Podcasts about australian

If you've ever wondered what a movie production designer actually does, our guest today describes it in the simplest terms: it is everything you see in the frame that isn't a costume. It turns out, production design has a lot in common with product design. Our guest is the visionary production designer Fiona Crombie. You've seen her work in incredible films like The Favourite, and most recently, in the hauntingly beautiful Hamnet. This film is currently taking the industry by storm with eight Academy Award nominations, including a nod for Fiona herself for Best Production Design. Trailer for Hamnet, nominated for 8 Academy Awards in including Fiona Crombie for production design From the sprawling architecture of a Tudor estate down to the specific curve of a spoon or the texture of a tablecloth, Fiona's job is to build a physical reality that reflects the interior lives of the characters on screen. In our conversation, we explore how production design shapes performance, how historical accuracy balances with storytelling, how a visual “mission statement” guides an entire crew, and what it means to create environments that carry grief, love, and memory. Bio Fiona Crombie is an Australian production designer, twice nominated for the Academy Award for Best Production Design — for The Favourite and Hamnet. Born in Adelaide and raised in Sydney, she trained at the National Institute of Dramatic Art (NIDA) before becoming the resident designer at the Sydney Theatre Company, where she developed the deep relationship with text and storytelling that still shapes her work today. *** Premium Episodes on Design Better This is a premium episode on Design Better. We release two premium episodes per month, along with two free episodes for everyone. New premium benefit: get a behind-the-scenes pass to every episode with The Roundup, where each week we bring you insights and actionable tactics from recent episodes. Premium subscribers get access to the documentary Design Disruptors and our growing library of books. You'll also get access to our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show. And subscribers at the annual level now get access to the Design Better Toolkit, which gets you major discounts and free access to tools and courses that will help you unlock new skills, make your workflow more efficient, and take your creativity further. Upgrade to paid

The role of dress in colonial Australian society - Dr Laura Jocic discusses how women expressed themselves by the type of clothing they wore and how a class system was evident by clothing.

Robert sits down with Gabe Dunne to discuss Australia's "Dr. sleep" a man who spent twenty years prescribing two and three weeks comas to his patients for no real reason at all.See omnystudio.com/listener for privacy information.

The wild west of the Australian pub rock scene that ended in fire. A hit record stalled by controversy. A pilot passed out at 30,000 feet. And a bomb sent to a rock star's hotel room. Listen to find out how INXS chased the world, touched a nerve, topped the charts – and learned that fame only multiplies the danger. To listen to Disgraceland ad free and get access to exclusive bonus content and more, become a Disgraceland All Access member at ⁠⁠⁠⁠⁠⁠⁠⁠⁠disgracelandpod.com/membership⁠⁠⁠⁠⁠⁠⁠⁠⁠. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠⁠⁠⁠⁠⁠⁠⁠⁠GET THE NEWSLETTER⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Jake and DISGRACELAND: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠ (formerly Twitter)  ⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook Fan Group⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠ To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Join the HG101 gang as they discuss and rank an Australian mascot platformer about being a tiger with two mouths. Then stick around for Crimsonland, a bloody 2003 game that paved the way for Vampire Survivors! This weekend's Patreon Bonus Get episode will be MILANO'S ODD JOB COLLECTION — a 2D life-sim/minigame collection from the makers of Wonder Boy! Donate at Patreon to get this bonus content and much, much more! Follow the show on Bluesky to get the latest and straightest dope. Check out what games we've already ranked on the Big Damn List, then nominate a game of your own via five-star review on Apple Podcasts! Take a screenshot and show it to us on our Discord server! Intro music by NORM. 2026 © Hardcore Gaming 101, all rights reserved. No portion of this or any other Hardcore Gaming 101 ("HG101") content/data shall be included, referenced, or otherwise used in any model, resource, or collection of data.

Rodger Shanahan joins John Anderson to examine the true objectives behind U.S. and Israeli military action against Iran. Is this about preventing a nuclear capability, dismantling Iran's proxy network, or ultimately forcing regime change? Shanahan argues that while public messaging has been inconsistent, the rhetoric and targeting patterns increasingly point toward regime change — a strategic ambition with a poor historical record when pursued through air power alone.The discussion unpacks Iran's ideological foundations, its history of foreign intervention, the erosion of its “forward defence” strategy, and the real limits of military precision in shaping political outcomes. From contested nuclear claims to the future of the rules-based order, this is a sober, strategic assessment of whether the world will emerge safer — or more unstable.Rodger Shanahan is a non-resident fellow at the Lowy Institute specialising in Middle East security and strategic affairs. He holds a PhD in Arab and Islamic Studies from the University of Sydney and is a former Australian Army officer with operational deployments to Lebanon, Syria, Afghanistan and East Timor, as well as diplomatic postings to Saudi Arabia and the United Arab Emirates. He has also served as an expert witness in more than 30 Australian terrorism cases.

Michael Hutchence's sudden death in 1997 at the age of 37 left a hole in the hearts of Australians and the world. His band, INXS, cut their teeth on the lawless pub circuit down under. Three shows a night, from sunrise to sunset. Hundreds of shows a year. The bond that they formed was life-changing for them all, but especially for Michael, whose greatest fear was being alone. And then Michael Hutchence had his life changed for a second time. He was sucker punched by a taxi driver in the street. That attack left him unable to smell or taste. It altered his moods. And it may have had something to do with the final day of his life. This episode contains themes that may be disturbing to some listeners, including suicide. If you're thinking about suicide, or are worried about a friend or loved one, call the Suicide Prevention Lifeline at 800-273-8255. To see the full list of contributors, see the show notes at ⁠www.disgracelandpod.com⁠. This episode was originally released on November 28, 2023. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠GET THE NEWSLETTER⁠ Follow Jake and DISGRACELAND: ⁠Instagram⁠ ⁠YouTube⁠ ⁠X⁠ (formerly Twitter)  ⁠Facebook Fan Group⁠ ⁠TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Who Knew It with Matt Stewart is a comedy game show podcast hosted by Australian comedian Matt Stewart. Episode 181 features comedians Alexei Toliopoulos, Suren Jayemanne and Josh Earl!Support the show via http://patreon.com/dogoonpod and you can submit questions for the show!Check out Matt's new stand up special: https://youtu.be/ZgukEPerWZc?si=SW8PttGAB-ly_GF8And his last stand up special: https://youtu.be/cWStRpI-BhESee the podcast/Matt live: https://www.mattstewartcomedy.com/Check out Matt's podcast network: https://dogoonpod.com/Theme song by Evan Munro-Smith, Logo by Murray Summerville and edited by Connor Schmidt! Hosted on Acast. See acast.com/privacy for more information.

DRAMA! Bird drama! Here are some further-reading links if you want to verify that I’m not vilifying anyone: Buff-breasted Buttonquail: An image claimed to be of this species revealed Buff-breasted Buttonquail: Smoke & Mirrors A review of specimens of Buff-breasted Button-quail Turnix olivii suggests serious concern for its conservation outlook A painted button quail: Show transcript: Welcome to Strange Animals Podcast. I'm your host, Kate Shaw. Back in episode 136 we talked about the button quail, because that episode was about tiny animals and the button quail is really tiny. But let's revisit the button quail this month, because we have a mystery associated with a particular species of button quail. Button quails generally live in grasslands and are actually more closely related to shore and ocean birds like sandpipers and gulls than to actual quails, but it's not very closely related to any other living birds. It can fly but it mostly doesn't. Instead it depends on its coloring to hide it in the grass where it lives. It's mostly brown with darker and lighter speckled markings, relatively large feet, and a short little tail. It eats seeds and insects along with other small invertebrates. The button quail is especially interesting because the female is more brightly colored than the male, although not by much. In some species the female may have bright white markings, while in others her speckled markings are crisper than the males. The female is the one who calls to attract a male and who defends her territory from other females. The female even has a special bulb in her throat that she can inflate to make a loud booming call. The male incubates the eggs and takes care of the chicks when they hatch. Baby button quails are fuzzy and active like domestic chicken babies but they're only about the size of a bumblebee. In many species, as soon as the female has laid her eggs, she leaves them and the male and goes on to attract another male for her next clutch of eggs. The various species of button quail live in different areas, including Africa, Asia, and Australia. The species we're talking about today is the buff-breasted button quail, which is native to one small area of Queensland, Australia. It grows about 9 inches long, or 23 cm, which is big for a button quail, most of which are closer to the size of sparrows, and it's reddish-brown with darker and lighter speckles. It's critically endangered due to habitat loss and introduced animals like cats and cattle. There are only an estimated 50 individuals alive today. But that's only an estimate, because no one has actually for sure seen a buff-breasted button quail since 1922. Also, I'm going to call it the BBBQ from now on because that name is hard to say. The 1922 specimen was shot by a naturalist who was collecting specimens for a museum, which was regrettably common at the time and led to a lot of endangered species being driven to extinction. The bird was already rare in 1922 and that was the last anyone saw of it until 1985, when someone reported seeing one. People flocked to the area in hopes of spotting it, but while there were lots of sightings, no one got a good picture of a BBBQ. All the pictures, and all the recordings of its calls, turned out to be of another species of button quail, a very similar bird called the painted button quail. It's been 100 years since the bird was last seen, so while we have lots of museum specimens, we don't have any modern sightings. That means two things. Either the buff-breasted button quail is probably extinct…or it never actually existed in the first place. There are two other species of button quail that live in the same areas where the BBBQ is found, the painted button quail and the brown quail. They're smaller but otherwise look very similar, especially the painted button quail. Maybe people were mistaking larger individuals of painted button quails as a different species. In 2018, a team of scientists from the University of Queensland conducted a search for the BBBQ. All they found were painted button quails. But they discovered something surprising that had never been documented before. During the breeding season, the female painted button quail's feathers are much more reddish-brown, while the rest of the year the feathers on her back are more gray-brown. The team also studied as many BBBQ skins as they could track down from museums, where they learned something else surprising. It turns out that it's not any larger than the painted button quail, which grows up to 8 inches long, or 20 cm. So the birds are the same size and during part of the year, they have almost identical plumage. Hmm. That doesn't mean the buff-breasted button quail never existed. One very distinctive difference between the painted and the buff-breasted species is eye color, with the former having red eyes and the latter having yellow. As far as I know a genetic study hasn't been carried out on the museum specimens, but it's likely that at least some of the specimens—maybe all of them—really are BBBQs. Scientists and bird enthusiasts are still looking for the bird, and that has led to a strange controversy. In early 2022, a naturalist named John Young published a photo on Facebook of what he said was a male buff-breasted button quail on a nest, a photo taken by a camera trap in a secret location. The location had to be secret so that no one would try to find the birds and scare them away or damage a nest. Young said he had 16 other photos of BBBQs but wasn't going to share them until he was ready to publish his findings. He was also raising money to continue his studies at the site. Another naturalist thought there was something fishy about the photo. He discovered that the picture is actually a cropped and flipped photo of a painted button quail bird and nest reportedly taken at a different site—published in 2018 by John Young himself and labeled by him as a painted button quail. Young had reused one of his own photos and assumed no one would notice. But it gets worse. Back in 2013, Young got photographs of another extremely rare Australian bird, the night parrot. One day we'll have an episode about it. It was such a big deal that he was offered a job by the Australian Wildlife Conservancy, or AWC, to study the night parrot and the buff-breasted button quail. He documented sightings and produced photos of both birds, but he didn't stay in that job too long. That's because some people started getting suspicious of his parrot photos. After an inquiry into the night parrot photos, the AWC concluded that the eggs in a photo of a night parrot nest were probably fake. And Young's dubious photos go back even farther. In 2006 he claimed to have discovered a new species of parrot in Queensland, but while initially the Queensland government supported learning about the new species, it withdrew its support when the photo turned out to be…suspicious. It looked like Young had altered the coloration of a bird to make it look like a new species. When an expert requested the original photographs, Young said he'd deleted them. More recently, the 2018 painted button quail photo and the supposed 2022 BBBQ photo were examined by a forensic photography expert. Young had removed the metadata from both so no one could tell where they were taken, but there's a little white stone in both pictures that's identical, along with many other identical details. The problem with fake sightings and photographs is that it's actually making things worse for the buff-breasted button quail. The AWC and other conservation groups are trying to get the bird listed as endangered, which means funding for research and conservation. Now all that is in jeopardy because it's not clear if there have actually been any sightings of the bird at all. Hopefully the buff-breasted button quail is still around and someone will get genuine photos of it soon so it can be protected and studied. That's assuming it's a real bird in the first place. Thanks for your support, and thanks for listening!

