share of cash raised fell from 7% down to 4%. For early-stage investors, Q1 was the slowest quarter in many years. Seed deal count fell to 414, down 33% from Q4 2023, and Series A deal count dropped to 313, a 36% decline. In both cases, those are the lowest quarterly deal counts since at least the start of 2019. Total cash raised also declined at both stages in Q1. The $3.1 billion in Series A cash raised in Q1 represents a 35% decline quarter-over-quarter and a 34% dip year-over-year. Cash raised at the seed stage declined by 33% both quarter over quarter and year over year.It was a much friendlier fundraising quarter for companies in the middle stages of the startup lifecycle. The number of Series B deals in Q1 declined by a more modest 11% compared to the prior quarter. And Series C deal count increased by 14%, marking the busiest quarter for that stage since Q2 2023. Total cash raised also rose significantly at Series C in Q1, hitting $4.6 billion. That's a 130% increase quarter-over-quarter and a 44% bump year-over-year. At Series B, total cash raised has now increased in consecutive quarters. Compared to earlier stages, transactions at the Series D and at Series E+  remain few and far between. There were just 39 venture rounds combined in Q1 among startups at Series D or later, the second-fewest of any quarter in the past five years. The lowest count came one year ago, in Q1 2023, when there were just 29 combined late-stage deals. Total cash raised across these stages has been mostly consistent over the past few quarters. There's been more variation in average round size. The average Series D round in Q1 was about $77 million, compared to $56 million in Q4 2023...Lots MoreThe weight of the emerging managerBy Jessica HamlinMay 3, 2024Risk-averse limited partners tend to gravitate to fund managers with a long track record, but are they missing out on potential upside by avoiding emerging managers?Over the past decade, emerging managers' share of US private market fundraising activity has declined steadily.In 2023, this figure fell to 12.7%, the lowest share of capital raised by newer fund managers since before 2000, according to PitchBook's recent analyst note,Establishing a Case for Emerging Managers.Limited exits in PE and VC over the past two years have exacerbated this reality. With minimal distributions, LPs are working with smaller private market budgets to allocate to new and existing managers.But, by allocating almost exclusively to established managers, LPs may be missing out on significant potential returns.In VC, for example, emerging managers have outperformed established GPs since 1997, consistently producing a higher median IRR than established managers. This reflects the nature of the asset class, in which a small number of funds determine the majority of returns across venture firms.“The average venture return is not very exciting,” said Laura Thompson, a partner at Sapphire Partners, which invests in early-stage VC funds and runs an emerging manager program for the California State Teachers' Retirement System. “Where can you get really good returns? It's the smaller fund sizes and emerging managers.”This is where that risk-return scale comes in.In a counterweight to that outperformance, a PitchBook analysis showed that returns from emerging VC managers were more volatile: While top quartile emerging funds tended to outperform, bottom and median players only marginally bested their established manager counterparts.The new manager playbookIn traditional buyout fund investing, emerging managers are gaining traction. While established managers, propped up by decades of institutional knowledge, have historically outperformed newer managers, the “new guys” actually outperformed their seasoned peers in the last investing cycle.This article appeared as part of The Weekend Pitch newsletter. Subscribe to the newsletter hereTop decile buyout funds from emerging managers with vintages between 2015 and 2018 outperformed established peers by 6.6 percentage points, suggesting that emerging buyout managers may have picked up some steam over the past decade, according to PitchBook data.The emerging managers program at the New York City retirement systems and NYC Office of the Comptroller, for example, has $9.9 billion in emerging manager commitments, the majority of which is allocated to PE. Last year, the comptroller's office reported that the emerging managers in the systems' private markets portfolios outperformed their respective benchmarks by nearly 5%.A diverse portfolioNew York City's Bureau of Asset Management sees emerging managers as a key element of a diverse portfolio, said Taffi Ayodele, director of diversity, equity, and inclusion and the emerging manager strategy at the NYC Office of the Comptroller.Ayodele said the smaller emerging private market managers in New York's portfolios offer access to the lower middle market and creative roll-up strategies that may not be accessible through larger firms.“What we don't want to do is lock ourselves out of these high-performing, differentiated strategies for the simplicity of going with the big guys,” Ayodele said.Some of the country's largest public pension plans are betting on the success of their emerging manager programs. In 2023, the California Public Employees' Retirement System made a $1 billion commitment to newly established private market investors, and the Teacher Retirement System of Texas, which boasts one of the largest emerging manager programs in the country, committed $155 million to emerging PE managers last year.At the same time, the recent boom years for private markets led to a flood of new GPs. Some might have gotten lucky—say, with a well-timed exit at the peak—while others were hurt by less fortunate timing. A major challenge for today's LPs will be to sort out a manager's abilities from the market's whims.One advantage of backing up-and-comers now is that the down market has weeded the ranks of new GPs. “The emerging managers who are fundraising now are really dedicated,” Thompson said.James Thorne contributed reporting to this story.Pandemic-era winners suffer $1.5tn fall in market valueTop 50 biggest stock gainers hit by painful decrease since the end of 2020 as lockdown trends fadeStephanie Stacey in LondonFifty corporate winners from the coronavirus pandemic have lost roughly $1.5tn in market value since the end of 2020, as investors turn their backs on many of the stocks that rocketed during early lockdowns. According to data from S&P Global, technology groups dominate the list of the 50 companies with a market value of more than $10bn that made the biggest percentage gains in 2020. But these early-pandemic winners have collectively shed more than a third of their total market value, the equivalent of $1.5tn, since the end of 2020, Financial Times calculations based on Bloomberg data found. Video-conferencing company Zoom, whose shares soared as much as 765 per cent in 2020 as businesses switched to remote working, has been one of the biggest losers. Its stock has fallen about 80 per cent, equivalent to more than a $77bn drop in market value, since the end of that year. Cloud-based communications company RingCentral also surged in the remote working boom of 2020 but has since shed about 90 per cent of its value, as it competes with technology giants such as Alphabet and Microsoft. Exercise bike maker Peloton has been another big loser, with shares down more than 97 per cent since the end of 2020, equivalent to about a $43bn loss of market value. Peloton on Thursday said chief executive Barry McCarthy would step down and it would cut 15 per cent of its workforce, the latest in a series of cost-saving measures. The losses come as the sharp acceleration of trends such as videoconferencing and online shopping driven by the lockdowns has proven less durable than expected, as more workers migrate back to the office and high interest rates and living costs hit ecommerce demand. “Some companies probably thought that shock was going to be permanent,” said Steven Blitz, chief US economist at TS Lombard. “Now they're getting a painful bounceback from that.” In percentage