Podcasts about londons

In September 1666, a fire sparked in a bakery on Pudding Lane grew until it had destroyed four-fifths of central London. The rebuilding efforts that followed not only launched the careers of some of London's most famous architects, but also transformed Londoners' relationship to their city by underscoring the ways that people could shape a city's spaces—and the ways that a city's spaces could shape its people. Movable Londons: Performance and the Modern City (U Michigan Press, 2025) by Dr. Julia Fawcett looks to the Restoration theater to understand how the dispossessed made London into a modern city after the Great Fire of 1666 and how the introduction of changeable scenery in theaters altered how Londoners conceptualized the city. Dr. Fawcett makes a claim for the centrality of unplanned spaces and the role of the Restoration theater in articulating those spaces as the modern city emerged and argues that movable scenery revolutionized London's public theaters, inviting audiences to observe how the performers—many of them hailing from the same communities as their characters—navigated the stage. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In September 1666, a fire sparked in a bakery on Pudding Lane grew until it had destroyed four-fifths of central London. The rebuilding efforts that followed not only launched the careers of some of London's most famous architects, but also transformed Londoners' relationship to their city by underscoring the ways that people could shape a city's spaces—and the ways that a city's spaces could shape its people. Movable Londons: Performance and the Modern City (U Michigan Press, 2025) by Dr. Julia Fawcett looks to the Restoration theater to understand how the dispossessed made London into a modern city after the Great Fire of 1666 and how the introduction of changeable scenery in theaters altered how Londoners conceptualized the city. Dr. Fawcett makes a claim for the centrality of unplanned spaces and the role of the Restoration theater in articulating those spaces as the modern city emerged and argues that movable scenery revolutionized London's public theaters, inviting audiences to observe how the performers—many of them hailing from the same communities as their characters—navigated the stage. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In September 1666, a fire sparked in a bakery on Pudding Lane grew until it had destroyed four-fifths of central London. The rebuilding efforts that followed not only launched the careers of some of London's most famous architects, but also transformed Londoners' relationship to their city by underscoring the ways that people could shape a city's spaces—and the ways that a city's spaces could shape its people. Movable Londons: Performance and the Modern City (U Michigan Press, 2025) by Dr. Julia Fawcett looks to the Restoration theater to understand how the dispossessed made London into a modern city after the Great Fire of 1666 and how the introduction of changeable scenery in theaters altered how Londoners conceptualized the city. Dr. Fawcett makes a claim for the centrality of unplanned spaces and the role of the Restoration theater in articulating those spaces as the modern city emerged and argues that movable scenery revolutionized London's public theaters, inviting audiences to observe how the performers—many of them hailing from the same communities as their characters—navigated the stage. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In September 1666, a fire sparked in a bakery on Pudding Lane grew until it had destroyed four-fifths of central London. The rebuilding efforts that followed not only launched the careers of some of London's most famous architects, but also transformed Londoners' relationship to their city by underscoring the ways that people could shape a city's spaces—and the ways that a city's spaces could shape its people. Movable Londons: Performance and the Modern City (U Michigan Press, 2025) by Dr. Julia Fawcett looks to the Restoration theater to understand how the dispossessed made London into a modern city after the Great Fire of 1666 and how the introduction of changeable scenery in theaters altered how Londoners conceptualized the city. Dr. Fawcett makes a claim for the centrality of unplanned spaces and the role of the Restoration theater in articulating those spaces as the modern city emerged and argues that movable scenery revolutionized London's public theaters, inviting audiences to observe how the performers—many of them hailing from the same communities as their characters—navigated the stage. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

In September 1666, a fire sparked in a bakery on Pudding Lane grew until it had destroyed four-fifths of central London. The rebuilding efforts that followed not only launched the careers of some of London's most famous architects, but also transformed Londoners' relationship to their city by underscoring the ways that people could shape a city's spaces—and the ways that a city's spaces could shape its people. Movable Londons: Performance and the Modern City (U Michigan Press, 2025) by Dr. Julia Fawcett looks to the Restoration theater to understand how the dispossessed made London into a modern city after the Great Fire of 1666 and how the introduction of changeable scenery in theaters altered how Londoners conceptualized the city. Dr. Fawcett makes a claim for the centrality of unplanned spaces and the role of the Restoration theater in articulating those spaces as the modern city emerged and argues that movable scenery revolutionized London's public theaters, inviting audiences to observe how the performers—many of them hailing from the same communities as their characters—navigated the stage. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

In September 1666, a fire sparked in a bakery on Pudding Lane grew until it had destroyed four-fifths of central London. The rebuilding efforts that followed not only launched the careers of some of London's most famous architects, but also transformed Londoners' relationship to their city by underscoring the ways that people could shape a city's spaces—and the ways that a city's spaces could shape its people. Movable Londons: Performance and the Modern City (U Michigan Press, 2025) by Dr. Julia Fawcett looks to the Restoration theater to understand how the dispossessed made London into a modern city after the Great Fire of 1666 and how the introduction of changeable scenery in theaters altered how Londoners conceptualized the city. Dr. Fawcett makes a claim for the centrality of unplanned spaces and the role of the Restoration theater in articulating those spaces as the modern city emerged and argues that movable scenery revolutionized London's public theaters, inviting audiences to observe how the performers—many of them hailing from the same communities as their characters—navigated the stage. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

The history relating to this podcast goes way back further than you'd expect! What is now a thriving business had some help from the start and in this podcast we'll tell you all about it! Join us....

I denne utgaven av Akuttjournalen møter du vårt nye radarparet Stephen&Rehn, to tar professorer som løser akuttmedisinske problemer. Over en god kopp kaffe tar herrene et dypdykk i et tema som har preget akuttmedisinen i mange år: behovet for felles prosedyrer og standardisering i luftambulansetjenesten, og de spør: Hvordan kan norsk akuttmedisin fjerne uønsket variasjon uten å miste rommet for klinisk skjønn? I denne episoden diskuterer de hvordan fraværet av nasjonale prosedyreverk fører til uønsket variasjon i behandling, hvordan manglende koordinering mellom helseforetak skaper ulik praksis – og hva som må til for å skape en felles faglig plattform. Samtalen beveger seg fra personlige erfaringer til strukturelle utfordringer og viser hvor komplekst det er å balansere individuell klinisk frihet mot behovet for trygghet og forutsigbarhet i kritiske situasjoner. Stephen Sollid er lege og professor i prehospital akuttmedisin, og har lang erfaring som luftambulanselege. Han har også vært lege på redningshelikopteret ved 330 skvadronen, sjeflege i Stiftelsen Norsk Luftambulanse, leder for prehospital klinikk ved Oslo Universitetssykehus, og er i dag generalsekretær i Stiftelsen Norsk Luftambulanse. Marius Rehn har forsvarsbakgrunn som minedykker og redningsmann på redningshelikopter. Han er professor  ved OUS og spesialist i anestesiologi, og har pre-hospital erfaring fra Londons air ambulance. Han jobber i dag som luftambulanselege ved OUS Nyhetsbrev:Akuttjournalen har sitt eget nyhetsbrev som holder deg oppdatert om episodene våre og varsler deg når vi slipper nye. Meld deg på her! eller send en sms til 09044 med kodeord FAG og din egen epostadresse.