On this week's Spectator Out Loud: Angus Colwell ponders why young Brits seem to aspire to be more Australian; Paul Wood analyses the daring plan to reclaim the Chagos islands; Andrew Rule explains why to read is to love; and finally, Jonathan Meades declares that John Vanbrugh defies taxonomy as events kick off to mark the 300th anniversary of his death. Produced and presented by Patrick Gibbons. Hosted on Acast. See acast.com/privacy for more information.

Advertising SponsorThis episode is brought to you by Arcadia Green Coffee, Colombian coffee exporters taking fresh green coffee from Colombia to the world — farm to roastery, direct.Instagram: https://www.instagram.com/arcadiagreencoffee/WhatsApp: https://wa.me/353877871523Episode DescriptionThis is Part 1 of a five-part series with Carol Salloum, cofounder of 3Tomatoes and Almond Bar in Sydney, Australia. In Surviving 2025 and 2026 as a Café Owner, we explore what navigating one of the most volatile years in hospitality actually looked like inside a functioning, community-driven café business.Carol shares how 2025 unfolded beyond rising coffee prices. Electricity, gas, ingredients, wages, staffing challenges, and emotional pressure from customers all compounded at once. We discuss how café owners were forced to make difficult pricing decisions, how pop-up dinners were used to stabilize revenue, and why simply raising menu prices rarely covers the full increase in operating costs.We also explore how the Australian coffee industry is shifting, why profitability is becoming harder even for experienced operators, and how Gen Z staffing dynamics require more emotional leadership and energy from business owners than ever before.This episode sets the foundation for the series by grounding the conversation in lived experience rather than theory. If you are a café owner, hospitality operator, or industry professional trying to understand what survival actually required in 2025, this conversation will resonate.Connect with Carol Salloum and 3Tomatoes here:https://www.instagram.com/3tomatoesau/https://www.3tomatoescafe.com/***************************************About Map It Forward The Daily Coffee Pro is produced by Map It Forward, supporting coffee professionals globally across the supply chain.Website: https://mapitforward.coffeeMailing list: https://mapitforward.coffee/mailinglistPatreon: https://www.patreon.com/mapitforwardInstagram: https://www.instagram.com/mapitforward.coffee/Contact: support@mapitforward.org

Advertising SponsorThis episode is brought to you by Arcadia Green Coffee, Colombian coffee exporters taking fresh green coffee from Colombia to the world — farm to roastery, direct.Instagram: https://www.instagram.com/arcadiagreencoffee/WhatsApp: https://wa.me/353877871523Episode DescriptionThis is Part 1 of a five-part series with Carol Salloum, cofounder of 3Tomatoes and Almond Bar in Sydney, Australia. In Surviving 2025 and 2026 as a Café Owner, we explore what navigating one of the most volatile years in hospitality actually looked like inside a functioning, community-driven café business.Carol shares how 2025 unfolded beyond rising coffee prices. Electricity, gas, ingredients, wages, staffing challenges, and emotional pressure from customers all compounded at once. We discuss how café owners were forced to make difficult pricing decisions, how pop-up dinners were used to stabilize revenue, and why simply raising menu prices rarely covers the full increase in operating costs.We also explore how the Australian coffee industry is shifting, why profitability is becoming harder even for experienced operators, and how Gen Z staffing dynamics require more emotional leadership and energy from business owners than ever before.This episode sets the foundation for the series by grounding the conversation in lived experience rather than theory. If you are a café owner, hospitality operator, or industry professional trying to understand what survival actually required in 2025, this conversation will resonate.Connect with Carol Salloum and 3Tomatoes here:https://www.instagram.com/3tomatoesau/https://www.3tomatoescafe.com/***************************************About Map It Forward The Daily Coffee Pro is produced by Map It Forward, supporting coffee professionals globally across the supply chain.Website: https://mapitforward.coffeeMailing list: https://mapitforward.coffee/mailinglistPatreon: https://www.patreon.com/mapitforwardInstagram: https://www.instagram.com/mapitforward.coffee/Contact: support@mapitforward.org

Jeremy Zakis analyzes the Australian men's T20 cricket team's poor cohesion and experimental failures while highlighting the consistent, professional success of the national women's team.1935

Is alcohol confidence, connection, and a doorway back to yourself, or is it a liquid barrier that keeps you further away?In this episode, Vic is joined by Australian broadcaster and former Triple J presenter Mel Bampton. Now 15 years sober, Mel has come full circle back to radio after spending years rebuilding her life around yoga, surfing and sobriety. Together, they explore one powerful question: how do we make our way back after losing ourselves to alcohol?Mel explains how alcohol can feel like a shortcut back to playfulness, imagination, and that light, giggly version of us we lost somewhere between school rules, expectations, and being told to “behave”. They talk about how drinking can seem like it's giving you freedom, when it's quietly taking pieces of you away, and why it can be so hard to notice that loss of self when you start young.They also dig into timing, the moment you know it's time to stop, the shift from chaos to clarity, and the surprising truth that sobriety can be less about becoming someone new, and more about returning to who you were before life made you small.There's tequila, hangovers, bins full of glass bottles, silent discos in the jungle, and a full-circle comeback story that proves this, even if you've taken the scenic route, you can always find your way back to you.Enjoy!@melbampton_https://www.thepranaproject.com/blog/whats-in-a-name

A kaleidoscope of polyrhythms and post-dubstep. "Music was a way to speak Arabic… It's my way of being confident that I am, in fact, Lebanese," Jared Beeler AKA DJ Plead told Crack Magazine in 2022. Often framed as an Australian producer threading Arabic rhythmic structures through techno and post-dubstep, DJ Plead's music is better understood as tradition embedded inside contemporary club forms, where percussion and bass move as one. First surfacing in the late 2010s with releases on DECISIONS and Nervous Horizon, he has since become one of the most consistent voices in leftfield dance music, defined by the tactile clarity of their drum programming and Maqam-informed phrasing. RA.1028 opens with Bruce's "Just Getting On With It" from Livity Sound's ten-year compilation, a fitting nod to the kind of rhythmic experimentation that runs through the set. From Iran to London to Miami and back again, the 90-minute mix pulls a wide frame into focus, including several unreleased DJ Plead tracks. Whether it's the dry snap of hand-drum hits or sub-bass that lands with chest-caving weight, RA. 1028 is a reminder that rhythm can be a direct path back to the self. Find the tracklist and Q&A at https://ra.co/podcast/1047 @1djplead

Subscribe today for access to our full catalog of bonus episodes, including 2+ new episodes every month! www.patreon.com/boysbiblestudy Sensationalist Christian filmmaker Danny Carrales has a talent for conveying the urgency of Jesus's teachings. It's one thing to hear the words that those who don't accept God's grace will be doomed to a life of eternal torture; it's another thing to actually see this happen to a guy who seemed like a pretty decent person but unfortunately dropped dead before he decided to accept Jesus. In an instant, he's floating above his body, traveling through a pillar of light, until the direction suddenly switches and he screams in terror as the sky around him turns to fire. This is an example of the high drama level of ESCAPE FROM HELL, cowritten by Danny Carrales and Michael Martin, the team who gave us the high-octane rapture movie THE GATHERING and also HEAVEN'S WAR, a CGI-heavy story of the eternal spiritual struggle unseen to humans. ESCAPE FROM HELL inhabits a couple of well-traveled Christian movie tropes. It takes place in a hospital, a frequent setting for faith-based movies, since it's a hub for souls entering and leaving Earth. Also, similar to Australian thriller TABERNACLE 101, the film's action largely concerns a scientifically minded explorer inducing a near-death experience in himself to prove the idea of life beyond death. Both films are like FLATLINERS for Christians, and both show that taking such a risk costs opening the door between worlds in very uncomfortable ways. ESCAPE FROM HELL is probably the more successful of the two for its tight structure, extremely laid-on-thick melodrama of family members crying while their loved ones' souls are experiencing eternal damnation, and weird, campy experimental techniques, like putting a sign saying "Ducks Be Not Proud" on the hospital roof so dying souls can read it before getting to heaven. Every collector of Christian films should have a copy of this VHS on their Bible study shelf, along with THE GATHERING and FINAL EXIT, the Carrales film we plan to watch next. View our full episode list and subscribe to any of our public feeds: http://boysbiblestudy.com Unlock 2+ bonus episodes per month: http://patreon.com/boysbiblestudy Subscribe to our Twitch for livestreams: http://twitch.tv/boysbiblestudy Follow us on Instagram: http://instagram.com/boysbiblestudy Follow us on Twitter: http://twitter.com/boysbiblestudy  