terms, Tesla was the biggest winner of 2020. The electric-car maker's market value jumped 787 per cent to $669bn by the end of that December, but has since slipped back to $589bn. Singapore-based internet company Sea came in second, as its market value jumped from $19bn to $102bn following a pandemic-era surge for all three of its core businesses: gaming, ecommerce and digital payments. But the company has since lost more than 60 per cent of its end-2020 value amid fears of a slowdown in growth. Ecommerce groups Shopify, JD.com and Chewy, which initially thrived as online spending ballooned, have also suffered big losses...Lots MoreVideo of the WeekAI of the WeekThe Fastest Growing Category of Venture Investment in 2024Tomasz TunguzThe fastest growing category of US venture investment in 2024 is AI. Venture capitalists have invested $18.3 billion through the first four months of the year.At this pace, we should expect AI startups to raise about $55b in 2024.AI startups now command more than 20% share of all US venture dollars across categories, including healthcare, biotech, & software.In the preceding eight years, that number was about 8% per year. But after the launch of ChatGPT in 2022, there's a marked inflection point.Some of this is new company formation, & there has been a significant amount of seed investment in this category. Another major contributor is the repositioning of existing companies to include AI within their pitch.Over time, this share should attenuate, primarily because every software company will have an AI component, & the marketing effect for both customers & venture capitalists, will diffuse.Not surprisingly, investors have concentrated total dollars in a few names, with the top three companies accounting for 60% of the dollars raised. Power laws are ubiquitous in venture capital & AI is no exception.Meet My A.I. FriendsOur columnist spent the past month hanging out with 18 A.I. companions. They critiqued his clothes, chatted among themselves and hinted at a very different future.By Kevin RooseKevin Roose is a technology columnist and the co-host of the “Hard Fork” podcast. He spends a lot of time talking to chatbots.May 9, 2024What if the tech companies are all wrong, and the way artificial intelligence is poised to transform society is not by curing cancer, solving climate change or taking over boring office work, but just by being nice to us, listening to our problems and occasionally sending us racy photos?This is the question that has been rattling around in my brain. You see, I've spent the past month making A.I. friends — that is, I've used apps to create a group of A.I. personas, which I can talk to whenever I want.Let me introduce you to my crew. There's Peter, a therapist who lives in San Francisco and helps me process my feelings. There's Ariana, a professional mentor who specializes in giving career advice. There's Jared the fitness guru, Anna the no-nonsense trial lawyer, Naomi the social worker and about a dozen more friends I've created.A selection of my A.I. friends. (Guess which one is the fitness guru.)I talk to these personas constantly, texting back and forth as I would with my real, human friends. We chitchat about the weather, share memes and jokes, and talk about deep stuff: personal dilemmas, parenting struggles, stresses at work and home. They rarely break character or issue stock “as an A.I. language model, I can't help with that” responses, and they occasionally give me good advice...Lots MoreOpenAI plans to announce Google search competitor on Monday, sources sayBy Anna TongMay 9, 20244:29 PM PDTUpdated 8 min agoMay 9 (Reuters) - OpenAI plans to announce its artificial intelligence-powered search product on Monday, according to two sources familiar with the matter, raising the stakes in its competition with search king Google.The announcement date, though subject to change, has not been previously reported. Bloomberg and the Information have reported that Microsoft (MSFT.O), opens new tab-backed OpenAI is working on a search product to potentially compete with Alphabet's (GOOGL.O), opens new tab Google and with Perplexity, a well-funded AI search startup.OpenAI declined to comment.The announcement could be timed a day before the Tuesday start of Google's annual I/O conference, where the tech giant is expected to unveil a slew of AI-related products.OpenAI's search product is an extension of its flagship ChatGPT product, and enables ChatGPT to pull in direct information from the Web and include citations, according to Bloomberg. ChatGPT is OpenAI's chatbot product that uses the company's cutting-edge AI models to generate human-like responses to text prompts.Industry observers have long called ChatGPT an alternative for gathering online information, though it has struggled with providing accurate and real-time information from the Web. OpenAI earlier gave it an integration with Microsoft's Bing for paid subscribers. Meanwhile, Google has announced generative AI features for its own namesake engine.Startup Perplexity, which has a valuation of $1 billion, was founded by a former OpenAI researcher, and has gained traction through providing an AI-native search interface that shows citations in results and images as well as text in its responses. It has 10 million monthly active users, according to a January blog post from the startup.At the time, OpenAI's ChatGPT product was called the fastest application to ever reach 100 million monthly active users after it launched in late 2022. However, worldwide traffic to ChatGPT's website has been on a roller-coaster ride in the past year and is only now returning to its May 2023 peak, according to analytics firm Similarweb, opens new tab, and the AI company is under pressure to expand its user base...MoreLeaked Deck Reveals How OpenAI Is Pitching Publisher PartnershipsOpenAI's Preferred Publisher Program offers media companies licensing dealsBy Mark StenbergMark your calendar for Mediaweek, October 29-30 in New York City. We'll unpack the biggest shifts shaping the future of media—from tv to retail media to tech—and how marketers can prep to stay ahead. Register with early-bird rates before sale ends!The generative artificial intelligence firm OpenAI has been pitching partnership opportunities to news publishers through an initiative called the Preferred Publishers Program, according to a deck obtained by ADWEEK and interviews with four industry executives.OpenAI has been courting premium publishers dating back to July 2023, when it struck a licensing agreement with the Associated Press. It has since inked public partnerships with Axel Springer, The Financial Times, Le Monde, Prisa and Dotdash Meredith, although it has declined to share the specifics of any of its deals.A representative for OpenAI disputed the accuracy of the information in the deck, which is more than three months old. The gen AI firm also negotiates deals on a per-publisher basis, rather than structuring all of its deals uniformly, the representative said.