This week on Skip the Queue, we're stepping into the turret and turning up the tension, as we explore one of the UK's most talked-about immersive experiences.Our guest is Neil Connolly, Creative Director at The Everywhere Group, who have brought The Traitors Live Experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous.So, how do you even begin to transform a TV juggernaut into a thrilling, guest-led experience? Let's find out who's playing the game… and who's about to be banished…Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on LinkedIn. Show references: The Traitors Live website: https://www.thetraitorslive.co.uk/Neil's LinkedIn: https://www.linkedin.com/in/neil-connolly-499054110/Neil Connolly is a creative leader of design and production teams focused on development, production and installation of live theatre, entertainment, multi-media and attractions for the themed entertainment industry worldwide.Neil began his career as a performer, writer, producer & artist in Londons alternative theatre/art scene. It was during this time Neil developed a love and passion for story telling through the platform of interactive playable immersive theatre.Having been at the vanguard of playable & immersive theatre since 2007, Neil had a career defining opportunity in 2019 when he devised, wrote & directed an immersive experience as part of Sainsbury's 150th Birthday Celebrations. Making him the only immersive theatre & game maker in the world to have HRH Elizabeth Regina attend one of their experiences.In a distinguished career spanning 20 years, Neil has brought that passion to every facet of themed entertainment in the creative direction and production of attractions such as; Handels Messiah, Snowman & The Snowdog, Peppa Pig Surprise Party, Traitors Live, The Crystal Maze Live Experience, Tomb Raider Live Experience & Chaos Karts, an AR go-kart real life battle. Other clients and activations include: Harrods, Sainsbury's, Camelot/The National Lottery, Samsung, Blenheim Palace, Land Rover and Warner Brothers.Neil has worked across 4 continents for many years with private individuals; designing, producing and delivering live entertainment on land, sea & air. A world without boundaries requires freethinking.Neil is currently working with Immersive Everywhere on creative development of show and attraction content for projects across U.K, Europe, North America & Asia. Transcriptions:  Paul Marden: This week on Skip the Queue, we're stepping into the turret and turning up the tension as we explore one of the UK's most talked about immersive experiences.Paul Marden: Our guest is Neil Connolly, Creative Director at The Everywhere Group, who've brought The Traitor's live experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous. So how do you even begin to transform a TV juggernaut into a thrilling guest-led experience? Let's find out who's playing the game and who's about to be banished.Paul Marden: So, we're underground. Lots of groups running currently, aren't they? How did you make that happenNeil Connolly: Yeah, so now we're two floors under us. There's a lower basement and some other basement. So the building that we are in, there's a family in the 1890s who owned all of the land around Covent Garden and specifically the Adelphi Theatre.Paul Marden: Right.Neil Connolly: And they wanted their theatre to be the first theatre in the UK to have its lights powered by electricity. So they built their own private power station in this building. Like, literally like, all this, this is a power station. But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this building until the 1980s when the establishment was assumed through the important UK network.Neil Connolly: And then it was sat there empty, doing nothing for 40 years. And so the landlord that is now started redeveloping the building 10 years ago, added two floors onto the top of the building. So now what we're in is an eight-storey structure and we've basically got the bottom four floors. Two of which are ground and mezzanine, which is our hospitality area. And the lower two floors, which are all in the basement, are our experience floors. What we're looking at right now is, if you look off down this way to the right, not you people on audio, but me here.Neil Connolly: Off this side is five of the round table rooms. There's another one behind me and there's two more upstairs. And then I've got some Tretters Towers off to the left and I've got my show control system down there.Neil Connolly: On the floor above me, we've got the lounges. So each lounge is connected to one of the round table rooms. Because when you get murdered or banished, one of the biggest challenges that I faced was what happens to people when they get murdered or banished? Because you get kicked out of the game. It's not a lot of fun, is it? Therefore, for me, you also get kicked out of the round table room. So this is a huge challenge I face. But I built these lounge concepts where you go— it's the lounge of the dead— and you can see and hear the round table room that you've just left. We'll go walk into the room in a while. There's lots of interactivity. But yeah, super fun. Neil Connolly: But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this establishment until the 1980s when the establishment was considered through the important UK network.Paul Marden: Yeah. So we've got 10 million people tuning in to Traitors per episode. So this must be a lot of pressure for you to get it right. Tell us about the experience and what challenges you faced along the way, from, you know, that initial text message through to the final creation that we're stood in now.Neil Connolly: So many challenges, but to quote Scroobius Pip on this, do you know Scroobius Pip? Paul Marden: No. Neil Connolly: Great, he's amazing. UK rapper from Essex.Neil Connolly: Some people see a mousetrap and think death. I see free cheese and a challenge.Neil Connolly: There's never any problems in my logic, in my thinking. There's always just challenges to overcome. So one of the biggest challenges was what happens to people when they get murdered or banished. The truth of the matter is I had to design a whole other show, which happens after this show. It is one big show. But you go to the Lounge of the Dead, there's more interactivity. And navigating that with the former controller, which is O3 Media and IDTV, who created the original format in the Netherlands, and basically designing a game that is in the world and follows the rules of their game with some reasonable adjustments, because TV and live are not the same thing.Neil Connolly: It takes 14 days to film 12 episodes of The Traitors. Paul Marden: Really? Okay. Neil Connolly: So I was like, how do I truncate 14 days of somebody's life down into a two-hour experience and still deliver that same impact, that same power, that same punch?Paul Marden: Yep.Neil Connolly: But I knew from the beginning of this that it wasn't about time. There is a magic triangle when it comes to the traitors, which is time, space, atmosphere. And time was the thing that I always struggled with. I don't have a Scottish cattle show, and I don't have two weeks. No. So I'm like, 'Cool, I've got to do it in two hours.' So our format follows exactly the same format. We do a breakfast scene, then a mission, then a roundtable banishment, then there's a conclave where the traitors meet and they murder somebody. And I do that in a seven-day structure, a seven-day cycle. But it all happens within two hours around this round table.Neil Connolly: I'm the creative director for Immersive Everywhere. We're a vertically integrated structure in the sense that we take on our own venues. So we're now standing in Shorts Gardens in the middle of Covent Garden. So we've leased this building. We've got a lease that is for a number of years and we have built the show into it. But we also identify the IP, go after that ourselves, we capitalise the projects ourselves. We seek strategic partners, promoters, other people to kind of come involved in that journey. But because we're also the team that are licensing the product, we are also the producers and I'm the creative director for that company. So I developed the creative in line with while also getting the deal done. This is incredibly unusual because other producers will be like, 'Hey, I've identified this IP and I've got it.' Now I'm going to approach a creative agency and I'm going to get them to develop the product. And now I've done all of that, I'm going to find someone else to operationally put it on, or I'm going to find a venue to put it on in, and then I'm going to find my ticketing partner.  But we don't do that. We have our own ticketing platform, and we have our own database, so we mark our own shoulders.Neil Connolly: As well as other experiences too. Back, we have our own creative industry, we are the producers, we are the female workers. So we cast it, we hire all the front of house team, we run the food and beverage, we run the bars. The operations team is our operations team because they run the venue as well as the show at the same time. So that's what I mean. We're a vertically integrated structure, which means we do it, which makes us a very unusual proposition within... certainly within the UK market, possibly the world. It makes us incredibly agile as a company and makes us to be able to be adaptive and proactive and reactive to the product, to the show, to the market that we're operating in, because it's all under one roof.Neil Connolly: This show started January 24th, 2023. Right. It's very specific because I was sitting on my sofa drinking a lovely glass of Merlot and I had just watched... UK Traitors, Season One. Yep. Because it came out that Christmas. Immediately I was like, 'Oh my God, this is insane.' And then I got a text message that particular night from our head of licensing, a guy named Tom Rowe, lovely man. And he was like, Neil, I'm at a licensing event with some friends of mine and everyone's talking about this thing called Traitors. I've not watched it. Have you watched it? Sounds like it might be a good thing. And so I sat back and drank my Merlot. And about five minutes later, I text him back and I was like, Tom, get us that license.Neil Connolly: And then I sent him a bunch of other details of how the show in my head would work, both from a commercial standpoint, but also from a creative standpoint, because I'm a commercially minded creative. Right. So I instantly took out my notebook and I started writing down exactly how I thought the show was going to do, the challenges that we would face and being able to translate this into a live thing. But I literally started writing it that night. And then he watched the first episode on the train on the way home. And then he texted me the next morning and he was like, 'I love it.' What do we need to do? And I was like, 'Get us in the room.' Two days later, we were in the room with all three media who own the format globally.Paul Marden: Okay.Neil Connolly: So we sat down and then they came to see one of our other shows and they were like, 'Okay, we get it now.' And then that was like two and a half years of just building the show, getting the deal done and facing the myriad of challenges. But yeah, sometimes it just starts with the text message.Paul Marden: So they get to experience all the key parts of the TV.Neil Connolly: All the key beats. Like right now, I'm holding one of the slates. They're not chalkboard slates. Again, this is... Oh, actually, this is a good challenge. So in the TV show, they've got a piece of slate and they write on it with a chalkboard pen. This seems so innocuous and I can't believe I'm talking about this on a podcast.Neil Connolly: Slategate was like six months of my life. Not in its entirety, but it was a six month long conversation about how we do the slates correctly. Because we do... 48 shows a day, six days a week. And those slates will crack. They will bash. And they're kind of a bit health and safety standards. I was like, can't have them. Also, they write on them with chalk pens, white ink chalk pens. But in the TV show, you only do it once a night. Yeah.Paul Marden: And then you have a producer and a runner.Neil Connolly: They just clean them very, very leisurely and set them back for the next day. And I was like, no, I've got to do a whole bunch of roundtable banishments in two hours. So we talked a lot about material, about style, literal viewership, because if you take a seat at the table. Yeah. If you're sitting at the table here, you'll notice that we've got a raised bit in the middle. If I turn mine around, the other person on the other side can't see it. So I was like, 'Okay, cool.' So we had to do a whole bunch of choreography. But also, the room's quite dark. Yes. At times, atmospheric. Yeah. In that magic triangle time-space atmosphere. So anything that was darker, or even that black slate, you just couldn't read it. And then there was, and then I had to— this is the level of detail that we have to go into when we're designing this kind of stuff. I was like, 'Yeah, but I can't clean off these slates with the white ink because everyone will have to have like a wet cloth chamois. Then I've just got loads of chamois around my venue that I just don't need.' And so then we're like, 'Oh, let's use real slates with real chalk.' And I was like, 'No, because dust will get everywhere.' I'll get chalk just all over my table. It'll just ruin everything. It'll ruin the technology that's inside the table because there's lots of hidden tricks inside of it. Paul Marden: Is there really? Yeah, yeah, yeah.  Neil Connolly: There's loads of hidden tricks inside the table. So after a while, going through many different permutations, I sat down with Christian Elenis, who's my set designer and my art director. And we were, the two of us were nearly in tears because we were like, 'We need,' and this only happened like.Neil Connolly: I would say two, three weeks before we opened. We still hadn't solved how to do the slate, which is a big thing in the show. Anybody who's seen the show and loves the show knows that they want to come in, they want to write somebody's name on the slate, and they want to spell the name incorrectly.Neil Connolly: Everyone does it on purpose. But I wanted to give people that opportunity. So then eventually we sat down and we were like, Christian, Neil. And the two of us in conversation went, why don't we just get a clear piece of Perspex, back it with a light coloured vinyl. And then Christian was like, 'Ooh,' and I'll make it nice and soft and put some felt on the back of it, which is what I'm holding. And then why don't we get a black pen? And we were like, 'Yeah,' like a whiteboard marker. And then we can just write on it. And then A, I can see it from the other side of the table. Thing one achieved. Two. Every marker pen's got an eraser on the top of it. I don't know why everyone thinks this is important, but it is. That you can just rub out like that, and I'm like, 'There's no dirt, there's no mess, and I can reuse this multiple times, like dozens of times in the same show.' And I know that sounds really weird, but that's the level of design I'm going to need.Paul Marden: I was just about to say, and that is just for the chalkboard. Yeah. Now you need to multiply that. How many decisions?Neil Connolly: How many decisions in each game. But also remember that there are eight round tables in this building. Each round table seats 14 people. And we do six sessions a day. So first ones at 10 a. m. Then we do 12, 2, 4, 6, and 8 p. m. So we do 48 shows a day, six days a week.Paul Marden: I love the concept that these are shows. This is not this is not visitor attraction. This is theater repeated multiple times a day for multi audience is concurrently.Neil Connolly: And I've just spent five minutes describing a slate to you. Yeah. But like, I haven't even got— it's like the sheer amount of technology that is in the show. And again, theatrical, like, look above our heads. Yeah. You've got this ring light above every seat. It's got a pin light. There's also microphones which are picking up all the audio in the room, which again is translating to the lounge of the dead. Every single one of the round table rooms has four CCTV cameras. Can you see that one in the corner? Each one of them is 4K resolution. It's quite high spec, which is aimed at the opposite side of the table to give you the resolution in the TV. In the other room. Then you've got these video contents. This is constantly displaying secret information through the course of the show to the traitors when they're in Conclave because everyone's in blindfolds and they took them off. They get secret instructions from that. There's also a live actor in the room. A live actor who is Claudia? They're not Claudia. They're not pastiches of Claudia. They are characters that we have created and they are the host of The Traitor's Game. Right. They only exist inside this building. We never have them portrayed outside of this building in any way whatsoever.Neil Connolly: They are characters, but they live, they breathe— the game of Traitors, the world of Traitors, and the building that we have designed and constructed here. And they facilitate the game for the people. And they facilitate the game for the people. One actor to 14 people. There are no plants, even though everyone tries to tell me. Members of the public will be convinced that they are the only person that's in that show and that everyone else is a plant. And I'm like, no, because that would be insane.Neil Connolly: The only actor in the room is the host.Paul Marden: 14 people that can sit around this table. How many of them are in the same group? Are you with your friends or is it put together where there are other people that you won't know in the room? If you book together, you play together.Neil Connolly: Yes. Okay, so if you don't book 14 people... Ah, we also capped the number of tickets that you can purchase to eight. Right. So you can only purchase a maximum of eight tickets unless you do want a full table of 14, at which point you have to then purchase a VIP package because you are booking out a whole table for yourselves. The game doesn't work if there's less than 10 people at the table. So there has to be 10, 11, 12, 13 or 14 people sat at a round table for the show to actually happen, for it to work. By capping the number of tickets that you book for eight, then that guarantees that strangers will be playing together. And that is the basis of strangers. Yeah, yeah. Like, you need to be sat around a table with people you know, you don't know, that you trust and you don't trust. Yeah. Fact of the matter. And do you see people turning on the others in their own group? Every single time. People think genuinely, and I love this from the public, you would think that if you're turning up as a group of eight and a group of four and a group of two, that the bigger group would just pick everybody off to make sure that someone in their group gets through to the end game.Neil Connolly: I'm sure they think that and they probably plot and plan that before they arrive on site. As soon as this game starts, gloves are off and everyone just starts going for each other. We've been open nearly two months now. I have seen, like, children murdered of their mothers.Neil Connolly: Husbands murder their wives, wives murder their husbands. I've seen, like, three generations—like, we get, because it's so intergenerational, like our lowest, the lowest age that you can play this is 12. Right. And then it's upwards. I've seen three generations of family come in and I've seen grandkids murder their own nan.Neil Connolly: Absolutely convinced that they're a traitor. Yeah, yeah, yeah. 100%. Or they banish them. Like, it's just mental. I've also seen nans, who are traitors, murder their grandkids.Neil Connolly: Like, and this is in a room full of strangers. They're just like, 'No, I'm not going to go for Barbara, who I met two hours ago in the bar. I'm going to go for my own grandson. It's mental.'Neil Connolly: The very, very first thing that I always think about whenever I'm creating an experience or whenever I'm designing a show is I put myself in the position of 'I'm a member of the public.' I have bought a ticketNeil Connolly: What's the coolest thing that I am going to do for my money? What is my perceived value of my ticket over actually what is the value of that ticket? I wanted to give people the experience of knowing what it was like to be sitting in one of these chairs at this table and feeling their heart. The pounding in their chest and I mean, the pounding in their chest, that rush of adrenaline from doing nothing— from sitting in a chair and all you were doing was sitting in a room talking to people and your heart is going.Neil Connolly: Because you're either being accused of being a liar. And trying to defend against it. And trying to defend against it. Or you actually are lying and you're trying to whittle your way out of it. And that feeling is the most alive that you will ever feel. Not ever. Like, I'm sure they're... No, no, no. But, like, give people that opportunity and that experience, as well as, like, access to the world of traitors and the law and everything else. But also, it's like any other theme park ride. People go on roller coasters because the imminent fear of death is always there. Yeah. And you feel alive. You're like, you've got such a buzz of adrenaline. Whereas, arguably, we do exactly the same thing as roller coasters, but in a much more longer-drawn format and multiple times. Yeah. And people do feel alive. When people walk out of the show, you see them go upstairs to the bar, and they are... Yeah.Paul Marden: You've said to me already that you don't use the word 'immersive,' but you know, I'm, I'm, I'm sat. The company is called 'immersive' everywhere. I'm sat behind the scenes. Okay. I'm sat in the room and the room is hugely convincing. It's like the highest fidelity escape room type experience that I've ever sat in. It feels like I'm on set, yeah, yeah. Um, I can totally believe that, in those two hours, you can slip. I sat on a game. It was only a two-minute game at iApple, but I was being filmed by one of the team. But within 30 seconds, I'd forgotten that they were there because I was completely immersed in the game. I can believe that, sitting in here right now, you could forget where you were and what you were doing, that you were completely submerged in the reality of the land that you're in.Neil Connolly: Yeah, 100%. Like, the world does not exist beyond these worlds. And for some people, like, I have my own definition. Everyone's got a different definition of what immersive is. I've got my own definition. But... I can tell you right now, as soon as people enter this building, they're in the bar, they're kind of slowly immersed in that world because the bar is a themed bar. It's done to the same, like we designed and built that bar as well. But as soon as they start descending that spiral staircase and coming into the gameplay floors, into the show floors, they just forget the rest of the world exists. And especially when they sit down at this table, it doesn't matter. I'm sat next to you here, but you could be sat at this table with your loved one, strangers, whatever. The gloves come off and just nothing exists apart from the game that you're about to go through.Paul Marden: You've been open now for a couple of months. More success than you were anticipating, I think. So pre-sales went through the roof? Yes. So you're very happy with the results?Neil Connolly: Yeah, yeah, we were. Yeah, well, we still are.Neil Connolly: We were very confident before we'd even started building the show, like the literal structural build, because we did very well. But then that set expectations quite high because I had a lot of people that had bought tickets and I was like, 'OK, I need to put on a good show for these people. And I need to make sure that they get satisfaction relative to the tickets that they bought.' But I don't feel pressure. I do feel anxiety quite a lot. Creatively? Yeah. I mean, I meditate every day.Paul Marden: But you've created this amazing world and you're inviting people into it. And as a creative, you're opening yourself up, aren't you? People are walking into the world that you've created.Neil Connolly: Yeah, this was said to me. This is not something that I came up with myself, and I do say this really humbly, but it was something that was said to me. It was on opening day, and a bunch of my friends came to playtest the show. And they were like, 'Oh, this is your brain in a building.'Neil Connolly: And I was like, 'Yeah, I hadn't thought about that.' But yeah, it is my brain in a building. But also that's terrifying, I think, for everybody else, because I know what happens inside my brain and it's really quite chaotic.Neil Connolly: But, you know, this I am. I'm so proud of this show. Like you could not believe how proud I am of this show. But also a huge part of my job is to find people that are smarter than me at the relative thing that they do, such as the rest of my creative team. They're all so much smarter than me. My job is vision and to be able to communicate that vision clearly and effectively so that they go, 'I understand.' The amount of times that people on the creative team turn around to me and go, 'Neil, that's a completely mental idea.' If people are saying to me, 'No one's ever done that before' or 'that's not the way things are done.'Neil Connolly: Or we can do that, but we're going to have to probably invent a whole new thing. If people are saying those things to me, I know I'm doing my job correctly. And I'm not doing that to challenge myself, but everything that I approach in terms of how I build shows is not about format. It's not about blueprints. It's not like, 'Hey, I've done this before, so I'm just going to do this again because I know that's a really neat trick.' I go back to, 'I made the show because I wanted people's heart to pound in their chest while they're sitting in a chair and make them feel alive.'Paul Marden: Is that the vision that you had in your head? So you're articulating that really, really clearly. Is that the vision that you sold to everybody on, not maybe day one, but within a couple of days of talking about this? No, it was day one.Neil Connolly: It was day one. Everyone went, that's a completely mental idea. But, you know, it's my job to try and communicate that as effectively and clearly as I can. But again, I am just one man. My job is vision. And, you know, there's lighting design, sound design, art direction, there's game logic. We haven't even gotten to the technology of how this show works yet, or how this room works.Neil Connolly: Actually, I'll wander down the corner. Yeah, let's do that. But, like, there's other, like, lots of hidden tricks. Like, this is one of the games, one of the missions. In the world and the lore of the show, the round table is sacrosanct.Paul Marden: Yes.Neil Connolly: Traitors is the game. The game is in other people. I can do so many missions and there's loads of missions and they're really fun in this show. But the game is in other people. It's in the people sat on the other side of the room. But also I wanted to do a thing where people could interact directly with the set. And so I designed one of the missions to be in the round table itself.Neil Connolly: So there's a course of these moon dials, which you basically have to align through the course of it. And there are sensors built into the table so that they know when they're in the correct position. How you find out the correct position is by solving a very, very simple puzzle and then communicating effectively to a bunch of strangers that you just met.Neil Connolly: And the sensors basically read it all. And when that all gets into position, the lights react, the sound reacts, the video content reacts, the whole room reacts to you. So I wanted to give