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It's Story Time, our weekly walk through cricket history. This week, the originator of hair-replacement therapy, the first Australian cricketer with an earring (probably), the man who allegedly brought punk to cricket (not really). You know who we mean. Also, one of the few huge innings to deserve full acclaim, a legend's early foray into something different, and the brief flourish of a player who through no fault of their own might have given more. Your Nerd Pledge numbers for this week: 4.01 - David Rosser 4.10 - Andrew Turner 6.27 - Richard Jansz-Moore 3.95 - Rahul Venkat Support the show with a Nerd Pledge at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/thefinalword⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Try the new Stomping Ground Final Word beer, or join Patreon to win a case: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠stompingground.beer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Get 15% off Step One Men's and Women's underwear. ⁠⁠⁠⁠⁠⁠⁠⁠https://uk.stepone.life/discount/TFW148⁠⁠⁠⁠⁠⁠⁠⁠ CBUS Super - Build your something. Visit ⁠⁠⁠⁠⁠⁠⁠⁠https://cbussuper.com.au⁠⁠⁠⁠⁠⁠⁠⁠ to sort your superannuation. Get yourself some lovely BIG Boots UK, with 10% off at this link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.bigboots.co.uk/?ref=thefinalword⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Maurice Blackburn Lawyers - fighting for workers since 1919: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠mauriceblackburn.com.au⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Get your big NordVPN discount: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠nordvpn.com/tfw⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Get 10% off Glenn Maxwell's sunnies: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠t20vision.com/FINALWORD⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Find previous episodes at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠finalwordcricket.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Title track by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Urthboy⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

For Deborah Locke, joining the NSW Police was a ticket to a better life. After joining the police in 1984, Deborah found herself in the seedy underbelly of police corruption. Bribery, drinking, and sexual harassment were commonplace - until Deborah decided she had to stand up for what was right, even if it cost her everything. The Wood Royal Commission was a turning point in Australian policing. This is the story of how it came to be.See omnystudio.com/listener for privacy information.

In episode 159 of "G'DAY FROM THE USA," host Lady Amanda and co-host Mumma discuss the experiences of an Australian living and working in the USA. We chat about life after death and other morbid things!An Australian living life and working in the USA. Reach out to us on -Facebook: https://www.facebook.com/GDAYfromtheUSAYouTube: https://www.youtube.com/@GDAYfromtheUSAhttps://www.tiktok.com/@gdayfromtheusaVoicemail: https://www.speakpipe.com/GDAYfromtheUSABuy us a coffee: https://www.buymeacoffee.com/gdayusa

Dani Vee and Emma Styles chat about her new crime novel The Shark, a darkly unique thriller from an author who writes contemporary Australian noir about young women taking on the patriarchy. They chat about the importance of teenage girls at the centre, creating disturbing characters and how to write a thriller. Listen now!

Weather update for major cities across Australia in Nepali. This update features tomorrow's forecast for the following cities: Broome, Perth, Adelaide, Melbourne, Hobart, Albury-Wodonga, Sydney, Newcastle, Brisbane, Townsville, Cairns, Darwin and Alice Springs. - अस्ट्रेलियाका १५ मुख्य शहरहरूमा भोलि मौसम कस्तो होला? यस अपडेटमा निम्न स्थानको मौसमी पूर्वानुमान समावेश छ: ब्रूम, पर्थ, एडिलेड, मेलबर्न, होबार्ट, अल्ब्री-वडङ्गा, क्यानबरा, वलङगङ, सिड्नी, न्युकासल, ब्रिसबेन, टाउन्सभील, केर्न्स, डार्विन र एलिस स्प्रिङ्ग्स।

A new survey by financial comparison website CanStar has found that many Australian households are currently worried or have concerns about future energy bill payments as federal rebates run out this year. This is in addition to an underlying price increase in household electricity bills. Over the last month, they've risen by approximately 4.5% according to the Australian Bureau of Statistics. CanStar's Data Insights Director, Sally Tindall spoke to SBS's Cameron Carr about what the latest data is showing.

It's a full-blown Friday free-for-all on The Rizzuto Show as the crew dives headfirst into a triple-threat episode of chaos.Clownvis joins the show and talks about his viral interview with Maynard James Keenan — yes, that Maynard — and how he managed to get one of rock's most notoriously difficult interviewees to actually loosen up and laugh. The crew dives into comedy as connection, crying at work (turns out, most of us have), and the fine art of breaking emotional seals via TV shows like Lost and movies like Big Fish. It's vulnerable. It's weirdly wholesome. It's still unhinged.The legendary Bean Boozled “Good or Gross” challenge returns, and it's every bit as traumatic as you remember. Stink bug vs. toasted marshmallow. Booger vs. juicy pear. Burnt rubber vs. licorice. Somehow, against all statistical logic, the callers go on an absolute heater — five straight “good” beans — while the studio debates swallowing rules, floor beans, and whether anyone might actually jump out a window over a stink bug flavor. Concert tickets are on the line, dignity is not.And because no Friday is complete without spiraling into nonsense, the show also tackles:The rising trend of solo dining and solo concertsWhy driving a van becomes attractive after 25Whether Lent sacrifices actually last more than 48 hoursWhy people are specifically giving up Wendy's BaconatorsHow often you're “supposed” to replace your underwear (spoiler: nobody is following that timeline)And whether someone in the room might secretly have a “moss butt” situation brewingFrom pasta with Maynard to Fruit of the Loom formalwear to lawn seats at Five Finger Death Punch, this episode is a beautiful blend of gross-out games, accidental life advice, and the kind of spiraling tangents that somehow only make sense on a Friday.Follow The Rizzuto Show → https://linktr.ee/rizzshow for more from your favorite daily comedy show.Connect with The Rizzuto Show Comedy Podcast online → https://1057thepoint.com/RizzShow.Hear The Rizz Show daily on the radio at 105.7 The Point | Hubbard Radio in St. Louis, MO.Should You Change Your Underwear In Every 6 Months?“Most unhinged glow-up”: Unsurprisingly, Americans are obsessed with Fruit of the Loom's sweatpant suitSolo dining surges 52% as Americans embrace 'Me-Me-Me Economy' over shared mealsNC mom of three who vanished 24 years ago reveals why she ditched familyHopkins County woman charged after allegedly using “movie money” to post bondMan, two girls injured after suspected lightning strikes during Perth stormTwo charged with murder of Australian grandfather after 'mistaken identity' kidnappingBlock lays off nearly half its staff because of AI. Its CEO said most companies will do the sameDid the Tampa International Airport Really Just Ban Pajamas?Falling antlers caused ‘severe' injuries to couple dining at LongHorn SteakhouseMan Attacked by Dogs Unexpectedly Saved by Exploding Phone in His Pocket‘Die Hard' in DeKalb? Armed burglar found hiding in business air ventMan who robbed Ocala Taco Bell with large rock gets four years in prisonMuncie man robs Taco Bell with pruning shears: Court DocsFlorida man drives flaming car down highway, charged with DUIMan defrauds company, steals more than 400 smart toilets in MiamiSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

G’day, mates! Grab your blooming onions and watch out for "bucking" hams, because Bob is bringing his best Australian accent to the studio today. In this episode, Bob and Jesse dive into the wacky world of friendships. From "Leg Cramp Girl" on the bus to a PE teacher whose heart rate spikes just by seeing Bob walk into the gym, the duo explores how every person in our lives provides an opportunity to show God’s love. Whether it’s a "tight-as-a-tourniquet" hug from Mom or a back-pat from Dad that sends you flying across the room, love and encouragement come in all shapes and sizes. Click here to see the new Average Boy book title and cover! Click here to visit the Average Boy Store to gain access to books, devotionals, subscriptions to Clubhouse Magazine, and much more! We'd love to hear from you! Visit our Homepage to leave us a voicemail. If you enjoyed listening to The Official Average Boy Podcast, please give us your feedback.

It's EV News Briefly for Friday 27 February 2026, everything you need to know in less than 5 minutes if you haven't got time for the full show.Patreon supporters fund this show, get the episodes ad free, as soon as they're ready and are part of the EV News Daily Community. You can be like them by clicking here: https://www.patreon.com/EVNewsDailyFORD MAKES MACH-E FRUNK A $495 OPTIONFord has removed the front trunk from the standard equipment list on the 2026 Mustang Mach-E, citing low usage among owners, and now charges $495 to unlock access to the under-bonnet storage space that has been part of the car's appeal since its 2021 launch. The move fits a broader industry trend of unbundling previously standard features, but risks a backlash on perceived value — particularly given the frunk already lost roughly half its original five cubic feet of space when a heat pump was added in 2024.HYUNDAI TARGETS BODY-ON-FRAME PICKUP BY 2028Hyundai is developing a midsize body-on-frame pickup truck targeting a ~2028 launch, with CEO José Muñoz committing to the project at last September's investor day and Australian COO Gavin Donaldson confirming it will be a distinct vehicle from Kia's unibody Tasman — designed to compete with the Toyota Hilux and Ford Ranger. Trademarked "IONIQ T7" branding hints the truck may sit under Hyundai's electric sub-brand, and the same platform could underpin a rugged SUV previewed by the Crater Concept at the 2025 Los Angeles Auto Show.POLESTAR ENERGY ADDS GRID REWARDS IN GERMANY, FRANCEPolestar is expanding its smart charging programme to Germany and France, joining Belgium, the Netherlands, Switzerland and the UK, with German owners on an Intelligent Octopus tariff able to cut home charging costs by up to roughly 50% per session and save around €300 annually by shifting charging to cheap, low-carbon off-peak windows. A key differentiator is that the programme now runs car-controlled charging directly through the Polestar 2 and Polestar 4 via the in-house app, removing the need for a compatible smart wallbox — and Polestar has also activated V2G and V2H capability for the Polestar 3 in California.RIVIAN JOB POSTING POINTS TO 48V PLATFORMA Rivian engineering job listing has surfaced that explicitly names a 48V DC architecture — a first for the company in any public-facing document — calling for someone to design vehicle topologies spanning 12V, 48V and 120/230V AC systems for an active, undisclosed vehicle programme. When read alongside recent postings for steer-by-wire, rear-wheel steering and Level 4 autonomy roles, the listing points toward a next-generation platform that could combine all four technologies; a 48V system is notable because it delivers the same power as 12V at one-quarter the current, enabling lighter, cheaper wiring harnessesVOLVO PLANS 2027 EX30 UPDATE WITH V2LVolvo is planning a 2027 EX30 refresh that adds vehicle-to-load (V2L) capability and a new 148 hp entry-level powertrain via an over-the-air software update requiring no dealer visit, alongside a reworked touchscreen interface. The cheaper motor — pairable with either a 51 kWh or 69 kWh battery for up to 251 miles of WLTP range — could push the UK entry price toward £30,000, narrowing the gap to rivals like the Alfa Romeo Junior and Mini Aceman, though UK availability has not been confirmed.UK EXTENDS HOME CHARGER GRANT TO 2027The UK government has extended its Electric Vehicle Chargepoint Grant to March 2027 and is raising the maximum contribution from £350 to £500 from 1 April 2026, with the grant covering renters, flat owners and homeowners without driveways — groups previously locked out of cheap home charging. The extension complements a separate £600 million public charging fund, with ChargeUK noting the UK public charging network has reached 88,500 chargepoints, but underscoring that most drivers rely on a blend of home and public infrastructure.MERCEDES BABY G GAINS HYBRID OPTIONMercedes-Benz has reversed its EV-only plan for the smaller "Baby" G-Class, adding a hybrid variant that will use the CLA's turbocharged 1.5-litre four-cylinder unit from Horse Powertrain producing 188 hp, mated to an eight-speed dual-clutch gearbox with an integrated electric motor. Both the battery-electric and hybrid versions will feature four-wheel drive as standard on a bespoke platform, with BEV production pencilled in for 2027 and the hybrid expected to follow — and Mercedes insisting the smaller model will match the full-size G-Class for off-road capability.LEAKED PRICING LIFTS 2026 GEELY EX5 RANGEIndustry guide Redbook has leaked Australian pricing for new Extended Range variants of the 2026 Geely EX5 — AU$41,990 for the Complete and AU$45,990 for the Inspire, each AU$1,000 above current equivalents — though Geely Australia has not officially confirmed figures, specs or an on-sale date. The Extended Range models swap in a larger 68.4 kWh LFP battery (up ~14% from 60.22 kWh), pushing WLTP-rated range to 475 km and 450 km respectively, gains of 45 km over standard versions.MEXICO TIGHTENS AIR RULES AND PUSHES ELECTRIC TRUCKSMexico is combining tightened air quality monitoring under the Ministry of Health with a push to electrify its medium- and heavy-duty fleet, which makes up roughly 25% of the vehicle fleet but generates more than half of all transport-related emissions. Electric truck sales have surged 800% over three years with 25 brands now offering more than 60 commercial EV models in Mexico, while new import rules cap used diesel commercial vehicles at engines no older than 10 years — closing a significant back door for ageing, high-emission trucks.