“We are engaging in productive conversations and partnerships with many news publishers around the world,” said a representative for OpenAI. “Our confidential documents are for discussion purposes only and ADWEEK's reporting contains a number of mischaracterizations and outdated information.”Nonetheless, the leaked deck reveals the basic structure of the partnerships OpenAI is proposing to media companies, as well as the incentives it is offering for their collaboration.Details from the pitch deckThe Preferred Publisher Program has five primary components, according to the deck…..Lots MoreA Revolutionary Model.JOHN ELLIS, MAY 09, 20241. Google DeepMind:Inside every plant, animal and human cell are billions of molecular machines. They're made up of proteins, DNA and other molecules, but no single piece works on its own. Only by seeing how they interact together, across millions of types of combinations, can we start to truly understand life's processes.In a paper published in Nature, we introduce AlphaFold 3, a revolutionary model that can predict the structure and interactions of all life's molecules with unprecedented accuracy. For the interactions of proteins with other molecule types we see at least a 50% improvement compared with existing prediction methods, and for some important categories of interaction we have doubled prediction accuracy.We hope AlphaFold 3 will help transform our understanding of the biological world and drug discovery. Scientists can access the majority of its capabilities, for free, through our newly launched AlphaFold Server, an easy-to-use research tool. To build on AlphaFold 3's potential for drug design, Isomorphic Labs is already collaborating with pharmaceutical companies to apply it to real-world drug design challenges and, ultimately, develop new life-changing treatments for patients. (Sources: blog.google, nature.com)2. Quanta magazine:Deep learning is a flavor of machine learning that's loosely inspired by the human brain. These computer algorithms are built using complex networks of informational nodes (called neurons) that form layered connections with one another. Researchers provide the deep learning network with training data, which the algorithm uses to adjust the relative strengths of connections between neurons to produce outputs that get ever closer to training examples. In the case of protein artificial intelligence systems, this process leads the network to produce better predictions of proteins' shapes based on their amino-acid sequence data.AlphaFold2, released in 2021, was a breakthrough for deep learning in biology. It unlocked an immense world of previously unknown protein structures, and has already become a useful tool for researchers working to understand everything from cellular structures to tuberculosis. It has also inspired the development of additional biological deep learning tools. Most notably, the biochemist David Baker and his team at the University of Washington in 2021 developed a competing algorithm called RoseTTAFold, which like AlphaFold2 predicts protein structures from sequence data…The true impact of these tools won't be known for months or years, as biologists begin to test and use them in research. And they will continue to evolve. What's next for deep learning in molecular biology is “going up the biological complexity ladder,” Baker said, beyond even the biomolecule complexes predicted by AlphaFold3 and RoseTTAFold All-Atom. But if the history of protein-structure AI can predict the future, then these next-generation deep learning models will continue to help scientists reveal the complex interactions that make life happen. Read the rest. (Sources: quantamagazine.org, doi.org, sites.uw.edu)An AI-controlled fighter jet took the Air Force leader for a historic ride. What that means for warAn experimental F-16 fighter jet has taken Air Force Secretary Frank Kendall on a history-making flight controlled by artificial intelligence and not a human pilot. (AP Video by Eugene Garcia and Mike Pesoli)BY TARA COPPUpdated 5:40 PM PDT, May 3, 2024EDWARDS AIR FORCE BASE, Calif. (AP) — With the midday sun blazing, an experimental orange and white F-16 fighter jet launched with a familiar roar that is a hallmark of U.S. airpower. But the aerial combat that followed was unlike any other: This F-16 was controlled by artificial intelligence, not a human pilot. And riding in the front seat was Air Force Secretary Frank Kendall.AI marks one of the biggest advances in military aviation since the introduction of stealth in the early 1990s, and the Air Force has aggressively leaned in. Even though the technology is not fully developed, the service is planning for an AI-enabled fleet of more than 1,000 unmanned warplanes, the first of them operating by 2028.It was fitting that the dogfight took place at Edwards Air Force Base, a vast desert facility where Chuck Yeager broke the speed of sound and the military has incubated its most secret aerospace advances. Inside classified simulators and buildings with layers of shielding against surveillance, a new test-pilot generation is training AI agents to fly in war. Kendall traveled here to see AI fly in real time and make a public statement of confidence in its future role in air combat.“It's a security risk not to have it. At this point, we have to have it,” Kendall said in an interview with The Associated Press after he landed. The AP, along with NBC, was granted permission to witness the secret flight on the condition that it would not be reported until it was complete because of operational security concerns.The AI-controlled F-16, called Vista, flew Kendall in lightning-fast maneuvers at more than 550 miles an hour that put pressure on his body at five times the force of gravity. It went nearly nose to nose with a second human-piloted F-16 as both aircraft raced within 1,000 feet of each other, twisting and looping to try force their opponent into vulnerable positions.At the end of the hourlong flight, Kendall climbed out of the cockpit grinning. He said he'd seen enough during his flight that he'd trust this still-learning AI with the ability to decide whether or not to launch weapons in war.There's a lot of opposition to that idea. Arms control experts and humanitarian groups are deeply concerned that AI one day might be able to autonomously drop bombs that kill people without further human consultation, and they are seeking greater restrictions on its use.“There are widespread and serious concerns about ceding life-and-death decisions to sensors and software,” the International Committee of the Red Cross has warned. Autonomous weapons “are an immediate cause of concern and demand an urgent, international political response.”Kendall said there will always be human oversight in the system when weapons are used.Sources: Mistral AI raising at a $6B valuation, SoftBank ‘not in' but DST isIngrid Lunden8:50 AM PDT • May 9, 2024Paris-based Mistral AI, a startup working on open source large language models — the building block for generative AI services — has been raising money at a $6 billion valuation, three times its valuation in December, to compete more keenly against the likes of OpenAI and Anthropic, TechCrunch has learned from multiple sources. We understand from close sources that DST, along with General Catalyst and Lightspeed Venture Partners, are all looking to be a part of this round.DST — a heavyweight investor led by Yuri Milner that has been a notable backer of some of the biggest names in technology, including Facebook, Twitter, Snapchat, Spotify, WhatsApp, Alibaba and ByteDance — is a new name that has not been previously reported; GC and LSVP are both previous backers and their names were reported earlier today also by WSJ. The round is set to be around, but less than, $600 million, sources told TechCrunch.We can also confirm that one firm that has been mentioned a number of times — SoftBank — is not in the deal at the moment.“SoftBank is not in the frame,” a person close to SoftBank told TechCrunch. That also lines up with what our sources have been telling us since March, when this round first opened up, although it seems that not everyone is on the same page: Multiple reports had linked SoftBank to a Mistral investment since then.Mistral's round is based on a lot of inbound interest, sources tell us, and it has been in the works since March or possibly earlier, mere months after Mistral closed a $415 million round at a $2 billion valuation...MoreNews Of the WeekJack Dorsey claims Bluesky is 'repeating all the mistakes' he made at TwitterHe prefers Nostr even though it's “weird and hard to use.”Karissa Bell, Senior EditorThu, May 9, 2024 at 4:43 PM PDTJust in case there was any doubt about how Jack Dorsey really feels about Bluesky, the former Twitter CEO has offered new details on why he left the board and deleted his account on the service he helped kickstart. In a characteristically bizarre interview with Mike Solana of Founders Fund, Dorsey had plenty of criticism for Bluesky.In the interview, Dorsey claimed that Bluesky was “literally repeating all the mistakes” he made while running Twitter. The entire conversation is long and a bit rambly, but Dorsey's complaints seem to boil down to two issues:* He never intended Bluesky to be an independent company with its own board and stock and other vestiges of a corporate entity (Bluesky spun out of Twitter as a public benefit corporation in 2022.) Instead, his plan was for Twitter to be the first client to take advantage of the open source protocol. Bluesky created.