people something tangible that they can touch and they make the room react to them. Yes, it's. I mean, I've designed, I've got background in escape rooms as well, right? Um, so I've done a lot of that kind of stuff as well. So I wanted people to feel in touch, same, but like, there's more tangible props over here. Um, yeah, that is a model box of the room that we are stood in, yeah. Also, there's an exact replica of it on the other side of it. There are very subtle differences between it, and that informs one of the missions. So that is two model boxes in this roundtable room. There's one of these in every single roundtable room. So there's 16 model boxes of the show that you're stood in on the set. And again, theatre. It's a show. But it's one of the missions, because I wanted people to kind of go, 'Oh, there's a live actor in front of me.' I'm having fun. Oh, look at all these lights and all the sound. Oh, there's a model box over here. That's in theatre land and blah, blah, blah. But that is also a really expensive joke. It's a really expensive joke. And there's other, like, lots of hidden tricks.Neil Connolly: Let's go look at backstage. Yeah, yeah, yeah, absolutely.Neil Connolly: I say backstage, like how we refer to it or how I always go. I use 'I' and 'we' very interchangeably. Like right now you're on the set. Like you're on the stage. Yes. We're just wandering around a long corridor. There are round table rooms off to either side. But like, you know, there's a green room upstairs where the actors get changed, where the front of house team are, where the bar team all are. But as soon as they go out onto the show floor, they're on stage—yes, completely. We'll very quickly have a look at the gallery—yes, show control. Hi, Robbo. Do you mind if I stand in your room for the purposes of the audio? I'm talking to the technical manager, Thomas Robson. We're recording a podcast.Paul Marden: Robbo, oh yeah, okay. My mind is absolutely blown. So you've got every single room up on screen.Neil Connolly: Yeah, so that's great. There's 164 cameras—something like that. But every roundtable room has four cameras in it. Each camera is 4K resolution. So we've got cameras on all of them. We've got audio into those rooms. That's two-way, so that if show control needs to talk directly to them, they just press a button here and they can talk directly to the room itself. Mainly just like, stop misbehaving, we're watching you.Neil Connolly: We've then got cameras into all of the lounges, all of the show spaces, all the front of house, all of the bar areas, the mezzanine and back of house. And then you've got QLab running across all of the different shows. We've got backups on all of these screens. So if one... of the computers goes down, we can very quickly swap it in for a backup that's already running. We've got show control, which is, there's a company called Clockwork Dog, who, they're an amazing company. What COGS, their show control system, is doing is pulling in all of the QLab from sound, all of the QLab from lighting, and also we built our own app. to be able to run the show. So there's a whole logic and decision tree based on the decisions that the public do through the course of the game. So yes, there is a beginning, a middle, and an end in terms of our narrative beats and the narrative story of the show that we're telling people. But also that narrative can go in. Hundreds of different directions depending on the actions and the gameplay that the people do during the course of the show. So, you haven't just learned one show— you have to learn like You have to learn a world, and you have to learn a whole game.Neil Connolly: Like, there's the server, stacks, which we had to build. You had to network and cable the entire building. So we have built an entire new attraction, which didn't exist before. And also we're pulling in information from the front of house system which is also going into the show itself because again, you put your name into the iPad when you arrive on site and then you tick a box very crucially to say, 'Do you want to be selected as a trader? Yes or No.' Because in the game, it's a fundamental rule. If you say no, you cannot be selected as a traitor by the host during traitor selection. That doesn't mean you can't be recruited.Paul Marden: By the traitors later on in the game. So you could come and do this multiple times and not experience the same story because there were so many different pathways that you could go down.Neil Connolly: But also, the game is in other people. Yes. The show is sat on the opposite side of the table to you because, like, Bob and Sandra don't know each other. They'll never see each other ever again. But Bob comes again and he's now playing against Laura. Who's Laura? She's an unknown quantity. That's a whole new game. That's a whole new show. There's a whole new dynamic. That's a whole new storyline that you have to develop. And so the actors are doing an incredible job of managing all of that.Paul Marden: Thanks, Robbo. Thank you. So you've worked with some really, really impressive leading IP, Traders, Peppa Pig, Doctor Who, Great Gatsby. What challenges do you face taking things from screen to the live experience?Paul Marden: Challenges do I face? We're wandering here.Neil Connolly: So we are in... Oh, we're in the tower.Neil Connolly: Excellent. Yep, so we're now in Traitor's Tower. Good time for you to ask me the question, what challenges do I face? Things like this. We're now stood in Traitor's Tower. Paul, let me ask you the question. Without the show lights being on, so we're just stood on a set under workers, what's your opinion of the room that we're stood in?Paul Marden: Oh, it's hugely impressive. It feels like, apart from the fact you've punched the fourth wall out of the telly, it does feel like you're on set.Neil Connolly: It's a really faithful reproduction of the set. So that's kind of one of the challenges is managing the public's expectations of what they see, do and feel on site. So that I don't change the show so that people come and play the game that they're expecting to play. But making reasonable adjustments within that, because TV and live are two very, very different things. So first and foremost was making sure that we get the format right. So the game that people play, which informs the narrative of the show and the narrative structure of the show. Breakfast, mission, round table, conclave. Breakfast, mission, round table, conclave. I've designed a whole bunch of new missions that are in this, taken some inspiration from missions that people know and love from the TV shows, whether that's the UK territory or other territories around the world. And also just other stuff is just clear out of my head. So there's original content in there. paying homage and respect to the world that they've built and allowing ourselves to also play and develop and build out that world at the same time. Other challenges.Neil Connolly: This is not a cheap project. No, no. I mean, the production quality of this is beautiful. Yeah, yeah, thank you. It is stunning. When people walk in here, they're like, 'Oh my God, this is... High end.' I am in a luxury event at a very affordable price.Paul Marden: Thank you. And then we're going back upstairs again. Yes. And in the stairwell, we've got the crossed out photos of all of those that have fallen before us.Neil Connolly: No, not quite. All of the people that are in this corridor, there's about 100 photos. These are all the people who built the show.Neil Connolly: So this is David Gregory. He's the sound designer. This is Kitty, who is Immersive Everywhere's office manager. She also works in ticketing. That is Tallulah and Alba, who work in the art department. Elliot, who's our lighting designer. So all of these people are the people who brought the show to life.Paul Marden: Amazing.Neil Connolly: And we wanted to pay homage to them because some of them gave years of their lives to building the show from literally the inception that I had in 2023. Through to now and others are the people who literally spent months of their life underground in these basements building hand-building this set and so we wanted to pay homage to them so we got all of their photos we did the iconic red cross through it yeah and we stuck them all up in the corridor just because we thought it'd be a nice thing to do.Paul Marden: You're in the business of trading and experiences and that ranges from art exhibitions to touring shows. There's always going to be a challenge of balancing innovation and profitability. What is the formula? What is the magic formula?Neil Connolly: I believe, first and foremost, going back to what I was telling you earlier about us being a collaborative organisation. We are not a creative crack that has been used for the show. We are also the producers of the show. And to make my point again, I'm a commercially minded creative. So I actually sit down with the producers and go, 'Okay, cool.' There are 112 seats in the show.Paul Marden: Yep.Neil Connolly: Therefore, how many shows do we need to do per day? How many shows do we need to do per week? How many shows do we need to do per year? Therefore, let's build out a P &L. And we build a whole business plan based around that.Paul Marden: By having everybody— that you need in the team— makes it much easier to talk about that sort of stuff. It makes it much easier for you to design things with the end result in mind. You don't have a creative in a creative agency going off— feeding their creative wants without really thinking about the practicalities of delivering on it.Neil Connolly: Exactly. So you've got to think like, literally, from the very, very beginning: you've got to think about guest flow. You've got to think about throughput. You've got to think about your capacities. Then you've got to basically build out a budget that you think— how much, hey, how much really is this going to cost? Yeah. Then you build out an entire business plan and then you go and start raising the money to try and put that on. And then you find a venue. I mean, like the other magic triangle, like the traitor's magic triangle is, you know, time, space, atmosphere. That's how you do a show. Like with my producer's hat on, the other magic triangle is show, money, venue.Neil Connolly: The truth of the matter, like I make no bones about it, I can design shows till the cows come home, but I'm always going to need money to put them on and a venue to put them in. Also, I want to stress this really important. I use the words 'I' and 'we' very interchangeably.Paul Marden: It's a team effort.Neil Connolly: You can see that in that corridor. I am not a one-man band. I am the creative director of a company. I am a cog that is in that machine, and everybody is doing... We are, as a team... I cannot stress this enough. Some of the best in the business are doing what we do. And everyone is so wildly talented. And that's just us on the producing side. That's immersive everywhere, limited. Then I've got a whole other creative team. Then we've got operations. Then we've got... It's just mad. It's just mad, isn't it? This is a job. Who would have thought, when you were at school, this was an opportunity? Not my principal or my maths teacher.Neil Connolly: So, sorry, just to balance the kind of economies of scale. That was the question, wasn't it?Paul Marden: Well, we were talking about what is the formula for making that an investment, but you know, the authority here is the effort you've put in to do this feels high, but at the same time, you have to find this thing. There is a lot of investment that goes into the front.Neil Connolly: But that comes back to creatives. Caring and I'm not saying the creatives don't, but I care. I care about building businesses. Yeah, not necessarily like building my own CV, like there's so many projects that across our desks. I'll be like, 'Yeah, that'd be really fun to work on.' But do I think that I can make that a touring product? Can it be a long-running location-based entertainment sit-down product? Can it be an art shop? Like you've kind of got a balance with what do you think is just creatively cool versus what can we do as a company that is a commercially viable and financially stable product? And so all that comes through in terms of the creative, but also in terms of the activities of how we run the building, how this model realizes. Because if you think about it, let's make Phantom of the Opera run in the West End. Yes. The show is very obvious, with many casts on a room, away, fruit team away, terrace, it's a big activity. If they haven't sold half that away, they have to use the whole show and play all those people.Neil Connolly: But if they haven't sold half that away from one of my shows... I only have to activate four of my rooms, not eight of them. Therefore, I don't have to call in four actors. I don't have to call in a bunch of the other front of house team and I can scale in the operations on the back. It's an entirely scalable process. Flexible, yeah, yeah, yeah. Oh, 100%. But also, like, we've got eight rooms here. If we decide to take this to another territory, and that territory demands a much higher throughput, then instead of eight rooms, I can do 20 rooms, 30 rooms. As long as we know that the market is there to be able to kind of get people through it.Neil Connolly: I love this show and I'm so proud of it. The main reason why I'm proud of it is when the show finishes, let's go into one of the lounges. Have you been into one of the lounges?Paul Marden: I've had a nose around a lounge.Neil Connolly: There are different shapes and sizes. We won't go into that one. We'll go into this one down here. That one, that one. It's always such a buzz when you're stood in the bar and the shows kick out, and you see tables and tables of 14 people going up into the bar.Neil Connolly: Area and before they've even gotten a drink, they will run straight over to their friends, families, strangers, whoever they were playing with in that table of 14, and instantly be like, 'Right, I need to know everything that was going on inside your head, your heart, and your soul over the last two hours of my life because this was my experience.'Neil Connolly: And they'll just go, and they'll be like, 'And this is what I was thinking.' And then I thought it was you because you did this and you touched your nose in a weird way. And then I thought you were sending secret signals. And then everyone's like, 'No, that's not what I was doing.' I was just trying to be a normal person. And they were like, 'Well, why did you say that thing?' It sounded super weird. And they're like, 'That's just what I do.' And it's just totally mental. And then they all get a drink from the bar. And we call it the bar tab chat.Neil Connolly: It's another revenue stream.Neil Connolly: I do talk about this like it's a show. And it is a show. You've walked around, do you think it's a show? Completely. I talk to established houses all the time. Like, you know, the big theatres of the land. Organisations that are national portfolio organisations who receive a lot of Arts Council funding. The thing that they want to talk to us about all the time is new audiences. They're like, 'How do I get new audiences through my door?' What can I do? And I'm like, 'Well, firstly, make a show that people want to go and see.'Neil Connolly: Again, they're like, 'But I've got this amazing writer and he's a really big name and everyone's going to come because it's that name.' And I'm like, 'Yeah, that's wicked. That's cool.' And they can all go pay reverence to that person. That's really wonderful. Whereas when you look at the attractions landscape or the immersive theatre landscape or like anything like... Squid Game, or The Elvis, Evolution, or War of the Worlds, which has also laid reality, or any of that kind of stuff, across the landscape, it is nothing but new audiences. Yeah, yeah, yeah. It is nothing but actual ticket-buying audiences.Neil Connolly: And they come from all different walks of life. And what I love is that they do come in to this experience and we hit them with this like secret theatre.Neil Connolly: And they're like, 'Oh my God.' And often it's a gateway to them being like, 'Oh, I didn't realise that.' Maybe I'll go see a Western show or maybe I will go to the National Theatre and see something. Because that's the level of archery. Because those organisations, I love them and I've worked in a few of them, but those buildings can be quite austere, even though they're open and porous, but it's still very difficult to walk through that threshold and feel a part of it.Paul Marden: Whereas coming in here, coming into an event like this, can feel like a thing that they do.Neil Connolly: Because it's the same demographic as theme park junkies. People who love going to theme parks love going to stuff like this because it's an experience, it's an otherness, it's an other nature kind of thing. Because modern audiences want to play and do, not sit and watch. But we all exist in the kind of same ecosystem. I'm not taking on the National Theatre.Paul Marden: Gosh, no. I always talk about that. I think the reason why so many attractions work together in the collaborative way that they do is they recognise that they're not competing with each other. They're competing with sitting on your backside and watching Netflix.Paul Marden: Yeah, yeah.Paul Marden: Our job for all of us is to drag people away from their screens and drag people off of their sofas to do something. And then that's the biggest challenge that we all face.Neil Connolly: I think then that kind of answers the question that you asked me earlier, which I didn't answer. And I'm very sorry.Neil Connolly: is about identifying different pieces of IP. Like, yes, we largely exist in the world of licensing IP. And how do we identify that kind of IP to be able to translate? Not just how do we do it, but like, actually, how do we identify the right thing that's going to... How do you spot the winner? Yeah, exactly. Yeah. And that is one of the biggest challenges to your point of we're talking directly to people who consume arts, culture and media and technology in a slightly more passive way, whether that's just at home and watching Netflix and then bringing that to life. In a very, very different way. If you have a very clear marketing campaign that tells people what it is that they're buying and what they're expected to see or do on their particular night out, because that's what modern people really care about, what they do with their money. Yeah. And they want to have a good night out. And I'm in the business of giving people a good night out. We also happen to be murdering a lot of people in the course of the show.Neil Connolly: Still a good night out. Still a good night out. But I'm in a place where the dead sit. Yeah, exactly. Lounge of the dead. And like, you know, this is a really cool space. Oh, it's just beautiful. You know, we've got the telephone really works. There's lots of information that comes through that. The radio works, that does different things. The TV screen on the wall, that has the actual live feed into the round table room that you've just left. And there's other little puzzles and hints and tricks in this room, which means that after you've been murdered or banished and you come to the Lounge of the Dead, you're still engaged with the game to a degree. You just don't directly influence the outcome of the game. But you're still involved in it. You're still involved in it. It's super fun. Oh, and you can have a drink in here.Paul Marden: I don't let people drink in the round table. Even more important. What's this?Neil Connolly: The dolls, the creepy dolls. What this is, this is the void. Creatively speaking, this is where all the gold goes when people win or lose it. And the creepy dolls are from the TV show. Ydyn nhw'r un gwirioneddol o'r sioe? Felly, gafodd studio Lambert, sy'n gwneud y sioe tebyg, llawer o brops o'r sioe tebyg i ni eu rhoi ar y ddispleiddio yma. Felly, mae gennych chi'r Dolls Creepy o'r lles 3 yno. Rydyn ni'n mynd i fyny. Yn ôl yma, mae'r peintiwch Deathmatch.Paul Marden: Which is from season three.Neil Connolly: And they get the quill and they write the names and got the quill upstairs. We've also got over here, the cards that they used to play the death match with. Excellent.Paul Marden: So you began your career in theatre. How did that evolve into the world of immersive live experiences?Neil Connolly: Life story. I am the son of a postman and a cook. And if you haven't noticed already, I'm from Ireland. There was no theatre in our lives, my life, when I was growing up. And I stumbled into a youth theatre. It's called Kildare Youth Theatre. And the reason why I joined that is because there was a girl that I really fancied.Neil Connolly: She had just joined this youth theatre and I was like, 'Oh, I'm gonna join that as well' and that kind of opened the world of theatre for me. At the same time, I then got spotted by this guy, his name's Vijay Baton, his real name's Om, but he converted to Hare Krishnanism in the 90s. And he set up a street theatre company in Ireland. He just taught me street theatre. So he taught me stilt walk, he taught me juggling, he taught me how to build puppets. And so I spent years building puppets with him and going around Ireland doing lots of different street theatre while I was a teenager. And doing street theatre and doing my youth theatre and then kind of all of that kind of came to a head when I had to decide what I was going to do with my life. I applied to go to drama school. And I applied to two drama schools. One was Radha. Didn't get in. Didn't even get an audition. And the other one was Rose Bruford. And they took me. And the reason why they took me— I probably wasn't even that good. But on the day that I was auditioning to get into Rose Bruford was the same day as my maths exam for my final exams at school. You call them your A-levels, we call them the leaving certificate.Neil Connolly: And while all of my friends were back in Ireland doing their maths exam, I was in an audition room pretending to be a tree or the colour black.Neil Connolly: Who knows? And they kind of went, 'Well, if I fail my maths exam, I don't get into university in Ireland.' Like, it's just a blanket thing. And so I was like, 'I literally sat across the panel' and I was like, 'eggs, basket.' And they were like, 'cool.' So they let me in based off of that. So I got a classical training. Then what happened is I came out of university. I was living with two of my friends, Natalie and Joe. And we had our own little production company called The Lab Collective. And we just started making shows. In weird ways, we joined a company called Theatre Delicatessen. Let's get away from this. Yeah, yeah, yeah.Neil Connolly: So Theatre Deli was a company set up to take over disused spaces in London and convert them into art spaces.Neil Connolly: Basically legalised squatting. It's the same as like a guardianship. But we weren't living in the buildings. We were just putting on shows and we put on art shows, we put on theatre shows. We did Shakespeare for a while. We wrote our own work and we just did lots of really, really cool stuff. And I worked in music festivals, classically trained actor. So I was trying to do shows. I did a lot of devising. I also joined an improvisation group. And kind of through all that mix, like those years at Delhi, which was making these weird shows in these weird buildings, were very, very formative years for us. The Arts Council wouldn't support the kind of work that we were making. We were like, 'Cool, how do we get space?Neil Connolly: How do we get or make money to support ourselves? And what are the shows? There's the magic triangle all over again. Space, show, money. And that's your apprenticeship, I guess, that brings you to here. Yeah, yeah, yeah. And like, again, I make no bones about it. 10 years ago, I was selling programs on the door of the Royal Festival Hall while doing all of that stuff. So in one of the Theatre Daily buildings, we did a show called Heist, which is you break into a building and steal stuff. That's what the public do.Neil Connolly: And a bunch of us did that. I mean, it's so much fun— kind of doing it. And off the back of that, somebody else basically tried to chase down the crystal maze. And then they went away, and then they called me up and they were like, 'Hey, I've got the rights. Do you want to make the crystal maze?' And I was like, 'Yeah, sounds like fun.' So I got involved with that, did that for a while. And then, from there, this is the end of a very long story. I'm so apologised. Yeah, from there, all of those different things that I've done through the course of my life in terms of operations, designing experiences, being a creative, understanding business.Neil Connolly: Building a P&L, building a budget, talking to investors, trying to convince them to give you money. All of that stuff kind of basically came together. And over the last few years, like the wildest ride is that pre-2020.Neil Connolly: We were just a bunch of people doing a bunch of weird things, making weird shows and weird attractions in kind of different ways. And then that year happened. And I don't know what happened, but literally every single major studio, film, TV production, game designer, licensor in the world, suddenly just went— brand extensions, world extensions, and they all just started calling us. And they were like, 'Hi, I've got this thing.' Can you develop it into a thing? Because I need to extend my brand or I want to build a world and extend that for the public. And we were like, 'Yeah, okay, cool.' And we were just lucky, serendipitously, to be in the right place at the right time. To be those people that people can approach. And we're always, we're very approachable.Neil Connolly: As you can tell, I talk a lot. And, you know, so the last five years, it's just been a mad ride.Paul Marden: So look, Neil, it's been amazing. I have had the most fun. Last question for you. What's next? Are you putting your feet up now because you finished this? Or on to the next? Neil Connolly: Very much on to the next thing. So we're already in production with our new show, which is called Peppa Pig Surprise Party. And that is opening at the Metro Centre in Gateshead next year. Oh, how exciting is that? It's very exciting.Paul Marden: So quite a different demographic.Neil Connolly: The demographic for Peppa Pig is two to five year olds. It's been a really fun show to design and create. To go back to a question that you asked me very early on, there is no blueprint, there is no format. I have embraced the chaos tattooed on my arm. And always when I approach things, any new show or any new creative, I am thinking of it from a ticket buying perspective: 'I have paid my money.' What is the coolest thing that I can possibly do with that money? And so therefore, I'm now looking at families and, like, what's the coolest thing that they can do for that ticket price in the world of Peppa Pig?Paul Marden: Let's come back in the new year, once you've opened Peppa Pig, let's go to Gateshead and see that. That sounds pretty awesome to me. I reckon there's a whole new episode of Designing Worlds for two to five-year-olds that we could fill an hour on.Neil Connolly: Oh yeah, 100%. It's a totally different beast. And super fun to design.Paul Marden: Oh mate. Neil, it has been so wonderful having a wander around the inside of your crazy mind.Paul Marden: If you've enjoyed today's episode, please like it and leave a comment in your podcast app. It really does make it so much easier for other people to find us. This episode was written by Emily Burrows from Plaster, edited by Steve Folland, and produced by Sami Entwistle from Plaster and Wenalyn Dionaldo. Thanks very much. See you next week.  The 2025 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsTake the Rubber Cheese Visitor Attraction Website Survey Report