G'day, mates! Grab your blooming onions and watch out for "bucking" hams, because Bob is bringing his best Australian accent to the studio today. In this episode, Bob and Jesse dive into the wacky world of friendships. From "Leg Cramp Girl" on the bus to a PE teacher whose heart rate spikes just by seeing Bob walk into the gym, the duo explores how every person in our lives provides an opportunity to show God's love. Whether it's a "tight-as-a-tourniquet" hug from Mom or a back-pat from Dad that sends you flying across the room, love and encouragement come in all shapes and sizes. Click here to see the new Average Boy book title and cover! Click here to visit the Average Boy Store to gain access to books, devotionals, subscriptions to Clubhouse Magazine, and much more! We'd love to hear from you! Visit our Homepage to leave us a voicemail. If you enjoyed listening to The Official Average Boy Podcast, please give us your feedback. To support this ministry financially, visit: https://www.oneplace.com/donate/1443/29?v=20251111

Britain's banks have a hold over Rachel Reeves, declares Michael Simmons in the Spectator's cover piece this week. Almost two decades on from the 2008 financial crash, the UK has failed to reform the system and – as ordinary people face a cost-of-living crisis – Labour is in hock to big business. Is the Chancellor too close to the City?For this week's Edition, host Lara Prendergast is joined by economics editor Michael Simmons, columnist Lionel Shriver, and columnist from the Daily Mail Robert Hardman.As well as Labour's relationship with the banking industry, they discuss: the hit BBC show Industry; how the Royals have frozen out (former Prince) Andrew – and whether removing him from the line of succession is ‘performative' or not; Lionel's new book on immigration A Better Life; why young Brits increasingly want to be more Australian; and finally, what's so good about a moustache?Produced by Patrick Gibbons. Catch up with Industry S4 now on BBC iPlayer. Watch the season finale on Monday 2nd March on BBC One. Hosted on Acast. See acast.com/privacy for more information.

This week Justin sits down with Aaron Chen! Topics include: Australian customs, Adult beverages, Moving to America, and so much more!