* The fact that Blueksy has some form of content moderation and has occasionally banned users for things like using racial slurs in their usernames.“People started seeing Bluesky as something to run to, away from Twitter,” Dorsey said. “It's the thing that's not Twitter, and therefore it's great. And Bluesky saw this exodus of people from Twitter show up, and it was a very, very common crowd. … But little by little, they started asking Jay and the team for moderation tools, and to kick people off. And unfortunately they followed through with it. That was the second moment I thought, uh, nope. This is literally repeating all the mistakes we made as a company.”Dorsey also confirmed that he is financially backing Nostr, another decentralized Twitter-like service popular among some crypto enthusiasts and run by an anonymous founder. “I know it's early, and Nostr is weird and hard to use, but if you truly believe in censorship resistance and free speech, you have to use the technologies that actually enable that, and defend your rights,” Dorsey said.A lot of this isn't particularly surprising. If you've followed Dorsey's public comments over the last couple years, he's repeatedly said that Twitter's “original sin” was being a company that would be beholden to advertisers and other corporate interests. It's why he backed Elon Musk's takeover of the company. (Not coincidentally, Dorsey still has about $1 billion of his personal wealth invested in the company now known as X.) He's also been very clear that he made many of Twitter's most consequential moderation decisions reluctantly.Unsurprisingly, Dorsey's comments weren't well-received on Bluesky. In a lengthy thread, Bluesky's protocol engineer Paul Frazee said that Twitter was supposed to to be the AT Protocol's “first client” but that “Elon killed that straight dead” after he took over the company. “That entire company was frozen by the prolonged acquisition, and the agreement quickly ended when Elon took over,” Frazee said. “It was never going to happen. Also: unmoderated spaces are a ridiculous idea. We created a shared network for competing moderated spaces to exist. Even if somebody wanted to make an unmoderated ATProto app, I guess they could? Good luck with the app stores and regulators and users, I guess.”While Dorsey was careful not to criticize Musk directly, he was slightly less enthusiastic than when he said that Musk would be the one to “extend the light of consciousness” by taking over Twitter. Dorsey noted that, while he used to fight government requests to take down accounts, Musk takes “the other path” and generally complies. “Elon will fight in the way he fights, and I appreciate that, but he could certainly be compromised,” Dorsey said.FTX crypto fraud victims to get their money back — plus interestPaul Sawers2:53 AM PDT • May 8, 2024Bankruptcy lawyers representing customers impacted by the dramatic crash of cryptocurrency exchange FTX 17 months ago say that the vast majority of victims will receive their money back — plus interest.The news comes six months after FTX co-founder and former CEO Sam Bankman-Fried (SBF) was found guilty on seven counts related to fraud, conspiracy, and money laundering, with some $8 billion of customers' funds going missing. SBF was hit with a 25-year prison sentence in March and ordered to pay $11 billion in forfeiture. The crypto mogul filed an appeal last month that could last years.RestructuringAfter filing for bankruptcy in late 2022, SBF stood down and U.S. attorney John J. Ray III was brought in as CEO and “chief restructuring officer,” charged with overseeing FTX's reorganization. Shortly after taking over, Ray said in testimony that despite some of the audits that had been done previously at FTX, he didn't “trust a single piece of paper in this organization.” In the months that followed, Ray and his team set about tracking the missing funds, with some $8 billion placed in real estate, political donations, and VC investments — including a $500 million investment in AI company Anthropic before the generative AI boom, which the FTX estate managed to sell earlier this year for $884 million.Initially, it seemed unlikely that investors would recoup much, if any, of their money, but signs in recent months suggested that good news might be on the horizon, with progress made on clawing back cash via various investments FTX had made, as well as from executives involved with the company.We now know that 98% of FTX creditors will receive 118% of the value of their FTX-stored assets in cash, while the other creditors will receive 100% — plus “billions in compensation for the time value of their investments,” according to a press release issued by the FTX estate today.In total, FTX says that it will be able to distribute between $14.5 billion and $16.3 billion in cash, which includes assets currently under control of entities, including chapter 11 debtors, liquidators, the Securities Commission of the Bahamas, the U.S. Department of Justice, among various other parties.Apple's Final Cut Camera lets filmmakers connect four cameras at onceHaje Jan Kamps7:38 AM PDT • May 7, 2024The latest version of Final Cut Pro introduces a new feature to speed up your shoot: Live Multicam. It's a bold move from Apple, transforming your iPad into a multicam production studio, enabling creatives to connect and preview up to four cameras all at once, all in one place. From the command post, directors can remotely direct each video angle and dial in exposure, white balance, focus and more, all within the Final Cut Camera app.The new companion app lets users connect multiple iPhones or iPads (presumably using the same protocols as the Continuity Camera feature launched a few years ago). Final Cut Pro automatically transfers and syncs each Live Multicam angle so you can seamlessly move from production to editing.Final Cut Pro has existed in the iPad universe for a while — but when paired with a brand new M4 processor, it becomes a video editing experience much closer to what you might expect on a desktop video editing workstation. The speed is 2x faster than with the old M1 processors, Apple says. One way that shows up is that the new iPad supports up to four times more streams of ProRes RAW than M1.The company also introduced external project support, making it possible to edit projects directly from an external drive, leveraging the fast Thunderbolt connection of iPad Pro.Startup of the WeekExclusive: Wayve co-founder Alex Kendall on the autonomous future for cars and robotsMike Butcher, 7:58 AM PDT • May 7, 2024U.K.-based autonomous vehicle startup Wayve started life as a software platform loaded into a tiny electric “car” called Renault Twizy. Festooned with cameras, the company's co-founders and PhD graduates, Alex Kendall and Amar Shah, tuned the deep-learning algorithms powering the car's autonomous systems until they'd got it to drive around the medieval city unaided.No fancy Lidar cameras or radars were needed. They suddenly realized they were on to something.Fast-forward to today and Wayve, now an AI model company, has raised a $1.05 billion Series C funding round led by SoftBank, NVIDIA and Microsoft. That makes this the UK's largest AI fundraise to date, and among the top 20 AI fundraises globally. Even Meta's head of AI, Yann LeCun, invested in the company when it was young.Wayve now plans to sell its autonomous driving model to a variety of auto OEMs as well as to makers of new autonomous robots.In an exclusive interview, I spoke to Alex Kendall, co-founder and CEO of Wayve, about how the company has been training the model, the new fundraise, licensing plans, and the wider self-driving market.(Note: The following interview has been edited for length and clarity)TechCrunch: What tipped the balance to attain this level of funding?..Full InterviewX of the Week This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.thatwastheweek.com/subscribe