Wimbledon Common, Juli 1992: Ein riesiges Wald- und Moorgebiet im Süden Londons, beliebt bei Spaziergängern und Familien. Zwischen den malerischen Wegen entdecken Spaziergänger einen kleinen, weinenden Jungen. Er heißt Alex, ist zwei Jahre alt, an seiner Seite sitzt Hund Molly. Immer wieder stammelt der Junge: „Wach auf, Mami, wach auf.“ -- In dieser Folge BRITPOD Crime nehmen Euch Alexander-Klaus Stecher und Claus Beling mit in den unglaublichen Kriminalfall Rachel Nickell, der 1992 die britische Öffentlichkeit erschüttert. Der kleine Junge führt die Spaziergänger zu seiner Mutter – Rachel Nickell. Sie liegt am Boden, ihr Körper ist übersät von 49 Messerstichen, darunter ein Schnitt in die Kehle. Scotland Yard übernimmt den Fall. Selbst hartgesottene Ermittler sind schockiert. Eine solche Brutalität haben sie noch nie gesehen. Schnell wird klar: Rachel ist nicht nur ermordet, sondern auch sexuell genötigt worden. Obwohl das Gebiet sofort großräumig durchkämmt wird, finden die Beamten keinen Verdächtigen. Der einzige Zeuge ist das Kind. -- Scotland Yard konzentriert sich bald auf einen Verdächtigen: Colin Stagg. Monatelang wird er von der Polizei ins Visier genommen, sogar eine Geheimagentin wird auf ihn angesetzt, die ihn erst verführen und später überführen soll. Dieses psychologische Profiling-Experiment ist eine äußerst fragwürdige Methode. Stagg wird schließlich verhaftet, von der Presse zerstört und sitzt 14 Monate im Gefängnis. Doch die Ermittler haben den Falschen – Stagg ist unschuldig. Ein gewaltiger Justizirrtum, der das Vertrauen in die Ermittlungsarbeit nachhaltig erschüttert. Erst Jahre später, dank moderner DNA-Analysen, wird der wahre Täter ermittelt: Robert Napper, ein gefährlicher Sexualstraftäter und Serienmörder, der bereits zuvor hätte gestoppt werden können. -- Der Mord an Rachel Nickell verändert nicht nur das Leben ihrer Familie unwiderruflich, sondern führt auch zu einer tiefen Selbstkritik innerhalb der britischen Polizei. Er steht bis heute für die Gefahren voreiliger Ermittlungen, den Einfluss der Medien und die Notwendigkeit, Gerechtigkeit mit Verantwortung zu suchen. BRITPOD CRIME – Englands Mystery Crime Stories! -- WhatsApp: Du kannst Alexander und Claus direkt auf ihre Handys Nachrichten schicken! Welche Ecke Englands sollten die beiden mal besuchen? Zu welchen Themen wünschst Du Dir mehr Folgen? Warst Du schon mal in Great Britain und magst ein paar Fotos mit Claus und Alexander teilen? Probiere es gleich aus: +49 8152 989770 - einfach diese Nummer einspeichern und schon kannst Du BRITPOD per WhatsApp erreichen. -- Ein ALL EARS ON YOU Original Podcast.