I am Rolf Claessen and together with my co-host Ken Suzan I welcome you to Episode 172 of our podcast IP Fridays. Today's interview guests are Co-Founder & CEO of Inception Point AI, Jeanine Whright, and Mark Stignani, who is Partner & Chair of Analytics Practice at Barnes & Thornburg LLP. https://www.linkedin.com/in/jeaninepercivalwright https://www.linkedin.com/in/markstignani Inception Point AI But before the interview I have news for you: The Unified Patent Court (UPC) ruled on Feb 19, 2026, that specialized insurance can cover security for legal costs. This is vital for firms, as it eases litigation financing and lowers financial hurdles for patent lawsuits by removing the need for high liquid assets to enforce rights at the UPC. On Feb 12, 2026, the WIPO Coordination Committee nominated Daren Tang for a second six-year term as Director General. Tang continues modernizing the global IP system, focusing on SMEs, women, and digital transformation. His confirmation in April is considered certain. An AAFA study from Feb 4 reveals 41% of tested fakes (clothing/shoes) failed safety standards. Many contained toxic chemicals like phthalates, BPA, or lead. The study highlights that counterfeiters increasingly use Meta platforms to sell unsafe imitations directly to consumers. China's CNIPA 2026 report announced a crackdown on bad-faith patent and trademark filings. Beyond better examination quality, the agency will sanction shady IP firms and stop strategies violating “good faith” to make China’s IP system more ethical and innovation-friendly. Now, let's hear the interview with Jeanine Whright and Mark Stignani! How AI Is Rewiring Media & Entertainment: Key Takeaways from Ken Suzan's Conversation with Jeanine Wright and Mark Stignani In this IP Fridays interview, Ken Suzan speaks with two repeat guests who look at the same phenomenon from two angles: Jeanine Wright, Co-Founder & CEO of Inception Point AI, as a builder of AI-native entertainment, and Mark Stignani, Partner and Chair of the Analytics Practice at Barnes & Thornburg LLP, as a lawyer advising clients who are trying to use AI without stepping into a legal (or ethical) crater. What emerges is a clear picture: generative AI is not just “another tool.” It is rapidly becoming the default infrastructure for creative work—while the rules around ownership, consent, and accountability lag behind. 1) What “AI-generated personalities” really are (and why that matters) Jeanine's company is not primarily “cloning” real people. Instead, Inception Point AI creates original, fictional personalities—characters with backstories, ambitions, and evolving arcs—then deploys them into the world as podcast hosts and content creators (and eventually actors and musicians). Her key point: the creative work still starts with humans. Writers and creators define the concept, tone, audience, and story engine. What AI changes is speed, cost, and iteration—and therefore what is economically feasible to produce. 2) The “generative content pipeline” isn't a magic button A recurring misconception Ken raises is the idea that someone “pushes a button” and content pops out. Jeanine explains that real production looks more like a hybrid studio: A creative team defines character, voice, format, and storyline. A technical team builds what she calls an “AI orchestration layer” that combines multiple models and tools. The “stack” differs by format: the workflow for a long-form audio drama is different from a short-form beauty clip. This matters because it reframes AI content not as a single output, but as a pipeline decision: which tools, which data sources, which QA, and which governance steps are used—and where human review happens. 3) The biggest legal questions: origin, liability, ownership, and contracts Mark doesn't name a single “top issue.” He describes a cluster of problems that repeatedly show up in client conversations: Training data and “origin story” Clients keep asking: Can I legally use AI output if the tool was trained on copyrighted works? Even if the output looks new, the unease is about whether the tool's capabilities are built on unlicensed inputs. Liability for unintended harm Mark flags risk from AI content that inadvertently infringes, defames, or carries bias. The legal exposure may not match the creator's intent. Ownership and protectability He points to a big gap: many jurisdictions are still reluctant to grant classic IP rights (copyright or patent-style protection) to purely AI-generated material. That creates uncertainty around whether businesses can truly “own” what they produce. Old contracts weren't written for AI A final, practical point: many agreements—talent contracts, author clauses, data licenses—predate generative AI and simply don't address it. That leads to disputes about scope, permissions, and—crucially—indemnities. 4) Are we at a tipping point? The “gold rush” vs. “next creative era” views Jeanine frames AI as “the world's most powerful creative tool”—comparable to previous step-changes like animation, special effects, and CGI. For her, the strategic implication is simple: creators who learn to use AI well will expand what they can build and test, faster than ever. Mark's metaphor is more cautionary: he calls the moment a “gold rush” where technology is sprinting ahead of law. Courts are getting flooded with foundational disputes, while legislation is fragmented—he notes that states may move faster than federal frameworks, and that labor agreements (e.g., union protections) will be a key pressure point. 5) Democratization: more creators, more niche content, more experimentation One of the most concrete themes is access. Jeanine argues AI will: Lower production barriers for independent filmmakers and storytellers. Reduce the need for “hit-making only” economics that dominate Hollywood. Make micro-audience content commercially viable. Her example is intentionally niche: highly localized, specialized content (like a “pollen report” for many markets) that would never have made financial sense before can now exist—and thrive—because the production cost drops and personalization scales. 6) Likeness, consent, and “digital performers”: what happens when AI resembles a real actor? Ken pushes into a sensitive area: what if someone generates a performance that closely resembles a living actor without consent? Mark outlines the current (imperfect) toolbox—because, as he emphasizes, most laws weren't built for this scenario. He points to practical claims that may come into play in the U.S., such as rights of publicity and false endorsement-type theories, and notes that whether something is parody or “too close” can become a major fault line. Jeanine explains her company's operational approach: They focus on original personalities, designed “from scratch.” They build internal checks to avoid misappropriating known names, likenesses, or recognizable identities. If they ever work with real people, the model would be licensing their likeness/voice. A subtle but important business point also appears here: Jeanine expects AI-native characters themselves to become licensable assets—meaning the entertainment economy may expand to include “celebrity rights” for fully synthetic personalities. 7) Ethics: the real line is “deception,” not “AI vs. human” The ethical core of the conversation is not “AI is bad” or “AI is good.” It's how AI is used—especially whether audiences are misled. Mark highlights several ethical risks: Misuse of tools to manipulate faces and content (“AI slop” and political misuse). Displacement of creative workers without adequate transition support. A concern that AI often optimizes toward “statistical averages,” potentially flattening originality. Jeanine agrees ethics must be designed into the system. She describes regular discussions with an ethicist and emphasizes a principle: transparency. Her company discloses when content or personalities are AI-generated. She argues that if people understand what they're engaging with and choose it knowingly, the ethical problem shifts from “AI exists” to “Are we tricking people?” Mark adds a real-world warning: deepfakes are now credible enough to enable serious fraud—he references a case-like scenario where a synthetic video meeting deceived an employee into authorizing a payment. The point is clear: authenticity and verification are no longer optional. 8) The “dead actor” hypothetical: legal permission vs. moral intent Ken raises a provocative scenario: an actor's estate authorizes an AI-generated new performance, but the actor opposed such technology while alive. Neither guest offers a simplistic answer. Jeanine suggests that even if the estate holds legal rights, a company might choose to avoid such content out of respect and because the ethical “overhang” could damage the storytelling outcome. She also notes the harder question: people who died before today's capabilities may never have been able to meaningfully consent to what AI can now do—raising questions about how we interpret legacy intent. Mark underscores the practical contract problem: many rights are drafted “in perpetuity,” but that doesn't automatically settle the ethical question. 9) Five-year forecast: “AI everywhere,” but audiences may stratify Ken closes with a prediction question: in five years, how much entertainment content will significantly involve AI—and will audiences care? Jeanine predicts AI becomes the default creative layer for most content creation. Mark is slightly more conservative on the percentage, but adds an important nuance: the market will likely stratify. Low-cost, high-volume content may become saturated with AI, while premium segments may emphasize “human-made” as a differentiator—especially if disclosure norms become standard. Bottom line for business leaders and creators This interview lands on a pragmatic conclusion: AI will change how content is made at scale, and the competitive edge will go to teams that combine creative taste, operational discipline, and legal/ethical governance. If you're building, commissioning, or distributing content, the questions you can't dodge anymore are: What's the provenance of the tools and data you rely on? Who is responsible when output harms, infringes, or misleads? What rights can you actually claim in AI-assisted work? Do your contracts and disclosures match the new reality? Ken Suzan: Thank you, Rolf. We have two returning guests to the IP Friday’s podcast. Joining me today is Janine Wright and Mark Stignani. Our topic for discussion, how is AI transforming the media and entertainment industries today? We look at the issues from differing perspectives. A bit about our guests, Janine Wright is a seasoned board member, CEO, global COO and CFO. She’s led organizations from startup to a $475 million plus revenue subsidiary of a public company. She excels in growth strategy, adopting innovative technologies, scaling operations and financial management. Janine is a media and entertainment attorney and trial litigator turned technologist and qualified financial expert. She is the co-founder and CEO of Inception Point AI, a growing company that is paving new ground with AI-generated personalities and content through developing technology and story. Mark Stignani is a partner with Barnes & Thornburg LLP and is based in Minneapolis, Minnesota. He is the chair of the data analytics department with a particular emphasis on artificial intelligence, machine learning, cryptocurrency and ESG. Mark combines the power of artificial intelligence and machine learning with his skills as a corporate and IP counsel to deliver unparalleled insights and strategies to his clients. Welcome, Janine and Mark to the IP Friday’s podcast. Jeanine Whright: Thank you. Thank you. Thank you so much for having me and fun to be back. It feels nostalgic to be here. Ken Suzan: That’s right. And you both were on the program. So it’s fantastic that you’re both back again. So our format, I’m going to ask a question to Janine and or Mark and sometimes to both of you. So that’s going to be how we proceed. Let’s jump right in. Janine, your company creates AI-generated actors. For listeners who may not be familiar, can you briefly explain what that means and what’s now possible that wasn’t even two years ago? Jeanine Whright: Sure. Yeah, we are creating AI-generated personalities. So new characters, new personalities from scratch. We design who these personalities are and will be, how they will evolve. So we give them complex backstories. We give them hopes and dreams and aspirations. We every aspect of them, their families, how they’re going to evolve. And in the same way that, say, you know, Disney designs the character for its next animated feature or, you know, an electronic arts designs a character for its next major video game. We are doing that for these personalities and then we are launching them into the world as podcast hosts, content creators on social platforms like YouTube, Instagram and TikTok. And even in the future, you know, actors in feature length films, musicians, etc. Ken Suzan: Very fascinating. Mark, from your practice, what’s the single biggest legal question or dispute you’re seeing clients wrestle with when it comes to AI and media creation? Mark Stignani: Well, I think that, you know, it’s not just one thing, it’s like four things. But most of them tend to be kind of the origin story of AI data or AI tools that they use because, you know, but for the use of AI tools trained on copyrighted materials, the tools wouldn’t really exist in their current form. So a lot of my clients are wondering about, you know, can I legally use this output if it’s built upon somebody else’s IP? The second ask, the second flavor of that is really, is there liability being created if I take AI content that inadvertently infringes or defames or biases there? So there’s the whole notion of training bias from the training materials that comes out. The third phase is really, you know, can I really own this? Because much of the world does not really give IP rights into AI-generated inventions, copyrighted materials. It’s still kind of a big razor. Then at the end of the day, you know, if it’s an existing relationship, does my contract even contemplate this? So everything from authors contracts on up to just use of data rights that predate AI. Ken Suzan: And Janine and Mark, a question to both of you. How would you describe where we are right now in the AI revolution in media and entertainment? Are we approaching a tipping point? And if so, what are the things we need to watch for? Jeanine Whright: Yeah, I definitely think that we’re at a phase where people are starting to come to the realization that AI is the world’s most powerful creative tool. But that, you know, storytelling and point of view is what creates demand and audiences. And AI doesn’t threaten or change that. But it does mean that as people evolve in this medium, they’re very likely going to need to adopt, utilize and figure out how to hone their craft with these AI-generated content and these AI-generated toolings. So this is, you know, something that people have done certainly in the past in all sorts of ways in using new tools. And we’ve seen that make a significant change in the industry. So you look at, you know, the dawn of animation as a medium. You look at use of special effects, computer-generated imagery in the likes of Pixar. And this is certainly the next phase of that evolution. But because of the power of the tool and what will become the ubiquity of the tool, I think that it’s pretty revolutionary and all the more necessary for people to figure out how to embrace this as part of their creative process. Ken Suzan: Thank you, Janine. Mark, your thoughts? Mark Stignani: Yeah, I mean, I liken this to historically to like the California gold rush right now, because, you know, the technology is so far outpaced in any of the legal frameworks that are available. And so we’re just trying to shoehorn things in left and right here. So, I mean, the courts are beginning to start to engage with the foundational questions. I don’t think they’re quite there yet. I just noticed Anthropic got sued again by another group of people, big music group, because of the downloaded works they’ve done. I mean, so the courts are, you know, the courts are certainly inundated with, you know, too many of these foundational questions. Legislatively, hard to tell. I mean, federal law, the federal government is not moving uniformly on this other than to let the gold rush continue without much check and balance to it. Whereas states are now probably moving a lot faster. Colorado, Illinois, even Minnesota is attempting to craft legislation and limitations on what you can do with content and where to go with it. So, I mean, the things we need to watch for any of the fair use decisions coming out here, you know, some of the SAG-AFTRA contract clauses. And, you know, again, the federal government, I just, you know, I got a big shrug going as to what they’re actually going to come up with here in the next 90 to 100 days. So, but, you know, I think they’ll be forced into doing something sooner than later. Ken Suzan: Okay, let’s jump into the topic of the rise of generative content pipelines. My first question to Janine. Studios and production companies are now building what some call generative content pipelines. This is where AI systems produce everything from scripts to visual effects to voice performances. What efficiencies and creative possibilities does this unlock for the industry? Jeanine Whright: Yeah, so this is quite a bit of what we do. And if I could help pull the curtain back and explain a little bit. Ken Suzan: That’d be great. Jeanine Whright: Yeah, there’s this assumption that, you know, somebody is just sitting behind a machine pushing a button and an out pops, you know, what it is that we’re producing. There’s actually quite a bit of humans still in the loop in the process. You know, we have my team as creators. The other half of my team is the technologists. And those creators are working largely at what we describe as the the tip of the sphere. So they’re, of course, coming up with the concepts of who are these personalities? What are these personalities, characters, backgrounds going to be a lot of like rich personality development? And then they’re creating like what are the formats? What are the kind of story arcs? What is the kinds of content that this this character wants to tell? And what are the audiences they’re desiring to reach and what’s most going to resonate with them? And then what we built internally is what we refer to as an AI orchestration layer. So that allows us to pull from basically all of the different models and then all of these different really cool AI tools. And put those together in such a way and combine those in such a way that we can have the kind of output that our creative team envisions for what they want it to be. And at the end of the day, what you what the stack looks like for, say, a long form audio drama, like the combination of LLMs that we’re going to use in different parts of scripting and production and, you know, ideating and all of that. And the kinds of