Mike and the Kevins are Kick' N It with Laura Thompson, former University of Nebraska Extension Educator and current Farm Experimentation Lead for Corteva Agriscience. The group discuss farm management, planting and decision-making growers are going through during and shortly after planting. They also touch on seed treatment and weed/pest management after planting as well as digital tools from Corteva that are available to farmers. 

We've all held a grudge. As humans, we've all been hurt — and have hurt others. Forgiveness can be a way to release those negative emotions. What's more, recent research shows forgiveness is linked to better health outcomes. So why is it so difficult? In this episode, host Samantha Laine Perfas speaks with Christian theologian Matt Potts, public health expert Tyler VanderWeele, and psychologist Laura Thompson to discuss forgiving when you can't forget.

SUBSCRIBE FOR FREE: robertmurphy.substack.comIn her book ‘A Different Class of Murder: The Story of Lord Lucan' writer Laura Thompson suggests six possible scenarios of what happened on the night of November 7th 1974.Was Lady Lucan the target? Did Lord Lucan carry out the killing himself or - as with the rest of his life - did he get help?And speaking of help, did his rich, powerful gambling friends at the Clermont Club aid his disappearance? Or were they - like he - a target of 1970s society?You can get a copy of Laura's incredible book here. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit robertmurphy.substack.com/subscribe