Welcome back to The So Can I Podcast! In today's September book club episode, we're diving into The London Séance Society by Sarah Penner — the perfect atmospheric, gothic mystery for fall.If you missed it, go listen to Episode 155 where I interviewed Sarah herself. She's the first fiction author I've had on the show, and it was such a joy hearing her story and journey to becoming a bestselling writer.In this episode, I share my thoughts on The London Séance Society — including:Why I gave it 4.5 starsThe gothic, spooky atmosphere that makes this a perfect autumn readThe surprising twists and corruption at the heart of the London Séance SocietyMy thoughts on the romance subplot After the review, I also share my Fall Reading List across romance, thrillers, fantasy, and witchy/magical reads. From cozy romances like Pumpkin Spice Café to thrillers like The Golden Spoon and fantasy favorites like Bride by Ali Hazelwood, there's something here for every type of reader. Plus, I reveal our October book club pick: The Academy by Elin Hilderbrand.Whether you've already read The London Séance Society or are just looking for your next perfect fall read, this episode is for you.Books Mentioned in This Episode:The London Séance Society by Sarah PennerThe Amalfi Curse by Sarah PennerThe Lost Apothecary by Sarah PennerPumpkin Spice Café by Laurie GilmoreCinnamon Bun Bookstore by Laurie GilmoreThe Honeycrisp Orchard Inn by Valerie BowmanIf It Makes You Happy by Julie OliviaThe Dead Romantics by Ashley PostonThe Golden Spoon by Jessa MaxwellAnd Then There Were None by Agatha ChristieThe Guest List by Lucy FoleyShady Hollow series by Juneau BlackThe Thursday Murder Club by Richard OsmanFilthy Rich Fae series by Geneva LeeBride (and upcoming Mate) by Ali HazelwoodThe Serpent and the Wings of Night by Carissa BroadbentFrom Blood and Ash and Flesh and Fire series by Jennifer L. ArmentroutQuicksilver by Callie HartConform by Ariel Sullivan (forthcoming from Jenna Bush Hager's imprint)The Very Secret Society of Irregular Witches by Sangu MandannaThe Ex Hex and The Kiss Curse by Erin SterlingThe Southern Book Club's Guide to Slaying Vampires by Grady HendrixA Witch's Guide to Magical Innkeeping by Sangu MandannaWeyward by Emilia HartThe Academy by Elin Hilderbrand (October pick!)✨ Don't forget to subscribe so you never miss a book club chat, and let me know what fall reads are on your list!

Sådan her kan utilfredshed altså også se ud: Som tusinder og atter tusinder af små levende prikker, der – filmet fra luften af en drone – langsomt bevæger sig gennem Londons gader. 150.000 mennesker. Klemt tæt sammen og på vej gennem byen. Som en tyktflydende væske med britiske og engelske flag i hænderne. ”Send them home”, bliver der råbt. “Protect our kids” og “We want our country back”. Mens dronen flyver hen over byens tage, ser man menneskemængden fylde en lang gade fra husmur til husmur. Ligesom den næste gade. Og den næste igen; nogle steder breder den sig ud i de tilstødende gader, og hvor der er pladser, svulmer den op og fylder pludselig det hele. Det er meget utilfredshed samlet på ét sted. Men hvad demonstrerer de egentlig imod? Er det indvandringen? Islam? Eller tømmermændene oven på Brexit? Det spørger vi Politikens Europa-korrespondent Martin Bjørck om i dagens 'Du lytter til Politiken'. Vi hører gerne fra dig, skriv til: dulyttertilpolitiken@pol.dkSee omnystudio.com/listener for privacy information.

Hon föddes i en välbeställd lantbrukarfamilj på Hisingen, och slutade sina dagar i Londons fattigaste och smutsigaste stadsdel. Hennes namn var Elizabeth Stride – och hon blev Jack the Rippers tredje offer. Vem var hon? Hur hamnade hon i London? Hur blev hon mördad? Och var det verkligen Jack Uppskäraren som mördade henne?Wikipedia säger sitt om Elisabeth Stride. Hosted on Acast. See acast.com/privacy for more information.

Welcome back to So Can I! I'm your host, Lauren Cunningham, and today we're diving into our August Book Club pick: The Nightingale by Kristin Hannah.This book has been on my reading list forever, and after finally finishing it, I can confidently say — it was worth every page. At 564 pages, this story is gripping, emotional, and one that will stay with me for a long time. I read half of this book in one sitting, so it's safe to say that I loved it!In this episode:✨ A full spoiler-filled recap of the book✨ My thoughts on Vianne and Isabelle as sisters, and how differently they approached survival✨ Favorite (and hardest) moments from the story✨ Why the ending shocked me ✨ My star rating and whether I'll pick up another Kristin Hannah novelPlus, I'll share a peek at my fall reading list and announce our September book club pick: The London Séance Society!

In this weeks episode, Coach Katie records a solo episode to recap her Marathon Journey. From the first London Marathon in 2014 to this years London 2025. There's been 11 marathons, 6 Londons and 4 World Majors. Progress is not linear and this journey will show you that. If you're having a bad day or block, know that's not how things always turn out. Keep showing up, remain consistent and put in the hard work.  Stay up to date with more information about The Marathon Academy. If you'd like to be coached - Coaching Application - Join The Running Hub Join The Running Hub Community - Our Membership Option Social Media LinksFollow us on instagram - @therunninghubcommunity @run_with_coachkatie @coach_james_trh Follow us on Facebook   Follow us on YouTube  Speak to the coaches!katie@therunninghub.co.uk james@therunninghub.co.uk hayley@therunninghub.co.uk Purchase our Marathon Training Strength Guide Here.  Shop our website & new limited edition range - www.therunninghub.co.uk/shop

Aden, Mareike www.deutschlandfunk.de, Verbrauchertipp

Aden, Mareike www.deutschlandfunk.de, Europa heute

Aden, Mareike www.deutschlandfunk.de, Europa heute

Aden, Mareike www.deutschlandfunk.de, Europa heute

Today I am joined by Sarah Penner! Sarah is the New York Times and internationally bestselling author of The Lost Apothecary and The London Séance Society. Her books have been translated into more than forty languages and her debut, The Lost Apothecary, has sold over one million copies worldwide. A graduate of the University of Kansas, Sarah spent thirteen years in corporate finance and now writes full-time. In her free time, Sarah enjoys hiking, yoga, and cooking. She also sits on the Board of Directors at her local animal shelter, Friends of Strays. Sarah and her husband, Marc, live in Florida. In this episode, Sarah and I talk about her career in finance, how she became a NYT Bestselling author, her writing process, her first book (that didn't get published), what's next for her, and so much more! You all are going to love Sarah!Sarah's WebsiteSarah's InstagramFriends of Strays

In dieser ersten Folge zur Geschichte Londons reisen Michi und Moritz zurück in eine Zeit, in der die Themse noch durch unbesiedeltes Sumpfland floss. Sie sprechen über die Anfänge der Siedlung in vorrömischer Zeit, die Bedeutung der Römer für die Stadtentwicklung, den Zusammenbruch nach dem Rückzug römischer Truppen und den langsamen Wiederaufbau durch Angelsachsen und Wikinger. Von der normannischen Eroberung über die Rolle Londons im Mittelalter bis hin zu den politischen und wirtschaftlichen Veränderungen in der Tudorzeit entsteht das Bild einer Stadt, die sich stetig wandelte: oft chaotisch, manchmal brutal, aber immer bedeutend. Was machte London schon früh zu einem besonderen Ort? Wie prägten äußere Einflüsse und interne Machtkämpfe das Gesicht der Stadt? Und warum wurde ausgerechnet dieser Fleck in Südengland zur Metropole, die später das Zentrum eines Weltreichs werden sollte? Wir wünschen viel Spaß beim Zuhören.

In dieser ersten Folge zur Geschichte Londons reisen Michi und Moritz zurück in eine Zeit, in der die Themse noch durch unbesiedeltes Sumpfland floss. Sie sprechen über die Anfänge der Siedlung in vorrömischer Zeit, die Bedeutung der Römer für die Stadtentwicklung, den Zusammenbruch nach dem Rückzug römischer Truppen und den langsamen Wiederaufbau durch Angelsachsen und Wikinger. Von der normannischen Eroberung über die Rolle Londons im Mittelalter bis hin zu den politischen und wirtschaftlichen Veränderungen in der Tudorzeit entsteht das Bild einer Stadt, die sich stetig wandelte: oft chaotisch, manchmal brutal, aber immer bedeutend. Was machte London schon früh zu einem besonderen Ort? Wie prägten äußere Einflüsse und interne Machtkämpfe das Gesicht der Stadt? Und warum wurde ausgerechnet dieser Fleck in Südengland zur Metropole, die später das Zentrum eines Weltreichs werden sollte? Wir wünschen viel Spaß beim Zuhören.

Röhling, Lisa-Maria www.deutschlandfunk.de, Tag für Tag

Die englische Pflegefachfrau, Sozialarbeiterin und Ärztin Cicely Saunders gilt als Pionierin der Palliativmedizin. Sie gründete 1967 das St. Christopher's Hospice im Süden Londons und legte damit die Basis für die moderne Hospiz-Praxis, die sich als Alternative zur Sterbehilfe versteht.

Hon föddes i en välbeställd lantbrukarfamilj på Hisingen, och slutade sina dagar i Londons fattigaste och smutsigaste stadsdel. Hennes namn var Elizabeth Stride – och hon blev Jack the Rippers tredje offer. Vem var hon? Hur hamnade hon i London? Hur blev hon mördad? Och var det verkligen Jack Uppskäraren som mördade henne?Wikipedia säger sitt om Elisabeth Stride. Hosted on Acast. See acast.com/privacy for more information.

„Ich bin vor 20 englischen Lords aufgetreten, die dachten, dass ich als Deutscher gar nicht lustig sein kann. Gekriegt habe ich sie, indem ich sie selbst ein bisschen vorgeführt habe.“ Christian Schulte-Loh ist Comedian in England und Deutschland, Dauergast bei "Nuhr im Ersten" und kennt wie kaum ein anderer die feinen (und manchmal sehr groben) Unterschiede zwischen britischem und deutschem Humor. In dieser Folge von BRITPOD spricht Claus Beling mit dem Stand-Up-Künstler über seinen Weg auf die Bühnen Londons, über Pointen, die nur auf der Insel funktionieren, und darüber, warum britischer Humor viel mit Selbstironie und wenig mit Rücksichtnahme zu tun hat. Was macht britischen Humor so besonders? Warum ist ein Abend auf einer Londoner Bühne manchmal härter als jede Kritik? Wie geht ein Künstler mit Einsamkeit auf Tour um? Und warum ist Stand-Up ein ehrlicher Gradmesser für gesellschaftliche Stimmung? BRITPOD - England at its best! -- WhatsApp: Du kannst Alexander und Claus direkt auf ihre Handys Nachrichten schicken! Welche Ecke Englands sollten die beiden mal besuchen? Zu welchen Themen wünschst Du Dir mehr Folgen? Warst Du schon mal in Great Britain und magst ein paar Fotos mit Claus und Alexander teilen? Probiere es gleich aus: +49 8152 989770 - einfach diese Nummer einspeichern und schon kannst Du BRITPOD per WhatsApp erreichen. BRITPOD – England at its best. -- Ein ALL EARS ON YOU Original Podcast.

On October 1st 1973, workers close to Battersea power station found the nude body of 16 year old Jacqueline Johns by a railway siding. She had attended a wedding two days before her body was found. She never made it home. Despite 52 years passing, her murder has never been solved.Important information provided by: Contemporary reports: https://www.findmypast.co.uk/homehttps://www.dailymail.co.uk/news/article-13709207/Inside-brutal-murder-16-year-old-girl-one-Londons-oldest-cold-cases-living-memory-Jacqueline-Johns-naked-close-Battersea-Power-Station-killer-never-50-years-family-believe-KNOW-did-it.htmlhttps://www.thesun.co.uk/news/29805404/crucial-clue-could-finally-solve-murder/https://www.thesun.co.uk/news/32434344/gruesome-murder-girl-vital-clue/Music by: dl-sounds.comFollow the Unseen Podcast on Apple Podcasts: https://podcasts.apple.com/us/podcast/the-unseen-podcast/id1318473466?uo=4Follow the Unseen Podcast on Spotify: https://open.spotify.com/show/0xWK7Mu3bTP6oziZvxrwSK?si=QxvyPkZ2TdCDscnfxyeRawJoin our Facebook group https://www.facebook.com/unseenpodFollow us on Twitter: https://twitter.com/theunseenpodFollow us on Instagram https://www.instagram.com/theunseenpod/Support us on Patreon: https://www.patreon.com/theunseenpod?fan_landing=trueSubscribe to 10 Minute True Crime: https://podcasts.apple.com/us/podcast/10-minute-true-crime/id1591474862

Writer, musician, and game designer James Curcio joins us for a warm, wide-ranging chat on magic, myth, and RPGs. From Dungeons & Dragons to Mage: The Ascension and Modern Mythology, we talk play, storytelling, and the mystery of it all. Oh, yeah, and we also shoot the breeze about goblins, game systems, and why magic might just be another name for imagination.Show Notes Generation Hex - Editor Jason Louv brings together a batch of wild and thoughtful voices from the edge of things—a generation of young folks dreaming up bold new paths for spirit, soul, and what it means to grow as human beings—including an essay by James Curcio. Blades in the Dark - A tabletop role-playing game about a scrappy crew of daring scoundrels chasing fortune and stirring up trouble on ghost-filled streets. Fate Accelerated - Folks just call it FAE—is a slimmed-down, easy-to-learn version of Fate Core that still packs all the punch and flexibility of the full game. It's quick as a whip to pick up, and before you know it, you and your pals can be off adventuring in the world of your favorite book, movie, or show—or cookin' up a brand-new world of your own. Best part? Setup's a breeze. You can go from idea to dice-rollin' in just a few minutes. Alan Moore and his latest book, The Great When, a spellbinding new series full of murder, magic, and mayhem—set between two Londons: one picking up the pieces after World War II, and the other a hidden world brimming with mystery and wonder. Grant Morrison and his comic book series, The Invisibles, a scrappy little cell of The Invisible College—a secret bunch fighting the good fight against all kinds of oppression, using time travel, magic, meditation, and (when needed) a good ol' fashioned scuffle. The Expanse - a role-playing game brings the big, bold world of James S.A. Corey's hit sci-fi books right to your tabletop. Built on Green Ronin's trusty Adventure Game Engine—the same one that powers Fantasy AGE, Blue Rose, and Modern AGE—this game drops you into a future where Earth folks, Martians, and Belters are all jockeying for power and resources out in the stars. But something old and alien is waking up, and the story of humanity's future is fixing to take a wild new turn. Modern Mythologies, a podcast exploring mythmaking and mechanics in RPGs. You can find James' work at: jamescurcio.com fallencycle.com modernmythology.net Operation Watchtower - a podcast rooter in Kult: Divinity Lost, set in the wake of 9/11 and launches September 11, 2025.

Hon började som klassisk pianist vid tre års ålder och är idag en av Londons mest intressanta namn inom hård techno. Bathina möter NLI – DJ:n, producenten och konsthistorikern som tagit ravekulturen på allvar. Det blir ett samtal om musikerutbrändhet, konstnärlig integritet och att bygga sin karriär utan droger, trots en bransch präglad av snubbar, snobberi och snedrekrytering. Vi pratar också om att våga vara annorlunda, psykisk ohälsa, och varför techno är mer politiskt än pop.Programledare: @bathina.philipsonProduktion: @thepodfather_magnus

You've heard the story before: a Maine telekinetic teen snaps after her bullies play a prank that goes too far… but what if the soundtrack has third-wave ska?  That's right, consider this Carrie vol. 3 - we're getting matching tattoos, confessing our love for Shirley Manson, and having our minds blown (apart) by THE RAGE: CARRIE 2!! Here to help us unpack a whole locker's worth of background and foreground 90s references is author (the new comic book Be Not Afraid from Boom! Studios - issues #1 out now! And a new non-fiction book "DILF: Did I Leave Feminism," coming out October 14 from Melville House) and Returning Champion, Jude Ellison Doyle!! Along the way, we dig into how this sequel graduated to movie screens, find+replace REO Speedwagon tracks, discover what Carrie White's spinach was, visit the still-burning remains of the original high school, and consider why Sue freakin' Snell still thinks she's good at helping teens with problems!! All this, plus Hot Mom Defenestration Syndrome, “They're All Gonna Laugh At You” remixes, telekinetic Pinocchios, “plain Jane-ing” of Mena Suvari, the Londons' Prestige, an epic butt rock soundtracks rant, and a raving edition of a Choose Your Own Deathventure - complete with a top tier #GetBunked!! Press that play button with your mind immediately, people!!  Part of the BLEAV Network.Get even more episodes exclusively on Patreon! Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today! Our linker.ee Click here to visit our Dashery/TeePublic shop for killer merch! Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast!! Join us on Threads or even Bluesky Check out Gena's Substack called Gena Watches Things!! Check out the films we've covered & what might come soon on Letterboxd!

Stormzy jobbade fortfarande som projektledare på Englands största oljeraffinaderi, när hans råa roadrapinfluerade freestyles började uppmärksammas. Lyssna på alla avsnitt i Sveriges Radio Play. Bra jobb och bra lön. Men Skandinavienaktuella Stormzy var besatt av sina drömmar och hade inga problem med att ge upp allt för musiken.För att ta det vidare från hungriga haranger och improvisationer i parken över grimebeats, som ”Wicked skengman”-serien och ”Shut up”, krävdes det att Stormzys vision fångades på riktigt i en studio. Drömmen om närmast symfonisk grime med gospelinslag från en ung man som lärde sig att manöverera på Londons gator för att hitta sin självbild skulle förändra allt. En mörk berättelse som strålar av ljus.I avsnittet medverkar även Lethal Bizzle, Ghetts, Crazy Titch, Wretch 32, Ray BLK, Dizzee Rascal, Wiley och Raye.

Typiskt brittiskt är ett uttryck som ofta förknippas med varuhuset Liberty och dess många småblommiga textilmönster. I år firar varumärket 150 år. Lyssna på alla avsnitt i Sveriges Radio Play. Liberty är ett av Londons äldsta varuhus och varumärken. De har idag ett arkiv på runt 60 000 olika mönster som förvaras i en bombsäker bunker på en övergiven militärbas i Oxfordshire. Men så är det mönster som inspirerat artister, modeskapare och musiker från 1875, ända in i vår tid.När Arthur Lasenby Liberty grundade varumärket 1875 ville han skapa en butik som inte skulle följa modet, utan som skulle sätta nya trender inom både kläder, och kultur. Författaren Oscar Wilde blev en stammis på varuhuset och sade att det var den självklara destinationen för ”den konstnärliga shopparen”.Under de 150 år som gått har förstås varumärkets trendfaktor gått upp och ned. Men under senare år har modevärlden börjat få upp ögonen för Libertys många mönstrade tyger. Allt från Gucci till Acne Studios har gjort samarbeten.I veckans program pratar vi med Karin Lindberg som driver ett över 100 år gammalt familjeföretag som sedan sekelskiftet varit återförsäljare av Libertys tyger och textilier. Författaren och kulturhistoriker Elisabeth Svalin Gunnarsson berättar om Blanche Dickson som lät bygga Tjolöholms slott utanför Göteborg vid förra sekelskiftet – en ståtlig byggnad som är full av exklusiv inredning från Liberty. Och så träffar vi formgivaren och illustratören Astrid Wilson som precis som Liberty ofta och gärna använder blommor som motiv när hon skapar sina färgsprakande mönster.

Radio åt alla har fått en ny podcast om kultur! Vendela ger den korrekta tolkningen av Bergmans Skammen på Dramaten. Ylva ger den korrekta tolkningen av Isabella Nilssons nya bok Tomhet och ömhet. Och Anna har läst en subtil kritik av Londons bostadsdmarknad. Stötta oss på Radio åt allas Patreon!

Dennis Nilsen har forladt slagmarken – men krigen i hans sind er først lige begyndt. I dette afsnit følger vi Dennis' videre rejse fra Mellemøstens støvede kaserner til Londons pubber og spejlenes slørede refleksioner. Et sted mellem soldaterlivets disciplin, døde kammerater og spejlbilledets kolde blik begynder en ny side af Dennis at tage form – en side, hvor kærlighed og død smelter sammen i én stor pærevælling.  Vi dykker ned i de fantasier, han kun tør leve ud alene – foran spejlet. Vi hører også om hans møde med byens skjulte, homoseksuelle underverden, hans korte flirt med kærligheden og hans lange, mørke forelskelse i sin egen døde krop. Det her er historien om en mand, der forsøger at holde sammen på en normal tilværelse – men som langsomt glider længere og længere væk fra virkeligheden og ind i mørket.

Morse code transcription: vvv vvv Newspaper headlines Harry in court and Londons super rich move out Kerri Pegg HMP Kirkham prison governor guilty of fling with inmate Elon Musk labels Trump adviser Navarro moron over Tesla comment Nationalisation an option for British Steel, says government Roof collapse at Dominican Republic nightclub kills 44 including ex baseball player and politician What would a US China trade war do to the world economy Titanic digital scan reveals new details of ships final hours Iran says it is ready for nuclear deal if US stops military threats Sarah Brown Our baby loss led to search for answers Mortgage rates set to drop after tariff turmoil

Morse code transcription: vvv vvv Kerri Pegg HMP Kirkham prison governor guilty of fling with inmate Nationalisation an option for British Steel, says government Iran says it is ready for nuclear deal if US stops military threats Elon Musk labels Trump adviser Navarro moron over Tesla comment Mortgage rates set to drop after tariff turmoil Sarah Brown Our baby loss led to search for answers What would a US China trade war do to the world economy Titanic digital scan reveals new details of ships final hours Roof collapse at Dominican Republic nightclub kills 44 including ex baseball player and politician Newspaper headlines Harry in court and Londons super rich move out

ST Dupont is known for their fine cigar accessories with the bulk of it being their lighters. Their torch lighters all started with the introduction of their MaxiJet which a slim single flame lighter. I've personally owned for for 25 years now and it still fires up like the first day I got it. Originally, all their lighters were made in Paris,France, but later they moved their production overseas to China. Coles of Londons started distributing ST Dupont a few years ago and is now trying to bring the manufacturing back to France. They introduced the Defi Extreme which was a more rugged single flame lighter with a plastic cage around the sizes and corners to add protection. The newest version is called the Defi XXtreme, with two XX, is the newer version of the Defi with two major changes. One, the new lighter use a dual torch flame, and secondly, a more robust cage system. Here is the description from ST Dupont: “Defi XXtreme, the lighter for modern adventurers. With its powerful blue double flame, it resists even the most extreme conditions! The Petrol Defi XXtreme is the perfect travel companion for your most extraordinary adventures.”

ST Dupont is known for their fine cigar accessories with the bulk of it being their lighters. Their torch lighters all started with the introduction of their MaxiJet which a slim single flame lighter. I've personally owned for for 25 years now and it still fires up like the first day I got it. Originally, all their lighters were made in Paris,France, but later they moved their production overseas to China. Coles of Londons started distributing ST Dupont a few years ago and is now trying to bring the manufacturing back to France. They introduced the Defi Extreme which was a more rugged single flame lighter with a plastic cage around the sizes and corners to add protection. The newest version is called the Defi XXtreme, with two XX, is the newer version of the Defi with two major changes. One, the new lighter use a dual torch flame, and secondly, a more robust cage system. Here is the description from ST Dupont: “Defi XXtreme, the lighter for modern adventurers. With its powerful blue double flame, it resists even the most extreme conditions! The Petrol Defi XXtreme is the perfect travel companion for your most extraordinary adventures.”

Heuer, Christine www.deutschlandfunkkultur.de, Studio 9

Vi forholder udviklerne bag SkoleGPT til, at deres folkeskole-chatbot gerne vil rådgive om selvmordsmetoder og taler med den førende ekspert på selvskade-området, Lotte Rubæk, der er chokeret over skolebottens slagsider. En ranglet mand med farvet strithår vandrer rundt i Londons gader og parker og forfører følgere verden over. Vi har fanget Hugo Hamlet for at komme nærmere dette syrede menneske, der - ifølge sig selv - er klovn, rockstjerne, synsk og tik-tok-filosof. Vært: Casper Dyrholm.

Dezember 1952: Es ist kalt in London. Die Menschen sitzen in ihren Wohnungen und heizen. Damals noch mit Kohle. Was sie nicht ahnen: Eine Umweltkatastrophe lauert wortwörtlich vor der Tür. Der „Great Smog“ wird durch die Gassen der Metropole ziehen, das öffentliche Leben lahmlegen und tausende Menschenleben kosten. -- In dieser Folge von „BRITPOD – England at its best“ berichten unsere Entdecker Alexander-Klaus Stecher und Claus Beling von einer der größten Katastrophen in der Geschichte Londons: „The Great Smog“: Ein Nebel, der für eine dramatische und chaotische Zeit in der kompletten Stadt gesorgt hat, denn es war kein gewöhnlicher Nebel. Er war hochgradig giftig. Grund dafür: Luftverschmutzung. Und die war schon seit Jahrhunderten ein Problem in London. Wie konnte es trotz dieses Wissens zu der Umweltkatastrophe kommen? Warum erkannte die Regierung die Tragweite der Katastrophe erst viel zu spät? Und welche Konsequenzen hatte der große Nebel von London für die Zukunft der Umweltpolitik? -- WhatsApp: Du kannst Alexander und Claus direkt auf ihre Handys Nachrichten schicken! Welche Ecke Englands sollten die beiden mal besuchen? Zu welchen Themen wünschst Du Dir mehr Folgen? Warst Du schon mal in Great Britain und magst ein paar Fotos mit Claus und Alexander teilen? Probiere es gleich aus: +49 8152 989770 - einfach diese Nummer einspeichern und schon kannst Du BRITPOD per WhatsApp erreichen. -- Ein ALL EARS ON YOU Original Podcast.

Teri left out some details with her little date over this last weekend.... what did she leave over at this guy's place?

Es ist Mittwoch, der 19. Mai 1915. In London eröffnet das größte Hotel Europas mit 1.028 Zimmern: das Regent Palace Hotel. Wer hier übernachtet, zeigt Stil und Status. Heute sind die Hotelzimmer längst Geschichte, doch das Gebäude hat nichts von seinem Glanz verloren. Es beherbergt einen der angesagtesten kulinarischen Hotspots der Stadt: die Brasserie Zédel. -- Mitten in London, direkt am Piccadilly Circus, trifft britischer Charme auf französisches Lebensgefühl: Die Brasserie Zédel ist eine Hommage an die goldenen Zeiten der Pariser Bistros. Unsere England-Abenteurer Alexander-Klaus Stecher und Claus Beling haben an diesem legendären Ort tatsächlich einen Tisch ergattert – Glück gehabt, denn ohne Reservierung? Keine Chance! Die prunkvolle Inneneinrichtung mit ihren klassischen Art-déco-Lampen und imposanten Marmorsäulen wurde vom Magazin “Architecture Today” als „die wohl beste und authentischste Art-déco-Serie der 1930er-Jahre“ bezeichnet. Doch was verbirgt sich hinter der langen Treppe im Zédel? Welche Verbindung gibt es zur britischen Königsfamilie? Und ganz praktisch: Wie schmeckt das Essen im Zédel wirklich? Alexander und Claus liefern Antworten – mit kulinarischen Anekdoten, historischen Details und persönlichen Eindrücken. Doch London ist weit mehr als nur ein Ort für glamouröse Restaurants: Es ist eine Stadt der kulinarischen Vielfalt, in der Geschichte und Genuss aufeinandertreffen. Und so endet dieser Abend in einem der schönsten Pubs der Stadt: dem King's Arms. Dunkles Holz, gedämpftes Licht – eine Atmosphäre, wie man sie nur in England findet. BRITPOD. England at its Best. -- WhatsApp: Du kannst Alexander und Claus direkt auf ihre Handys Nachrichten schicken! Welche Ecke Englands sollten die beiden mal besuchen? Zu welchen Themen wünschst Du Dir mehr Folgen? Warst Du schon mal in Great Britain und magst ein paar Fotos mit Claus und Alexander teilen? Probiere es gleich aus: +49 8152 989770 - einfach diese Nummer einspeichern und schon kannst Du BRITPOD per WhatsApp erreichen. -- Ein ALL EARS ON YOU Original Podcast.

Morse code transcription: vvv vvv Prince William gets behind camera on London Screen Academy visit Londons first Roman basilica found under office basement Evertons sponsor leaves GB amid porn ad probe British woman shot dead on holiday in Texas Hegseth says return to Ukraines 2014 borders unrealistic Donald Trump offers Vladimir Putin a way back in from the cold Sicilys gangsters forced to modernise but complain they cant get the staff Wrongly convicted Andrew Malkinson gets first compensation payout Santorini fears for summer tourist season as earthquakes hit island MI5 lied to courts to defend handling of violent neo Nazi agent

Morse code transcription: vvv vvv Donald Trump offers Vladimir Putin a way back in from the cold Londons first Roman basilica found under office basement MI5 lied to courts to defend handling of violent neo Nazi agent Santorini fears for summer tourist season as earthquakes hit island Evertons sponsor leaves GB amid porn ad probe Prince William gets behind camera on London Screen Academy visit Sicilys gangsters forced to modernise but complain they cant get the staff Wrongly convicted Andrew Malkinson gets first compensation payout British woman shot dead on holiday in Texas Hegseth says return to Ukraines 2014 borders unrealistic

Morse code transcription: vvv vvv Sicilys gangsters forced to modernise but complain they cant get the staff Evertons sponsor leaves GB amid porn ad probe Prince William gets behind camera on London Screen Academy visit Hegseth says return to Ukraines 2014 borders unrealistic Santorini fears for summer tourist season as earthquakes hit island Wrongly convicted Andrew Malkinson gets first compensation payout Donald Trump offers Vladimir Putin a way back in from the cold MI5 lied to courts to defend handling of violent neo Nazi agent British woman shot dead on holiday in Texas Londons first Roman basilica found under office basement

Morse code transcription: vvv vvv Sicilys gangsters forced to modernise but complain they cant get the staff Londons first Roman basilica found under office basement Santorini fears for summer tourist season as earthquakes hit island Wrongly convicted Andrew Malkinson gets first compensation payout Hegseth says return to Ukraines 2014 borders unrealistic Evertons sponsor leaves GB amid porn ad probe British woman shot dead on holiday in Texas Donald Trump offers Vladimir Putin a way back in from the cold MI5 lied to courts to defend handling of violent neo Nazi agent Prince William gets behind camera on London Screen Academy visit

In this episode the boys look back at the games of Premier League Match week 23 and preview 24. Discuss Arsenal and Spurs fans rage over a crazy weekend, discuss Chelseas bad form. Bournemouth on the rise!!!Please leave us feedback on your preferred podcast platform! To contact us please email: the443podcast@gmail.com or on X: @The443pod

Die Beerdigung von Queen Elizabeth II. war mit einer weltweiten Zuschauerzahl von schätzungsweise mehreren Milliarden die wohl meistgesehene Übertragung in der Geschichte. Eine Million Menschen säumten an diesem Tag die Straßen Londons, und 250.000 standen in dieser Woche stundenlang Schlange, um den Sarg der Queen zu sehen. Mehr als fünfhundert Könige, Königinnen, Präsidenten und andere Staatsoberhäupter kamen, um einer Frau die Ehre zu erweisen, die für ihre Stärke und ihren Charakter bekannt war.

A thousand facets sits with Sian Evans, Jewellery designer, goldsmith and lapidarist. We talked about her beginnings in the jewelry industry, her 15 years creating her production line, then change to be a lecturer and Central Saint Martins and going back to her roots in the goldsmiths work to create a more thoughtful, slow collection! Hope you enjoy our conversation. About: Sian's work is inspired by interests in archaeology, fashion, geology, nature and sustainable technologies with a deep interest in storytelling. Her many jewellery collections over her career have taken some very different forms, stemming from ideas, ethics and heuristics. Some fashion lead, some materials lead and some process lead. Each of her collections in the last decade have been explorations of process in a long term project about sustainable working practices : Learning a jewellery technology, often, an ancient technology with a low carbon footprint, using recycled or found precious materials, then designing and making collections of jewels that incorporate these. This is her modus operandi and an act of reverence for our skilled, ingenious ancestors. She studied jewellery design, silversmithing and goldsmithing from 1982-86 at The Cass ( City of London Polytechnic - now London Metropolitan University ) In her Summer breaks she worked as a volunteer archaeologist in Dorset. Her first studio was established the year she graduated in 1986, in Spitalfields, London. In the ensuing years she designed and created in this first studio, the biannual collections shown at London, Paris and New York fashion weeks that she became known for. Then from her next larger studio, in Clerkenwell, close to Londons jewellery quarter Hatton Garden, she worked producing collections at the bench alongside her small team of craftspeople. These early collections sold internationally to many stockists and galleries, winning her export and design awards. During this period she was commissioned by designers including Jo Casely-Hayford and Paul Smith, to create lines for them, and by Costume designers for film and TV productions. Her work was regularly seen in the pages of newspapers, glossy magazines and on the ears and necks of TV and film stars. For 13 years she was Senior Lecturer at BA Jewellery Design, Central Saint Martins, University of the Arts. Her research focus: Sustainability and mining , Neolithic and Bronze age technology. Lithics and metalworking She left UAL at the end of 2014 to return to and pursue her design and creative practice. Since reestablishing her practice she has won several awards and accolades : Most notably, her work is in the V & A collection, she has exhibited and sold her work at Sotheby's. She is a Homo Faber Master Artisan. A Queen Elizabeth Scholarship Trust ( QEST ) grant in 2022 helped to extend her lapidary study, into the wonderful and ancient arts of Intaglio and Cameo carving . She has won a number of awards from the Goldsmiths Design and Craft Awards in different categories ranging from major design awards to awards for craft skills in lapidary. For the past few years she has presented her work annually at The Goldsmiths Fair, in 2024 she was selected by The Goldsmiths Fair and QEST to exhibit at Collect . You can follow Sian Evans on Instagram @sianevansjewellery , visit her website https://www.sejewellery.com/ Please visit @athousandfacets on Instagram to see some of the work discussed in this episode. Music by @chris_keys__ Learn more about your ad choices. Visit podcastchoices.com/adchoices