tooling that we use to actually make it and get it to sound good and have the kinds of personality characteristics that we want to be in an authentic voice for a podcast is going to be different than the tech stack and the tool stack that we might use for a short form Instagram beauty tip reel. And so there’s a lot of art in being able to pull all of these tools together to get them to do exactly what you want them to do. But I think the second part of your question is just as interesting as the first. I mean, what is what possibilities is this unlocking? So of course you’re finding efficiencies in the creative production process. You can move faster. You can do things were less expensive, perhaps, and you were able to do it before. But on the creator side, I think one thing that hasn’t been talked about enough is how it is really like blown wide the aperture of what creators can do and can envision. Traditionally, you know, Hollywood podcasting, many of these businesses that become big businesses have become hit making businesses where they need to focus on a very narrow of wide gen pop content that they think is going to get tens of millions, hundreds of millions in, you know, fans and dollars in revenue for every piece of content that they make. So the problem with that is, is that it really narrows the kinds of things that ultimately get made, which is why you see things happening in Hollywood, like the Blacklist, which is, you know, this famous list of really exceptional content that remains unpredited, unproduced, or why you see things like, you know, 70 to 80% of the top 100 movies being based on pre-existing IP, right? Because these are such huge bets that you need to feel very confident that you’re going to be able to get big, big audiences and big, big dollars from it. But with AI, and really lowering the barrier to entry, lowering the costs of production and marketing, the experimentation that you can do is really, really phenomenal. So, you know, my creative team, if they have an idea, they make it, you know, they don’t have to wring their hands through like a green lighting process of, you know, should we, shouldn’t we, like we, we can make an experiment with lots of different things, we can do various different versions of something. We can see what would this look like if I placed it in the 1800s, or what if I gave this character an Australian accent, and it’s just the power of being able to have this creative partner that can ideate with you and experiment with you at rocket speed. With the creators that are embracing it, you can see how it is really fun for them to be able to have this wide of a range of possibility. Ken Suzan: Mark, when you hear about these generative pipelines, what are the immediate red flags or concerns that come to mind from a legal standpoint? How about ethics underlying all of this? Well, Mark Stignani: that was not, that’s the number one red flag because I mean, we are seeing not just that in the entertainment industry, but it literally at political levels, and the kind of the phrase, to turn the phrase AI slop being generated, we’re seeing, you know, people’s facial expressions altered. In some cases, we’re seeing AI tools being misused to exploit various groups of individuals and genders and age groups. So I mean, there’s a whole lot of things ethically that people are using AI for that just don’t quite cover it. Especially in the entertainment industry, I mean, we’re looking at a fair amount of displacement of human workers without adequate transition support, devaluation of the creative labor. I mean, the thing though that I’m always from a technical standpoint is AI is simply a statistical average of most everything. So it kind of devalues the benefit of having a human creator, a human contribution to it. That’s the ethical side. But on the legal side, I see chain of title issues. I mean, because these are built on very questionable IP ownership stages, I mean, in most of these tools, there has been some large copying, training and taking of copyrighted materials. Is it transformational? Maybe. But there’s certainly not a chain of title, nor is there permission granted for that training. I mentioned SAG-AFTRA earlier, I think there’s a potential set of union contract aspects to this that if you know many of these agreements and use sub-licenses for authors and actor agreements, they weren’t written with AI in mind. So that’s another red flag. And also I just think in indemnification. So if we ultimately get to a point where groups are liable for using content without previous license, then who’s liable? Is the tool maker the liable group or the actual end user? So those are probably my top four red flags. But I think ethics is probably my biggest place because just because we can do something from an ethical standpoint doesn’t mean we should. Jeanine Wright: Yeah, if I can respond to both of those points. I mean, one from a legal perspective, just to be very clear, I mean, we are always pulling from multiple different models and always pulling from multiple different sources. And we even have data sources that we license or use for single source of truth on certain pieces of information. So we’re always pulling things together from multiple different sources. We also have built into our process, you know, internal QAing and checking to make sure that we’re not misappropriating the name or likeness of any existing known personality or character. We are creating original personalities there. We design their voice from scratch. We design their look from scratch. So we’re not on our personality side, we’re not pulling or even taking inspiration from existing intellectual property that’s already out there in creating these personalities. On the ethical side, I agree. I mean, when we came out of stealth, we came out of stealth in September. There was certainly quite a bit of backlash from folks in my—I previously co-founded a company in the audio space. I mean, there’s been many rounds of layoffs in audio and in many other parts of the entertainment industry. So I’m very sensitive to the feedback around, like, is this job displacement? I mean, I do think that the CEO of NVIDIA said it right when he said, you’re likely not going to lose your job to AI, but you will lose your job to somebody who knows how to use AI. I think these tools are transforming the way that content is made and that the faster that people can embrace this tooling, the more likely they’re going to be having the kinds of roles that they want in, you know, in content creation and storytelling in the future. And we are hiring. I’m hiring AI video creators, AI audio creators. I’m hiring AI developers. So people who are looking for those roles, I mean, please reach out to me, we would love to work with you and we’d love to grow with you. We also take the ethics very seriously. For the last few months or so, I’ve met regularly with an ethicist, we talk about all sorts of issues around, you know, is designing AI-generated people, you know, good for humanity? And what about authenticity and transparency and deception, and how are we in building in this space going to avoid some of the problems that we’ve seen with things like social media and other forms of technology? So we keep that very top of mind and we try to build on our own internal values-based system and, you know, continue to elevate and include the humanity as part of the conversation. Ken Suzan: Thank you, Janine. Janine, some argue that AI content pipelines will level the field for filmmaking, giving independent creators access to tools that were once available only to major studios. Is that the future you envision? Jeanine Wright: I do think that with AI you will see an incredible democratization of access to technology and access to these capabilities. So I do think, you know, rise of independent filmmakers, you won’t have as many people who are sitting on a brilliant idea for the next fantastic script or movie that just cannot get it made because they will be able to with these tools, get something made and out there, at least to get the attention of somebody who could then decide that they want to invest in it at a studio kind of level in the future. The other thing that I think is really interesting is that I think, you know, AI will empower more niche content and more creators who can thrive in micro-communities. So it used to be because of this hit generation business model, everything needed to be made for the masses and a lot of content for niche audiences and micro-communities was neglected because there was just no way to make that content commercially viable. But now, if you can leverage AI—we make a pollen report podcast in 300 markets, you know, nobody would have ever made that before, but it is very valuable information, a very valuable piece of content for people who really care about the pollen in their local community. So there’s all sorts of ways that being able to leverage AI is making it more accessible both to the creator and to the audience that is looking for content that truly resonates with them. Ken Suzan: Mark, let’s talk about the legal landscape right now. If someone creates an AI-generated performance that closely resembles a living actor without their consent, what legal recourse does that actor have? Mark Stignani: Well, I mean, I think we can go back to the OpenAI Scarlett Johansson thing where, you know, if it’s simply—well, the “walks like a duck, quacks like a duck” type of aspect there. You know, I think it’s pretty straightforward that they need to walk it back. I mean, the US doesn’t have moral rights, really, but there’s a public visage right, if you will. And so, one of the things that I find predominantly useful here is that these actors likely have rights of publicity there, we probably have a Lanham Act false endorsement claim, and you know, again, if the performance is not parody, and it’s so close to the original performance, we probably have a copyright discussion. But again, all of these laws predate the use of AI, so we’re going to probably see new sets of law. I mean, we’re probably going to see “resurrection” frameworks, we’ll probably have frameworks for synthetic actors and likenesses, but the rules just aren’t there yet. So, unfortunately, your question is largely predictive versus well-settled at this point. Ken Suzan: Janine, your company works with AI actors. How do you navigate the questions of consent and likeness compensation when creating digital performers? Jeanine Wright: I mean, if we—so first of all, if we were to work with a person who is an existing real-life person or was an existing real-life person, then we would work with them to license their name and likeness or their voice or whatever aspects of it we were going to use in creating content in partnership with them. Not typically our business model; we are, as I said, designing all of our personalities from scratch and making all of our content originally. So, we’ve not had to do that historically. Now, you know, the flip side is: can I license my characters as if they’re similar to living characters? Like will I be able to license the name and likeness and voice of my AI-generated personalities? I think the answer is yes and we’re already starting to do that. Ken Suzan: Let’s just switch gears into ethics and AI because I find this to be a really fascinating issue. I want to look at a hypothetical. And this is to both of you, Janine and Mark: an AI system creates a new performance by a beloved actor who passed away decades ago, and the actor’s estate authorizes it, but the actor was known to have expressed opposition to such technology during their lifetime. Is this ethical? Jeanine Wright: This feels like a Gifts, Wills, and Trusts exam question. Ken Suzan: It sounds like it, that’s right. Jeanine Wright: Throwing me back to my law school days. Exactly. What are your thoughts? It’d be interesting to see like who has the rights there. I mean, I think if you have the legal rights, the question is around, you know, is it ethical to go against what you knew was somebody’s wishes at the time? I guess the honest answer is I don’t know. It would depend a lot on the circumstances of the case. I mean, if we were faced with a situation like that where there was a discrepancy, we would probably move away from doing that content out of respect for the deceased and out of a feeling that, you know, if this person felt strongly against it, then it would be less likely that you could make that storytelling exceptional in some way—it would color it in a way that you wouldn’t want in the outcome. And I feel like there’s—I mean, certainly going forward and it’s already happening—there are plenty of people I think who have name, likeness, and voice rights that they are ready to license that wouldn’t have this overhang. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I mean, again, I have to kind of go back to our property law—the Rule Against Perpetuities. You know, from a property standpoint to AI rights and likenesses—since most of the digital replica contracts that I’ve reviewed generally do talk about things in perpetuity. But if it’s not written down for that actor and the estate is doing this—is it ethical? You know, that is the debate. Jeanine Wright: Well, gold star to you, Mark, for bringing up the Rule Against Perpetuities. There’s another one that I haven’t heard for many years. This is really taking me back to my law school days. Ken Suzan: It’s a throwback. Jeanine Wright: The other thing that’s really interesting is that this technology is really so revolutionary and new that it’s hard to even contemplate now what it is going to be in a decade, much less for people who have passed away to have contemplated what the potential for it could be today. So you could have somebody who is, perhaps, a deceased musician who expressed concerns about digital representations of themselves or digital music while they were alive. But now, the possibility is that you could recreate—certainly I could use my technology to recreate—that musician from scratch in a very detailed way, trained on tons of different available data. Not just like a digital twin or a moving image of them, but to really rebuild their personality from scratch, so that they and their music could be reintroduced to totally new generations in a very respectful and authentic way to them. It’s hard to know, with the understanding that that is possible, whether or not somebody who is deceased today would or would not agree to something like that. I mean, many of them might want, under those circumstances, for their music to live on. These deceased actors and musicians could live forever with the power of AI technology. Mark Stignani: Yeah, I really just kind of go to the whole—is deep-faking a famous actor the best way to preserve them or keep them live? Again, that’s a bit more of an ethical question because the deep fakes are getting good enough right now to create huge problems. Even zoom meetings in Hong Kong where a CFO was on a call with five synthetic actors who all looked like his coworkers and they sent a big check out based upon that. So again, the technology is getting good enough to fool people. Jeanine Wright: I think that’s right, Mark, but I guess I would just highlight the same way that it always has been: the ethical line isn’t AI versus human, the ethical line is about deception. Like, are you deceiving people? And if people know what it is that they’re getting and they’re choosing to engage with it, then I think it isn’t about the power of the technology. In our business, we have elected—not everybody has—but we have elected to be AI transparent. So we tell people when they listen to our show, we include it in our show notes, we include it on our socials. Even when we’re designing our characters to be very photo-realistic, we make an extra point to make sure that people know that this is AI-generated content or an AI personality. Like, our intention is not to deceive and to be candid. From a business model perspective, we don’t need to. I mean, there’s already people who know and understand that it is AI, and AI is different than people. Because it is AI, there’s all sorts of things that you can do with it that you would not be able to do with a real person. You know, we get people who ask us on the podcast side, we get all sorts of crazy funny requests. You know, people who say, “Can I text with this personality? Can I talk to them on the phone? Can they help me cook in the kitchen? Can they sing me Happy Birthday? Can they show up at my Zoom meeting today because I think my boss would love it?” You know, all sorts of different ways that people are wanting to engage with these characters. And now we’re in the process of rolling out real-time personalities so people will be able to engage with our personalities live. It is a totally different way that people are able to engage with content, and people can, as they choose, decide what kind of content they want to engage with. Ken Suzan: Jeanine and Mark, we’re coming to the end of this podcast. I would love to keep talking for hours but we have to stay to our timetable here. Last question: five years from now, what percentage of entertainment content do you predict will involve significant AI generation, and will audiences care about that percentage? Jeanine? Jeanine Wright: I mean, I would say 99.9%. I mean, already you’re seeing—I think YouTube did a survey—that it was like 90% of its top creators said that they’re using AI as material components of their content creation process. So, I think this will be the default way that content is created. And content that is not made with AI, you know, there’ll be special film festivals for non-AI generated content, and that will be a special separate thing than the thing that everybody is doing now. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I go a little lower. I mean, I think Jeanine is right that we’re seeing, especially in the low-quality content creation and like the YouTube shorts and things like that, you know, there’s so much AI being pushed forward that the FTC even acquired an “AI slop” title to it. I do think that disclosure will become normalized, that the industries will be pushed to say when something is AI and what is not. And I think it’s very much like, you know, do you care about quality or not? If you value the human input or the human factor in this, there will be an upper tier where it’s “AI-free” or low AI assistant. I think that it’s going to stratify because the stuff coming through the social media platforms right now—I can’t be on it right now just because there’s so much nonsense. Even my children, who are without much AI training at all, find it just too unbelievable for them. So, I think it will become normalized, but I think that we’re going to see a bunch of tiers. Ken Suzan: Well, Jeanine and Mark, this has been a fantastic discussion of an ever-evolving field in IP law. Thank you to both of you for spending time with us today on the IP Friday’s podcast. Jeanine Wright: Thank you so much for having me. Mark Stignani: Appreciate your time. Thank you again.