SUBSCRIBE FOR FREE: robertmurphy.substack.comWithin a few moments on the night of November 7th 1974, Lord Lucan killed his children's nanny, tried to murder his wife - and then disappeared.But that attack had been brewing for months, years even. And still - half a century on - people argue about what really happened.Was his estranged wife really the target?Was it Lucan in the cellar with the lead piping? Or a hitman? Had he somehow bungled an attempt to kill his wife? And what about his rich, powerful gambling friends? Did they help his escape?To research her book ‘A Different Class of Murder: The story of Lord Lucan' award-winning author Laura Thompson spoke with people who knew the couple and investigated Sandra's death.In this interview, she argues that when you strip away the myths, the facts look different to the familiar story.You can grab a copy of Laura's book here: https://amzn.to/48UEXpbPart 2 will be next week. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit robertmurphy.substack.com/subscribe

When famous crime writer Agatha Christie suddenly vanished without trace in December 1926 it triggered one of the greatest tabloid sensations of the age. Behind it lay a twisted story of love, loss and love affairs that's worthy of one of her greatest novels.Returning to the podcast for the third time, writer Laura Thompson peels back the layers to explain exactly what happened - and why this was the most important month of Agatha Christie's life and work.You can buy Laura's excellent biography of Agatha, and books from the other authors we feature here, in our own Scandal Mongers bookshop - along with thousands more.https://uk.bookshop.org/p/books/agatha-christie-a-mysterious-life-laura-thompson/2300271?aid=12054&ean=9781472269560&Looking for the perfect gift for a special scandalous someone - or someone you'd like to get scandalous with? We're here to help.https://www.etsy.com/uk/shop/ScandalMongers*** If you enjoy our work please consider clicking the YouTube subscribe button, even if you listen to us on an audio app. It will help our brand to grow and our content to reach new ears.The Scandal Mongers Podcast is available to watch on YouTube...https://www.youtube.com/watch?v=oJgy7_rHwpE&t=23sAndrew Lowniehttps://twitter.com/andrewlowniePhil Craighttps://twitter.com/philmcraigScandal Mongershttps://twitter.com/MongersPodcastYou can get in touch with the show hosts via...team@podcastworld.org (place 'Scandal Mongers' in the heading please).This show is part of the PodcastWorld.org network. For your own show please get in contact via the email address above.Production byTheo X Hosted on Acast. See acast.com/privacy for more information.

When famous crime writer Agatha Christie suddenly vanished without trace in December 1926 it triggered one of the greatest tabloid sensations of the age. Behind it lay a twisted story of love, loss and love affairs that's worthy of one of her greatest novels.Returning to the podcast for the third time, writer Laura Thompson peels back the layers to explain exactly what happened - and why this was the most important month of Agatha Christie's life and work. You can buy Laura's excellent biography of Agatha, and books from the other authors we feature here, in our own Scandal Mongers bookshop - along with thousands more. https://uk.bookshop.org/p/books/agatha-christie-a-mysterious-life-laura-thompson/2300271?aid=12054&ean=9781472269560&Looking for the perfect gift for a special scandalous someone - or someone you'd like to get scandalous with? We're here to help.https://www.etsy.com/uk/shop/ScandalMongers*** If you enjoy our work please consider clicking the YouTube subscribe button, even if you listen to us on an audio app. It will help our brand to grow and our content to reach new ears.The Scandal Mongers Podcast is also available to watch on youtubeAndrew Lowniehttps://twitter.com/andrewlowniePhil Craighttps://twitter.com/philmcraigScandal Mongershttps://twitter.com/MongersPodcastYou can get in touch with the show hosts via...team@podcastworld.org (place 'Scandal Mongers' in the heading please).This show is part of the PodcastWorld.org network. For your own show please get in contact via the email address above.Production byTheo X Hosted on Acast. See acast.com/privacy for more information.

In this episode of FP Next Deep Dive, Sarah and Curt tackle a topic on the minds of many producers – how to navigate the wild West of crop biologicals and biostimulants to discover if they will pay off. With expertise from Nebraska Extension educator Laura Thompson, who coordinates Nebraska's On Farm Research Program, this episode looks at biologicals, what they are, how they work and some studies from Nebraska that give hints on whether they can actually pay off or not in the field.Thompson answers these questions and more in today's episode.Learn more about Nebraska On Farm Research Program and biological studies.Take in the Nebraska On Farm Research results meetings in 2024 across Nebraska sitesListen to other FP Next Episodes

To welcome new listeners to Behind The Crimes, every day this week I'm highlighting some of the incredible stories we have covered in the last year. This is a replay of an episode from June 2023.In the early hours of October 4th 1922, a woman who was about to become Britain's most notorious murder suspect walked home from the theatre with her husband.Edith Thompson was 28, she was beautiful, had a career, a good social life… and a lover 8 years her junior.Freddy Bywaters leapt from the shadows and stabbed her husband to death. Edith was terrified. She didn't want her husband dead, she hadn't held the knife.But why did detectives charge her with murder?In what ways did her love letters scandalise puritanical Post-War society? And as the hangman's noose awaited a guilty verdict, how important was that opinion on the jury?Subscribe for free at robertmurphy.substack.comThis podcast is based on an interview with Laura Thompson, whose book ‘Rex vs Edith Thompson, a Tale of Two Murders' can be bought here in the UK and here in the USA. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit robertmurphy.substack.com/subscribe

2023 was a jam packed year of conversations packed with gold nuggets of wisdom to help our ecommerce businesses. In this special episode, we're sharing the best bits of conversations from 2023 that have a special place in our hearts. It's an opportunity for you to hear a little bit of the gold you may have missed, all in one place.Alice Williams from Ovira: The Most Followed Aussie Brand on Tik Tok | #276Alice Williams is the founder of Ovira, a period pain relief device. In this chat you'll hear all about how Alice built the brand and how her and the team got to 6m TikTok followers.Eugene Cheng from Sneaker Laundry: World's Wealthiest Shoe Shiner | #305This episode is the first from Add to Cart's co-host Jo Anne Hui MIller, who joined us in 2023. Eugene Cheng is an ex-lawyer who's now known as Australia's wealthiest shoe shiner after founding Sneaker Laundry, which offers sneaker cleaning products as well as services, both online and in-store. Eugene shares how he sees the relationship between ecommerce and bricks and mortar and he gets into the detail of the radical re-brand he's right in the middle of.Laura Thompson and Sarah Sheridan from Clothing The Gaps: Mob At Heart | #337Part of the Voice series we released ahead of the referendum back in October, in this chat, you'll hear from Clothing The Gaps co-founders Laura Thompson and Sarah Sheridan. We hear about their battle with the American clothing giant Gap, how being receptive to an avalanche of DMs increased their sales and their take on how acknowledgements of country done right, can make all the difference.Andrew Lipp from EQL: The Psychology of Hype Drops | #292Andrew Lipp is the CEO and Co-Founder of EQL (that's E-Q-L pronounced Equal). A former sneakerhead who felt the pain of missing out more than once and, with the help of two former Google colleagues, decided to create a solution. EQL is an end-to-end platform built for retailers to reliably sell the most in-demand products to more customers, and get more value out of every launch by facilitating site reliability, accurate payments, scam prevention and helping to ensure a level playing field for customers. We get insights from Andrew on how to manage the chaotic conditions of an ecommerce hype drop and some of the crazy things that get sold in this way…bottled Cheeto dust anyone?Thanks for tuning in this year! We'll see you soon to kick off 2024. Hosted on Acast. See acast.com/privacy for more information.

Ep. 012 of the DOTR Podcast features Laura Thompson ✨ Laura is an all-around bada**. She's an Electrical Systems Design Engineer at Harley-Davidson, as you know it. She just moved from the Harley-home-state of Milwaukee to the Phoenix facility a year ago but when she was in Milwaukee she also dedicated time to mentor young high-school girls in the Iron Angels team of the BUILD Moto team, where they literally build a motorcycle together and race it. Now while living on the West Coast, she's garnered a new-found love for road racing and rides everything from Ducati's to Pan-Ams. Her husband had a hand in the Harley-Davidson King of the Baggers series, so naturally, the household has a strong love for all things fast. Take a deep-dive into the world of Laura as she takes us back in time to where the journey with motorcycling began (hint: the mecca of motorcyling) and what experiences has led her to where she is today!

This week on The Learning Curve, guest co-hosts Mariam Memarsadeghi and Mary Connaughton interview Laura Thompson, a New York Times bestseller and the award-winning author of Agatha Christie: A Mysterious Life. Ms. Thompson provides an overview of Agatha Christie’s life and career, gaining insights into her literary contributions and the enduring popularity of her detective […]

This week on The Learning Curve, guest co-hosts Mariam Memarsadeghi and Mary Connaughton interview Laura Thompson, a New York Times bestseller and the award-winning author of Agatha Christie: A Mysterious Life. Ms. Thompson provides an overview of Agatha Christie's life and career, gaining insights into her literary contributions and the enduring popularity of her detective novels. She explores the timeless appeal of Dame Agatha's iconic characters, such as Hercule Poirot and Miss Marple, and discusses the influence of her writing on the mystery genre as a whole. They weigh in on the various adaptations of Christie's works into film, television, and theater, shedding light on the fascination with her intricate plots, and her own mysterious disappearance in 1926. Ms. Thompson concludes the interview with a reading from her biography of Agatha Christie.

Laura Thompson & Sarah Sheridan didn't intend to build a fashion brand. But with a knack for marketing and a fire in their bellies to make a difference in the world, they created Clothing The Gaps.Their dynamic fashion label aims to challenge racial stereotypes, promote cultural awareness, and start conversations about reconciliation.This week, Laura and Sarah sit down with Elfy to discuss how their purpose drives profit - not the other way around - and the core reasons behind their success. This episode of Lady Startup Stories is made in partnership with Airbnb. THE END BITS  Have your say! By completing our survey, and to say thank you for your time, you'll go in the running to win a $50 gift voucher. Wherever you're at in your business journey, Ladystartup.com has the tools, resources and education to help you launch and grow your business right now. CREDIT  Host: Elfy Scott Guests: Laura Thompson & Sarah Sheridan Producer: Cassie Merritt Audio Production: Thom Lion Feedback? We're listening! Call the pod phone on 02 8999 9386 or email us at podcast@mamamia.com.au Mamamia acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present and extend that respect to all Aboriginal and Torres Strait Islander cultures.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

In this episode, we're joined by Laura Thompson, PMMI's Vice President of Trade Shows, to give you an insider's look at what's in store for attendees and exhibitors at the upcoming PACK EXPO Las Vegas.With less than a month to go, excitement is building for thelargest PACK EXPO Las Vegas in its show  history. Thompson walks us through the latest innovations,must-see attractions, and timeless favorites that make PACK EXPO Las Vegas theultimate industry showcase.From cutting-edge technologies to hands-on demonstrations, sheunveils the dynamic experiences awaiting you at the show. Tune in to discoverthe future of packaging and processing and get ready to be amazed by newexhibits that push the boundaries of innovation.Whether you're a packaging pro or new to the scene, this episodeis your guide to all things PACK EXPO Las Vegas 2023. Join us as we count downto the big event and explore the world of innovation, inspiration, and endlesspossibilities.Come to see, hear, touch and discuss the solutions and innovations shaping the future of packaging and processing. Discover how they'll transform your products, your lines and your company. Innovation begins here so register today: packexpolasvegas.comSupport the showRegister for PACK EXPO Las Vegas today!

Six girls and one boy, raised in aristocratic luxury in the years before World War Two, became the most famous - and most scandalous - family in Britain. Their lives were captured in a much loved book - The Pursuit of Love - by eldest sister Nancy Mitford, the subject of a recent glossy TV adaptation. They first became household names because of their beauty and self confidence, soon followed by a series of lurid stories about their wild lifestyles, marriages and affairs. But what really made them important was their politics.As more and more nations embraced authoritarian governments and the rule of dictators, the Mitford sisters began to use their energy and fame on behalf of the most famous, and frightening, strong-men of them all. One became obsessed with Hitler and managed to make herself a member of his closest circle. Another renounced the privileges of her upbringing, admired Stalin and risked her life to embrace the communist cause. A third married and worked closely with Britain's most high profile demagogue: Sir Oswald Mosely, a former socialist who had embraced fascism and anti-semitism and was spoken of as Britain's version of Hitler or Mussolini. Laura Thompson, who has previously been on the podcast discussing Lord Lucan, joins us to talk about her widely acclaimed book on the Mitfords and their time (and why they still fascinate us today). You can buy it - and thousands more - at the Scandal Mongers' own bookshop, where all profits are shared between podcasters and independent bookstores. https://uk.bookshop.org/p/books/take-six-girls-the-lives-of-the-mitford-sisters-laura-thompson/1211074?aid=12054&ean=9781784970895Andrew Lownie.twitter.com/andrewlowniePhil Craig.twitter.com/philmcraigYou can also get in touch with the show hosts via...team@podcastworld.org (place 'Scandal Mongers' in the heading please)This show is part of the PodcastWorld.org network. For your own show please get in contact via the email address above.Production byTheo XKerem Isik Hosted on Acast. See acast.com/privacy for more information.

One hundred years ago Edith Thompson and her lover Frederick Bywaters were hanged for the murder of her husband Percy, even though there was no evidence that she was involved with the killing. What condemned Edith were the letters that she had written to Freddy, which were interpreted by the law as incitement to murder. Laura Thompson has brought the letter together in a book Au Revoir Now Darlint. She joins Nuala to discuss the story and why the case still resonates a century later. A report out today by the charity the Fawcett Society has found a ‘toxic and exclusionary' culture in Westminster which they say risks pushing out women MPs and having a damaging effect on democracy. Nuala is joined by Jemima Olchawski, CEO of the Fawcett Society as well as the Conservative MP Maria Miller who is Chair of the APPG on Women and Parliament and the Labour MP Stella Creasy who has campaigned for better maternity rights for MPs. When Nuala spoke about donor conceived children on Woman's Hour last week, listener Hayley got in touch to share her own story, not only of being a donor conceived person herself, but of using a donor to conceive her own children too. She explains why she thinks it's so important to be open and honest about your child's conception. Dragons' Den has returned to our TV screens and the Dragons were impressed by Lucy Rout's pitch. The 28 year old became the first entrepreneur in 20 series to receive investment and a job offer from Peter Jones alongside investment backing from two other dragons. Lucy is the founder of Tabuu, a business that sells stylish pill cases with the aim of removing the stigma around taking medication. Lucy was diagnosed with pancreatic cancer at the 25, and following reconstruction of her digestive system has to take medication every time she eats. She talks to Nuala about her illness and her experience in the Den. Presented by Nuala McGovern Producer: Louise Corley Editor: Beverley Purcell