Sarah and River join us from Australia to discuss the similarities and difference between Bigfoot and Yowie.

Hardline exchanges over the 34 Australian women and children stuck in Syria have continued this week, with the opposition saying the group should be blocked from returning due to their ties with Islamic State. Political editor Tom McIlroy speaks to shadow minister for home affairs and immigration Jonno Duniam, who argues that the government has had a ‘hands-off' approach so far. In the lead-up to next week's return to parliament with a new shadow frontbench, the Tasmanian senator also discusses the Coalition's plan to propose laws that would make it an offence to help people linked to terrorist hotspots and organisations

Holly White is an Australian actress who Mike met in Panama whilst filming Perfect Wedding Days, in which she plays the lead. He enjoyed her company so much that he thought she'd make the perfect guest! Holly has appeared in Home and Away and the films Bilched, Scenes from a Film and Black Box. She has family connections with Australia, England, Finland and Malta and has also lived in India. Quite an unusual mix, which all go to make up this delightful, charming, gentle person.Holly White is our guest in episode 565 of My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .Follow Holly White on Instagram: @hollyleenawhite .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people .To support this podcast, get all episodes ad-free and a bonus episode every Wednesday of "My Time Capsule The Debrief', please sign up here - https://mytimecapsule.supercast.com. All money goes straight into the making of the podcast. Hosted on Acast. See acast.com/privacy for more information.

Britain's banks have a hold over Rachel Reeves, declares Michael Simmons in the Spectator's cover piece this week. Almost two decades on from the 2008 financial crash, the UK has failed to reform the system and – as ordinary people face a cost-of-living crisis – Labour is in hock to big business. Is the Chancellor too close to the City?For this week's Edition, host Lara Prendergast is joined by economics editor Michael Simmons, columnist Lionel Shriver, and columnist from the Daily Mail Robert Hardman.As well as Labour's relationship with the banking industry, they discuss: the hit BBC show Industry; how the Royals have frozen out (former Prince) Andrew – and whether removing him from the line of succession is ‘performative' or not; Lionel's new book on immigration A Better Life; why young Brits increasingly want to be more Australian; and finally, what's so good about a moustache?Produced by Patrick Gibbons. Catch up with Industry S4 now on BBC iPlayer. Watch the season finale on Monday 2nd March on BBC One.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts. Contact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.

AS USUAL SHOWNOTES ARE AI SLOP BY CLAUDE SONNET 4.6 THANK YOU FOR YOUR ATTENTION TO THIS MATTER-----------------------------------------------------------A wide‑ranging hour covering domestic politics (One Nation's surge and the Coalition's paralysis), major policy debates (NDIS reform, political donations), crime and national security items, transport projects, and international flashpoints from the US tariffs decision to Iran and Russia. Jack the Insider and Hong Kong Jack mix sharp political analysis with on‑the‑ground colour and sport/entertainment roundups.00:00:26 — Intro & banterQuick greeting, light chat about Chinese New Year and local life in Hong Kong. Sets tone and introduces the episode.00:01:36 — One Nation surge & polling deep-diveDiscussion of recent polls showing One Nation jumping into mid‑teens/20s in places; skepticism about methodology (Roy Morgan/telephone vs face‑to‑face) and how soft protest votes can be. Hong Kong Jack calls this a historically large minor‑party rise.00:06:49 — Why major conservatives look frozen (cost of One Nation policy)Analysis of Coalition paralysis on immigration policy; PBO estimate on net‑zero migration cost discussed; critique that Liberals/Nationals aren't confronting One Nation's policy platform.00:10:47 — Keith Wallerhan essay: who are modern decisive voters?Summary of Wallerhan's argument that the old “Phil & Jenny” voter has shifted; a new aspirational, tertiary‑educated, renting suburban voter is key and the Liberal Party hasn't adapted.00:13:29 — Nationals, nuclear sites and political messaging failuresHow rushed / poorly communicated policy (nuclear sites list) triggered NIMBY backlash; claim the Coalition isn't doing the detailed work needed to respond to voter shifts.00:18:28 — High Court challenge to Victoria's political donations regimeTwo independents argue the law entrenches major parties by cutting off new fundraising structures; discussion of the likely timing and importance for the November state election.00:20:30 — Crime: abduction/murder linked to organised crime networksAppalling case of an elderly man abducted from North Ryde, body discovered near Penrith; two men charged, defence suggests broader Sydney crime network involvement.00:24:56 — Gang violence & the Matt Utai shooting; crime networks in SydneyBrief on organised‑crime turf disputes (the “Coconut Cartel” reference) and ongoing police investigations.00:24:56 — Transport — Sydney–Newcastle high‑speed rail proposalFederal funding for planning (~AUD 660m so far) discussed; doubts raised about cost, route feasibility and whether fast rail really suits Australia's geography and travel patterns.00:31:09 — NDIS & autism diagnosis debateMike Freelander (paediatrician & MP) argues autism diagnostic threshold is too low; Grattan Institute numbers referenced; concern NDIS budget/scope is unsustainable without reform.00:36:29 — Australians in Syrian camps / “ISIS brides” debateStrong views on repatriation and national security; discussion of Australian citizenship rights for children born in Australia and the political difficulty of extracting or repatriating individuals from camps.00:42:10 — UK entry rules for dual citizens (brief)Note about changes/fees affecting dual UK citizens arriving without a UK passport; implications for Hong Kongers and others.00:44:20 — United States tariffs & Supreme Court rulingSCOTUS decision limiting presidential tariff powers discussed; Gorsuch and Kavanaugh opinions mentioned; likely litigation and refund battles to follow.00:56:16 — AI, data centres and environmental concernsColorado moratorium mention; large energy/water footprints of data centres; practical notes on lawyers/journalists misusing AI (fabricated cases) and AI as a drafting tool that must be checked.01:04:37 — Middle East: Iran tensions & regional risksDiscussion of US/Israeli options, likely limits to air/missile strikes, regional escalation risk and implications for proxy groups (Hezbollah).01:05:30 — Russia & Ukraine: economic pressure on MoscowSurvey of views that Russia's economy is under severe strain and that continued war may be economically self‑sustaining for the regime.01:06:13 — UK politics: by‑election in Gorton & Denton (context)Background on the resignation/scandal that triggered the by‑election; polling context (Reform/Greens versus Labor).01:08:15 — High‑profile UK arrests (Mandelson, Andrew) and “misconduct in public office”Overview of arrests/interviews, differences in UK arrest process vs Australia, discussion of historical use and limits of the offence and prosecution challenges.01:19:04 — Sport: AFL documentary, Toby Greene, Carlton developmentsNotes on Amazon Prime's Inside the AFL; Toby Greene anecdote; Carlton's new training facility, ESG plan and player signings (Sam Walsh, Jager Smith, Wade Dirksen story).01:27:41 — NRL in Las Vegas; T20 World Cup & Australian cricket updateNRL double‑header success in Vegas; ticket/cost notes. T20 World Cup preview—India/England/West Indies form and women's team performance spotlight.01:32:18 — Global oddities and small items (N Korea, etc.)Quick remarks on North Korea's predictable “reelection” and the historic gap since last nuclear test.01:33:36 — Outro & listener call‑outsClosing thanks, invitation for listener questions and sign‑off.

In this episode, Matty sits down with Shane and Doug Dupille to talk about there many experiences bowhunting in Australia. We kick off the interview hearing some incredible stories from Doug (father), where he explains what bowhunting was like when he was younger. What the game numbers were like back in the 60's & 70's. And how they used to import arrow shafts by the thousands and make their own broadheads from steel shelving. The second half of the interview is centred around Shane Dupille. Shanes had a great life, with lots of passion and dedication to bowhunting. Shane tells many funny tales and also gives some incredible tips and insights into hunting and being successful with a traditional bow.  If you enjoy honest hunting stories, practical lessons, and conversations that reflect the culture and reality of Australian bowhunting, this episode will resonate.

Weather update for major cities across Australia in Nepali. This update features tomorrow's forecast for the following cities: Broome, Perth, Adelaide, Melbourne, Hobart, Albury-Wodonga, Sydney, Newcastle, Brisbane, Townsville, Cairns, Darwin and Alice Springs. - अस्ट्रेलियाका १५ मुख्य शहरहरूमा भोलि मौसम कस्तो होला? यस अपडेटमा निम्न स्थानको मौसमी पूर्वानुमान समावेश छ: ब्रूम, पर्थ, एडिलेड, मेलबर्न, होबार्ट, अल्ब्री-वडङ्गा, क्यानबरा, वलङगङ, सिड्नी, न्युकासल, ब्रिसबेन, टाउन्सभील, केर्न्स, डार्विन र एलिस स्प्रिङ्ग्स।

Hayden Richards, an Australian emergency physician and founder of the Youtube channel CommsLab, joins us to compare notes on confronting what's going on underneath our fight/flight/freeze responses as clinicians in high stakes conversations: https://podcasts.apple.com/us/podcast/the-center-for-medical-simulation/id1279266822 This collaboration began with Hayden's excellent explainer on Advocacy Inquiry: https://www.youtube.com/watch?v=BGvEAxVox5U Much like our work with looking at the hidden emotions underneath our judgment, Hayden's work on mindfulness helps people to feel less buffeted by the stimuli of the emergency department as well as of everyday life. Workout of the Week: Use a “good judgment statement” that begins with the words “I'm worried….” Hayden points out that this type of statement of concern lets the listener know that you don't know all the answers, but this is what you're thinking about as you find your way together. Leadership Coaching from Jenny Rudolph: https://harvardmedsim.org/personal-leadership-coaching-with-jenny-rudolph/ #healthcaresimulation #nursing #medicine #debriefing

(WATCH THIS EPISODE ON YOUTUBE) A zookeeper love triangle leads to a Christmas party brawl....An Australian man straps raw pork chops to his feet ...A defendant claims caffeine made him do it...Oh, and a Texas mayor resigns over a dog. Just another day in the Rebuttal Podcast universe. Enjoy! *** MERCH STORE IS LIVE! Shop Reb Masel and Rebuttal Pod merch: ⁠⁠⁠⁠⁠⁠⁠⁠https://rebmasel.shop/⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CLICK HERE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to PREORDER Reb's book: The Book They Throw At You—A Sarcastic Lawyer's Guide* To The Unholy Chaos of Our Legal System, *God No, Not Actual Legal Advice *** Follow @RebuttalPod on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Follow @Rebmasel on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! ** 00:00 - Intro 00:58 - The Zookeeper Love Triangle 07:05 - The Pork Chop Shoe Guy 15:53 - The Caffeine Insanity Defense? 23:31 - The Dognapping Mayor 31:13 - Reb's Rebuttal Learn more about your ad choices. Visit megaphone.fm/adchoices

Diamando Koutsellis is an Australian artist with a 30-year career in public art, exhibition practice, and community collaboration. Working nationally and internationally with diverse and marginalised communities, she creates inclusive, site-responsive artworks. Diamando now leads The Australian Ceramics Association, producing The Journal of Australian Ceramics. The organisation supports over 1,500 members by connecting, elevating, and promoting Australian ceramics, while Diamando continues her own active arts practice. https://ThePottersCast.com/1206

Phone addiction in teens is real — and Australian psychologist Dr. Brad Marshall has evidence-based strategies that actually work from treating 2,500+ families. Dr. Brad Marshall, known as the Unplugged Psychologist and Director of Australia's Screen & Gaming Disorder Clinic, joins Vicki Davis to share what two decades of clinical work and university research reveal about helping kids break free from phone addiction — without shame or judgment. In this episode, you'll learn: Why parental control software fails — and the "handbrake rule" that actually works What happened when Australia banned phones in every school Why sleep is the number one thing to protect from screen overuse Why expecting teens to self-regulate phone use is "neurologically ridiculous" How to have a non-judgmental conversation with teens about their phone habits Show notes and resources: https://www.coolcatteacher.com/e928 Love the show? Rate and review on Apple Podcasts — it's the #1 way to help other teachers find us.

Who gave the tip-off that resulted in Peter Mandelson's sensational arrest? And will this mess ever stop unraveling? Plus, an Australian-style social media ban for under-16s is gathering pace. Can it work and is it such a good idea to protect teens from the online world only to throw them in the deep end once they turn 18? Also: Meeting Alastair Campbell at the Lido. Marie's extraordinary experience of interviewing Gisèle Pelicot. And in the Extra Bit, the joy (or not) of making kids do terrible Saturday jobs. You won't believe what Seth had to do.  ESCAPE ROUTES • Marie recommends I'm No Angel with Mae West.  • Zöe recommends Eternal Sunshine of The Spotless Mind [[ ]]  • Matt has been reading Life Is Rosi by Jess Robinson • Seth has been enjoying the John Major edition of Gyles Brandreth's podcast Rosebud Major  Keep independent podcasting alive and kicking by backing OGWN at www.patreon.com/ohgodwhatnow Presented by Seth Thévoz with Zöe Grünewald, Marie le Conte and Matt Green. Audio Production by Robin Leeburn. Art direction: James Parrett. Theme tune by Cornershop. Managing Editor: Jacob Jarvis. Group Editor: Andrew Harrison. OH GOD, WHAT NOW? is a Podmasters production. www.podmasters.co.uk  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Episode 339 hosts Jessica Ferris (Registered Nurse & CEO of Australian Aesthetic Symposium) In this episode we explore the logistics and motivations behind launching a new aesthetic conference. Australia Aesthetic Symposium (AAS) was held for the first time last years in Perth, Western Australia and is hosted and founded by Jessica. Jessica shares her background in event management, teaching, nursing and most recently into cosmetic injecting. She explains her reasoning to create a new and independent educational event, designed specifically for aesthetic professionals in her home state. We learn about the logistics and costs to launch a conference, working with sponsors and the finances needed, the challenges of being an unknown organizer, and the problems encountered behind the scenes.  This podcast is sponsored by the Australian Aesthetic Symposium. To save 20% off tickets to this years AAS, click here to buy tickets and use the promo code IA20  00:00 Introduction 01:08 Special Guest: Jessica Ferris from AAS 03:14 Why Perth Needed AAS 05:25 Jessica's Background and Youth Lab 07:36 Learning to Inject in WA 08:42 AAS Idea and Early Hustle 10:07 Partnering with Dr Mike 12:13 Keeping the Conference Fresh 13:38 Building the Event Blueprint 15:09 Budgeting and Hidden Costs 16:58 Selling Tickets and Sponsor ROI 20:31 WA Community and Remote Delegates 23:11 Designing the Program 23:29 Curating Conference Topics 25:30 Safety Business and Diversity 26:32 Why Live Demos Fall Flat 29:26 Cadaver Course Deep Dive 32:28 Making Attendance Worth It 36:28 Behind the Scenes Challenges 39:35 Delegation and Event Day Flow 42:35 Who Should Attend 44:45 Speakers Tickets and Farewell 46:27 Closing Credits  ALL IA LINKS & CONTACT INFORMATION JOIN THE WAITING LIST FOR IA COMMUNITY (OUR NEW APP)  

From a run-in with the future Nazi villain, to working with the master of movie suspense, Aussie musical genius Arthur Benjamin lived a big life, even if he's these days overshadowed in our cultural history by the scandalous Percy Grainger and Eugene Goosens.It's easy to get a free trial that will give you access to ad-free, early and bonus episodes. Hit either of these links:Patreon: patreon.com/forgottenaustraliaApple: apple.co/forgottenaustraliaWant more original Australian history? Check out my books!They'll Never Hold Me:https://www.booktopia.com.au/they-ll-never-hold-me-michael-adams/book/9781923046474.htmlThe Murder Squad:https://www.booktopia.com.au/the-murder-squad-michael-adams/book/9781923046504.htmlHanging Ned Kelly:https://www.booktopia.com.au/hanging-ned-kelly-michael-adams/book/9781922992185.htmlAustralia's Sweetheart:https://www.booktopia.com.au/australia-s-sweetheart-michael-adams/book/9780733640292.htmlEmail: forgottenaustraliapodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Heart attacks occur every 40 seconds in America, affecting a total of 805,000 people annually. It is characterized by blocked coronary arteries that starve cardiac muscle of blood flow Australian researchers found human hearts can regenerate muscle cells after heart attacks, with preserved cardiac tissue showing 7% to 8% mitosis rates (a measure of cell regeneration activity), though 25% to 50% is needed for full repair Hypoxia, which is the oxygen-deprived state during heart attacks, may also trigger regeneration, similar to how fetal hearts produce new cells in the low-oxygen womb environment Advanced heart failure reduces heart muscle cell renewal dramatically, but patients with mechanical heart pumps showed regeneration rates of 3.1% annually — six times higher than healthy hearts Prevention remains crucial. Strategies such as minimizing linoleic acid consumption, monitoring body fat percentage, engaging in moderate resistance training, and learning to recognize heart attack warning signs increase outcomes

The US has significantly ratcheted up its military presence in the Middle East in recent weeks. The US and Iran are set to meet for nuclear talks tomorrow, but as the escalations continue, we look at what Tehran could do to retaliate. Also, Australia is debating whether or not to allow 34 Australian women and children suspected of links to ISIS fighters to return home. And, artificial intelligence company Anthropic says the US government wants all of its restrictions on AI-controlled weapons and surveillance use lifted, giving the company until Friday to give full access to its AI model or risk losing its defense contract. Plus, a look at Uruguay's energy transition success story. Learn about your ad choices: dovetail.prx.org/ad-choices

On 8 December 1941, Japanese troops landed in northern Malaya marking the start of the second world war in the Pacific.Invasion forces moved quickly down the British colony – which is now called Malaysia - capturing Singapore in just 55 days. Their occupation ended on 15 August 1945, when Japan surrendered to the allies after the US had dropped two atomic bombs.Dorothy Variyan, who lived under Japanese rule for more than three years in south west Malaya, speaks to Jacqueline Paine.This programme contains archive which uses outdated and offensive language.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by and curious about the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from how the Excel spreadsheet was developed, the creation of cartoon rabbit Miffy and how the sound barrier was broken.We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: the moment Reagan and Gorbachev met in Geneva, Haitian singer Emerante de Pradines' life and Omar Sharif's legendary movie entrance in Lawrence of Arabia.You can learn all about fascinating and surprising stories, like the invention of a stent which has saved lives around the world; the birth of the G7; and the meeting of Maldives' ministers underwater. We cover everything from World War Two and Cold War stories to Black History Month and our journeys into space.(Photo: Members of an Australian anti-tank gun crew fire weapons at a Type-95 Japanese tank on a road temporarily blocked by a felled tree, outside Singapore, British Malaya, April 1942. Credit: Office of War Information/PhotoQuest/Getty Images)

How a fence meant to protect sheep transformed the entire Australian landscape. Subscribe to SiriusXM Podcasts+ to listen to new episodes of 99% Invisible ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Episode title: "Use Caution When Opening Overhead Bins” Lisa and Daniel visit an Igbo King. Emma's secret leaves her future with Ziad in jeopardy. Aviva presses Stig for the truth. Forrest plans a special day for Sheena. Elise prepares to meet her Australian boyfriend, Joshua. -- You can gift the gift of gay all year round!  ⁠https://www.patreon.com/RealityGays/gift⁠ JOIN RealityGays+  + Patreon ⁠⁠ ⁠⁠⁠⁠https://www.patreon.com/RealityGays⁠⁠ or  + Supercast ⁠⁠ ⁠⁠⁠⁠https://realitygaysmulti.supercast.com/⁠⁠  + Apple Subscriptions https://podcasts.apple.com/us/podcast/reality-gays-with-mattie-and-poodle/id1477555097  +Watch us on video ⁠⁠www.youtube.com/@RealityGays⁠⁠ Click here for all things RG!  ⁠⁠⁠https://linktr.ee/RealityGays⁠ COME at Mattie on Cameo!  https://v.cameo.com/e/jnrS9iCLi0b To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices