Podcasts about Peppa Pig

Buenos días, Javi y Mar' informa sobre las consecuencias de la DANA en Valencia hace un año, con el funeral de estado de las víctimas y las incógnitas aún presentes. También cubren el huracán Lee, que ya ha tocado tierra en Jamaica y se espera en Cuba, dejando a más de 750.000 evacuados. Se escucha música de Sebastián Yatra ('Vagabundo'), Kylie Minogue ('It's in your eyes'), Teddy Swims ('The Distance') y Alicia Keys ('Girl on Fire'). Se debate sobre el ejemplo que dan los padres a sus hijos, las conversaciones que surgen en casa y las anécdotas de los oyentes. Una encuesta revela que se necesitarían 284.000 dólares anuales para ser feliz, cifra que los Millennials duplican a 500.000 dólares. El programa también aborda la música de Nicky Jam ('Tú me dejas de querer') y Madonna ('Night and Day'), junto a peticiones y opiniones de los niños sobre dibujos animados como Peppa Pig o Mickey Mouse. NIL MOLINER suena con 'Tu cuerpo en braille' y Nacha Pop con 'El hombre ...

All Hail Unicron: Episode 103:  Mini Gundams Everywhere INTRODUCTION Anybody Get Anything? Movie/Show News Third Party Dr Wu is doing Micromasters https://news.tfw2005.com/2025/10/10/dr-wu-dw-es10-artillery-dw-es11-airburst-g1-micromasters-flak-sunrunner-color-renders-548229 Cang Toys CHUG scale Dinobots, a closer look (two links) https://news.tfw2005.com/2025/10/11/cang-toys-ta-hylo-brontosolid-generations-scale-sludge-color-prototype-548454 https://news.tfw2005.com/2025/10/17/cang-toys-ta-hylo-pterhowl-generations-scale-swoop-color-prototype-548988 FansHobby continues their G1 European figures with TFCon Chicago 2025's Helmsman (G1 Skyquake) https://news.tfw2005.com/2025/10/13/tfcon-chicago-2025-exclusive-fans-hobby-mb-08b-helmsman-548690 https://www.tfcon.com/exclusives The Newage repaints that won't feel new at all https://news.tfw2005.com/2025/10/13/newage-toys-h72-typhon-new-dinobot-volcanicus-combiner-new-variants-548694 New MP Seacons brought to you by Sears and Craftsman tools https://www.facebook.com/share/p/19z3LcPTCz/ Official: NYCC 2025 - Hasbro's gone feudal! https://news.tfw2005.com/2025/10/10/nycc-25-panel-reveals-official-pics-548426 More pics from their display case https://news.tfw2005.com/2025/10/10/nycc-25-transformers-post-panel-update-timelines-548325 Skybound Prime reveal https://news.tfw2005.com/2025/10/11/nycc-25-skybound-prime-booth-update-548522 Blokees has news from the other big show that happened since last episode, China Toy Expo 2025 https://news.tfw2005.com/2025/10/15/china-toy-expo-2025-blokess-transformers-model-kits-548747 Two reveals from Takara's new TF line, Overgear (two links) https://news.tfw2005.com/2025/10/16/takara-overgear-ironhide-blackout-revealed-548840 More pics from the Japan Model Hobby Show https://news.tfw2005.com/2025/10/17/japan-model-hobby-show-display-pic-roundup-548885     Peppa Pig, Crash Bandicoot, and Bumblebee walk into an airport bar... https://news.tfw2005.com/2025/10/16/united-airlines-new-commercial-featuring-rise-of-the-beasts-bumblebee-548826 Questions? Discussion: Email your questions to: Hailunicroncast@gmail.com    Special Shoutouts: Dustmightz for providing the beats for the theme song! Check the Realm of Collectors on Facebook! https://www.facebook.com/groups/realmofcollectors   Everyone who followed us from Shattered Cast Uncut, we are grateful to each and everyone of you for joining us on this journey!   Hosts: T2RX6 http://www.youtube.com/user/T2rx6 Rich “Preordered” H. Oscar Alonso https://www.youtube.com/user/oscarnjboy Robert Duyjuy-sabado-gigante

Los niños y Jimeno hablan de dibujos animados: "No soporto a Peppa Pig... una cerda que habla..."

Fiona Eastwood, CEO of Merlin Entertainments tells Sean Farrington what it is like running one of the world's leading entertainment companies. Merlin runs over a hundred theme parks and attractions around the world from Thorpe Park and Chessington World of Adventures, to Sea Life and Madame Tussauds. She explains how the main competition to her business is the amount of screen-time kids have, and how that influences the partnerships that they make with the likes of Lego, Peppa Pig, Bluey and now, most recently, Minecraft. But the industry has been struggling - from covid lockdowns to the cost of living crisis, in fact Merlin's credit rating was recently even downgraded; Fiona addresses this and calls for a reduction in VAT on the Tourism and Leisure industry and says that there is too much red tape when it comes to planning reforms. And despite being the Big Boss, find out which ride Fiona can't stomach.00:00 Fliss and Sean Intro 02:15 Interview starts 03:54 Our competition is the home and screen time 04:50 Trends of customer spending 09:35 The growth and importance of Halloween 12:45 Credit rating downgrade of Merlin Entertainments 15:55 Impact of a late Autumn Budget 17:00 We need a VAT cut in Leisure and Tourism sector 20:35 How Merlin develop partnerships with Peppa Pig and now Minecraft 27:00 The role of Madame Tussauds for the business 30:20 Merlin operating in China for 25 years 31:45 How does Chief Operating Officer differ from Chief Exec Presenter: Sean Farrington Producer: Olie D'Albertanson Editor: Henry Jones(Picture credit: Getty)

Welcome!

"I should have kids with names and a strong opinion on Peppa Pig, but somehow, at 34, I have found myself back in London..."   This week is about my move back to London as a 34-year-old. After leaving with a bad taste in my mouth at 26 (which inspired me to write a terrible poetry book), I never thought I'd come back to live in The Big Smoke, but here I am... maybe it's where I was supposed to be all along.      Visit | TheQuack.Blog Preorder | Amy Elman Doesn't Feel Sexy Follow | MaryNewnhamWrites Sound | Soundstripe.com  

In this episode of The Speed of Culture, Matt Britton sits down with Jessica Murphy, Vice President of Global Marketing Strategy & Operations at Hasbro, to explore how play fuels connection in an increasingly digital world. Jessica unpacks the loneliness epidemic, the role of tactile and imaginative play in child development, and how Hasbro is modernizing iconic IP like My Little Pony and Peppa Pig while experimenting with AI-driven possibilities. She also shares how the toy giant is adapting its marketing playbook for YouTube, gaming, and creators, while reminding leaders why adaptability is the most critical skill in a changing marketplace.Follow Suzy on Twitter: @AskSuzyBizFollow Jessica Murphy on LinkedInSubscribe to The Speed of Culture on your favorite podcast platform.And if you have a question or suggestions for the show, send us an email at suzy@suzy.com Hosted on Acast. See acast.com/privacy for more information.

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

A woman found her own engagement ring diamond at the Diamond Field! BJ thinks her boyfriend needs to run! What do you think? Do you get hounded by your kid's college or the school you graduated from to donate money?? We had no idea Peppa Pig was so mean! You need to hear this compilation. There's a new scam that deals with QR codes in the Cherry Creek and South Broadway areas. And do you ask strangers to hold their baby? One of Jamie's friends loves to do just that!

CADENA 100 te acompaña con la mejor variedad musical. Mateo & Andrea nos ponen 45 minutos de música sin interrupción. El hijo de Carol de Lleida cree que su profesora se llama 'Campeona', pero en realidad es Rebeca. El hijo de Mari-Ángeles de Madrid llama a su profesora 'Señora Rabbit', en referencia a Rebeca de Peppa Pig. Matthew McConaughey cree que el secreto de sus 20 años de matrimonio es el tamaño de su cama, una King size de 2x2 metros, que les hizo sentir distanciados, por lo que cambiaron a una más pequeña para dormir más juntos. Hay sorteos de vacaciones en una playa exótica con 'Chiruca'. Una oferta de ocasión Plus para comprar tu coche, furgo o moto. Un anuncio de seguros de Línea Directa. Promoción de electrodomésticos Siemens con 15% de descuento en El Corte Inglés. Carglass repara el parabrisas de tu coche. El Corte Inglés ofrece financiación total en compras superiores a 200 euros. Hay un anuncio de Chocolates Valor y de la leche de Central Lechera Asturiana. También ...

In this episode of Skip the Queue, Andy Povey sits down with Jérôme Giacomoni, co-founder and Chairman of AEROPHILE, the world leader in tethered gas balloons and immersive aerial experiences. Jérôme shares the story of how AEROPHILE began with a simple idea, to “make everybody fly” and grew into a global company operating in multiple countries, including France and the U.S.Tune in to hear about the company's signature attractions, including tethered balloon flights, the innovative Aerobar concept, and high-profile projects such as how you can experience flying the Olympic cauldron in Paris. Jérôme also shares how AEROPHILE has leveraged its unique platform to explore scientific initiatives like air-quality and climate-change monitoring and how he Integrates unique revenue streams from sponsorship and advertising.Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden, with co host Andy Povey and roving reporter Claire Furnival.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on LinkedIn. Show references:  https://www.aerophile.com/https://www.linkedin.com/in/jerome-giacomoni-3074b7/Jérôme Giacomoni is co-founder of Groupe AEROPHILE and Chairman of AEROPHILE SAS. Since 1993, he has led the company to become the world leader in tethered gas balloons and balloon flights, operating iconic sites in France, the U.S., and Cambodia, and flying over 500,000 passengers annually. He also pioneered “flying food-tainment” with the Aerophare and Aerobar. Jérôme is a member of IAAPA, serves on the board of SNELAC, and is a Team France Export ambassador, earning multiple awards for entrepreneurship and innovation. Plus, live from the Day 2 of the IAAPA Expo Europe show floor, we catch up with:Rheanna Sorby –Marketing & Creative Director,  The Seasonal Grouphttps://theseasonalgroup.co.uk/https://www.linkedin.com/in/rheanna-sorby-seasonal/Sohret Pakis – Polin Waterparkshttps://www.polin.com.tr/https://www.linkedin.com/in/sohretpakis/Thomas Collin – Sales Manager, VEX Solutionshttps://www.vex-solutions.com/https://www.linkedin.com/in/thomas-collin-18a476110/Peter Cliff – CEO // Founder, Conductr.https://conductr.com/https://www.linkedin.com/in/peter-cliff/Laura Baxter – Founder, Your CMOhttps://www.linkedin.com/in/laura-baxter-4a756466/Josh Haywood – Resort Director, Crealy Theme Park & Resorthttps://www.crealy.co.uk/https://www.linkedin.com/in/josh-haywood-68463630/ Transcriptions:  Paul Marden: Welcome to Skip the Queue, the podcast about the world's best attractions and the people that work in them. I'm your host Paul Marden, and with my co-host Andy Povey and roving reporter Claire Furnival, we're here at IAAPA Expo Europe. In today's episode, I go on a trip on Santa's Enchanted Elevator with the Seasonal Group, and Claire meets Peter Cliff from Conductr. But before all that, let's head over to Andy.Andy Povey: Good morning, everybody. I'm joined today by Jerome Giacomoni from AEROPHILE for our French listeners. I hope I've got that right. Jerome is the chief exec of AEROPHILE and has been the co-founder and president of AEROPHILE. And AEROPHILE supply helium-based balloon observation opportunities. I probably got the marketing on that completely wrong, Jerome. So please, can you share with our listeners what AEROPHILE is all about?Jerome Giacomoni: So AEROPHILE is a company I created with Mathieu Gobbi, my partner, 32 years ago, with a very simple idea, make everybody fly, you know, and we use a balloon to fly. So we have a tethered balloon. We have a huge, big balloon inflated with helium, a gas lighter than air. And we go up to more or less 150 meters high. up to 30 passengers. So we are linked to the ground with a cable, and the cable is linked to a winch. So you have to imagine that you have a winch that— when we go up—pulls when we go down. This is the exact opposite of an elevator because the balloon wants to go higher and higher. We have a lifting force of four tons.Andy Povey:Wow.Jerome Giacomoni:Yes, it's a big one. And so we need a cable to keep it. And thanks to this lifting force, we can fight against the wind.Jerome Giacomoni: And so the balloon can swing when you have some wind because the balloon is just pulled by the cable itself.Andy Povey: And trust me, listeners, they look absolutely spectacular. Just before we started recording, I was admitting to Jerome that I'm scared of heights. So I've stood and watched. The dining balloon, Futuroscope, never managed to pluck up the courage to try it myself.Jerome Giacomoni: This is another concept, Andy. So we have built two concepts. One is a tethered balloon, a real one with helium, with a cable, with a winch, and we fly by ourselves. The balloon flies by itself, okay? We did another concept 20 years after we created our company, so 10 years before now, in 2013, which is what we call the aero bar. It's a flying bar, and you have an inflatable balloon. to cover the gondola, but it's a fake. This is a real elevator, and you have a gondola with some winches and a metallic structure, and you go up and down. So what you saw in Futuroscope is not a balloon. It's a real elevator.Jerome Giacomoni: And the one you can see in Disneyland Paris, Disney World, Orlando or San Diego Zoo are a real balloon named a tethered balloon. So I'm glad you fell down into the trick. You caught me. Yes, I'm glad about that. But we have really two different concepts.Andy Povey: But the concept, the thing that the guest is experiencing, isn't really related to whether it's a balloon or a lift.Jerome Giacomoni: No. i think it's very different okay i think the aerobar is fun and you have the feet in the sky you feel the thrill of height and everything but you stop at 35 meters it's it's quite high for a ride but it's not a real flight And I think the balloon is a real flight. We have a balloon in Paris. We have a balloon in Budapest, Berlin. And you see the city from the sky at 150 meters high, which is very high. So you really experience a flight. With the aerobar, you have a ride, okay? So both of them are related to the sky, are related to the view, but one is really a flight, the other one is really a ride.Andy Povey: That makes absolute sense.Andy Povey: It doesn't reassure me on my fear of heights anymore, that I would like to go up three times, four times taller, higher than the one I saw first. Very interesting. So, listeners, we're often talking about technology and attractions. There's a huge amount of talk about augmented reality, about AI, about motion simulators. The reason, Jerome, we asked you to come and talk to us is because you don't do any of that. No—your experience is fantastic and it's new and it's unique, but there's no technology or very little obvious technology.Jerome Giacomoni: Yes, quite little. You know, it's amazing because we do this for now 32 years, as I told you. The first balloon was inflated in 1994. We have sold 120 balloons in more than 40 countries. And each time with the balloon, you have a magical effect, you know, because the balloon itself is very nice— because the balloon itself is a show from people looking at it from the ground. And because... The flight experience is amazing because you are really in the sky. You are really looking at the ground, at the landscape. You have no noise, you know, when you take a helicopter or plane. You have a lot of noise. You are in an enclosed airplane or helicopter. Here you are outside. You are on a balcony flying at 150 meters. And wherever we are, always we have like a magical effect of the flight. And with the flying bar, we decided to do something different— where we say, 'Why drink on ground where you can drink in the sky?'Jerome Giacomoni: So we add the drink to the ride, you know. So you are on a table and you have what we say in French conviviality. So we share a drink. We go at 35 meters and you have the thrill of the view of the height and also the conviviality of drinking. So this is another concept, but both of them are universal. And wherever we do it, we have sold 20 aero bars worldwide.Jerome Giacomoni: Everybody is very happy to have this kind of ride. I would say we are on the side of the main market. You know, we have two niche products. The balloon is a niche product. And the AeroBar is a niche product where we have another experience than a normal ride, like a roller coaster or a flume or a spinning coaster.Andy Povey: You say you're a nice product, but the balloon in Paris for the Olympics, where you lifted the cauldron, had phenomenal numbers of visitors watching. That wasn't something you could go on.Jerome Giacomoni: Yes, it was an amazing opportunity. You know, sometimes life gives you some presents.Jerome Giacomoni: And imagine that we were contacted by the Olympic Organisation Committee one day, and we believed it was a joke. And they said, 'We need to talk to you.' And then we discovered that instead of flying humans, they asked us to fly a cauldron. So the Olympic cauldron. And we have like one year and a half of design and manufacturing.Jerome Giacomoni: And then, at 11 pm, 25, the balloon has to fly in front of everybody. I can tell you it was a very stressful time. But so nice and so amazing to have experiences. So, yes, the balloon suddenly was visible by everybody. And that's back now in Paris, isn't it? Yes. First of all, the balloon has to stay only twice— 15 days. You know, you have the Olympics and the Paralympics. So we were open only 30 days in total. And the success was so huge that every night, you have dozens of thousands of people coming to look at it. That's why the mayor of Paris and the French president decided to keep it.Jerome Giacomoni: And just after the deflation of the balloon, they call us back and say, 'Jerome and Mathieu, we would like to have the balloon back.' So we work again with the city of Paris and the French presidency, and we agreed to put the balloon.Jerome Giacomoni: Three times, three months. So from June 21st, in France, this is a music event, you know, the Day of Music. To September 14th, which is a day of sport. So every year until the Olympic game of LA, we will operate the balloon for three months in the summertime. Fantastic.Andy Povey: So, Jerome, you operate in lots and lots of different countries all over the world. I think it's 14 countries that you've been.Jerome Giacomoni: No, we sold, but we operate only in the US and in France.Andy Povey: Ah, okay. Interesting.Jerome Giacomoni: We own ourselves, we operate ourselves, six balloons in the 120 we have sold. So we operate three in Paris region. One, the Parc André Citroën, where we have the Generali balloon since 1999. One in Disneyland Paris since 2005. So we are in Disneyland Paris for now 20 years. Time is flying. And the last one, the Cold Run, which is a very specific event that we operate now for one year and for the next two years. And in the US, we operate Disney World Orlando in Disney Spring since 2009, and San Diego Zoo Safari Park since 2005, and Irvine. South of LA since 2007. So we operate now six balloons for a long, long time, except the cold run. And we keep selling balloons.Jerome Giacomoni: We sell more or less five to six balloons every year.Andy Povey: And how do you find the differences between the French culture and you're on either side of America, so the differences between the different coasts of America and France?Jerome Giacomoni: Yes, we... We are in the US, but we are also in Mexico, in a lot of countries in Asia. In the Middle East, we have a beautiful balloon in Dubai. We have a beautiful balloon in Seoul. So we work a lot with very different cultures. You know, it's very interesting to sell the same product to different cultures. So I would say... The main difference probably lies in the contract. It's very funny when you make the contract. I would say a 'yes' is not the same 'yes' depending on the culture. But everybody is, you know, you... You love people when you work worldwide. You learn a lot, you discover a lot. You have to learn with different cultures. And I have the chance in my professional life to experience that and to meet people from all over the world. And, you know, my job is to go on site, and discuss with someone, and see if it's possible or not to have a balloon at this place.Jerome Giacomoni: So it's always a beautiful job because I travel in a lot of countries in beautiful spots.Jerome Giacomoni: We don't succeed a lot because, if not, I would have sold thousands of balloons. We have always constraints with local authority, with food traffic, etc. But always, it's a pleasure to meet people. And once... The balloon is accepted by the local authority when the customer has a finance for it. Then start more or less a one-year work together between installation, work on site, inflation, and training of the team. And after... They fly with their own wings, even if we have no wings with our balloons.Andy Povey: Very good. And I imagine that you don't put balloons into ugly places.Jerome Giacomoni: We did, sometimes for specific contracts. Ugly, I won't use this name, but not very obvious, logical site. But it has happened. Sometimes we do for small events or for specific needs.Jerome Giacomoni: But yes, most of the time, the sites are very interesting.Andy Povey: So there are other things you're doing with the balloons. So the air quality messaging that you have above Paris. Tell us more about your opportunities to influence in other areas.Jerome Giacomoni: Yes, you know, the balloon is not only a ride, a passenger ride, but it's also an amazing opportunity for communication and for advertisement. So in the city center, like Paris, Berlin, or Seoul, the balloon is used also as a giant advertising billboard. So you have two revenues. You have the revenue of the passenger, but you have also the sponsor revenue.Jerome Giacomoni: When we started the balloon in Paris, it was extremely difficult to get the authorisation to have a balloon in Paris centre. We are two kilometres south of the Eiffel Tower. But you remember, we had the famous Millennium, the Y2K. uh and and so the mayor faris was looking for a new idea and we propose a balloon And they gave us only a one year and a half contract. And the investment was quite huge. And we told him, OK, we can do it, but we cannot do it for only one year and a half. Except if you accept that we have a name on the balloon, a naming and a sponsor on the balloon. And the mayor say yes. And we start another business where we put sponsor on the balloon. And this is a very good business because it makes a... activity immediately profitable so we did that in Paris in 1999 and in 2008 the balloon was like 10 years old because when you fly you have your the balloon is huge we talk about a 32 meters high balloon we talk about like a 12-story building.Jerome Giacomoni: So everybody knows the balloon in Paris. Everybody can see it. And so, when we fly, we have 400,000 people who immediately see us. So we decided to give citizen aspect. And we start— pour changer le couleur de la balle selon la qualité de l'air. C'était en 2008. Et parce que nous l'avons fait, nous avons des scientifiques... coming to us and say, 'Hey, this balloon is a wonderful platform to measure air quality because you make like a carrot of the air from zero to 150 meters. Jerome Giacomoni:  Can we bring some scientist instrument on the gondola? And we say yes. And then we start to make science. And then we start to make scientific publications, scientific publications. And then we start a new business where the balloon is not only a tethered gas balloon for passenger, it's only... advertising billboard and now it's only a scientific platform and so this is very interesting and the last things we have done in 2024 no this year in 2025 is to use the balloon for global climate change. As you know, we have two main gas pollutants for the climate change, CO2 and CH4. And the balloon is a perfect platform to measure evolution on CO2 and CH4. So we are working with a European group named ICOS. gathering all the best laboratories in Europe, who are making a huge study on how CO2 and CH4 how they are in each city.Jerome Giacomoni: And Paris has been chosen as a pilot city. So we are very glad to work with them. And so now the Balloon is also working on climate change. And we will have big, big, big LED screen. So we make some technology sometime, as you said, to inform people on the temperature elevation in Europe and in the world. And the news are very bad, as everybody knows.Andy Povey: But that's fascinating. I love the integration you've been able to take from this unique proposition and apply it to different markets, different problems.Jerome Giacomoni: You know, Andy, I think we have to exit from the box. My message to... all people who are listening to us.Jerome Giacomoni: Okay, passenger rides is very important. It's a key market for many of us. But sometimes we can use... another way to find new flow of revenue, like advertising, and we can be also helpful to our other citizens, like working freely for scientists to make measurements on pollutants of the air. This helps with both air quality and also climate change.Andy Povey: It's a beautiful concept, Jerome. I love it. Love it.Andy Povey: So, final question. Your experiences are obviously very unique. What advice would you have for a venue and possibly a smaller venue that doesn't have the resources to be able to build something 150 metres high or put something 150 metres into the air? What advice would you give them on how to make a compelling experience for visitors?Jerome Giacomoni: I really believe that you have to stick on your roots, okay? I mean that people want authenticity.Jerome Giacomoni: And as you know, we are very keen on balloons, as you can imagine. So we make in our, you know, Paris, it's in Paris where you have the first flight. Yeah. In 1783. Montgolfier, brothers. Yes, with the Montgolfier brothers, with Charles, the scientist. So we really stick on our roots. And I think where you are in Brittany, where you are in Japan, you have to follow your own road and your own path. By feeling what could be the good idea, but also what is your feeling inside you. You need to have something different that you feel very confident with.Andy Povey: Beautiful final thought, Jerome, I like it a lot. So listeners, stay authentic and be passionate.Jerome Giacomoni: Exactly, the right word is passionate.Paul Marden: Next up, let's get some soundbites from the show floor.Rheanna  Sorby: My name's Rheanna. I'm Marketing and Creative Director for the Seasonal Group. We are curators of Christmas magic all year round. Wow, wow.Paul Marden: So you make Christmas special?Rheanna  Sorby: We're the Christmas elves.Paul Marden: Awesome, awesome. I can see you've got such a great set of stands. What have you got here that you're exhibiting for the first time?Rheanna  Sorby: We have Santa's Enchanted Express, which is a three-minute experience that transports customers and guests from a very festive train station to the North Pole in just under three minutes. So it's quite a Christmas miracle. And it also transports on nine pallets. So it's a great return on investment for customers there if it's 24 people on. We also have our elevator experience, which went viral last year. And then we have VR, animatronics, and a lot of our famous items, like the snowman here, just dressed as a little, it's some sort of operator.Paul Marden: Yeah, yeah, yeah, absolutely. So we don't have a lot of luck with lifts at the moment because the team got stuck in a lift yesterday for about 45 minutes. Stop it. We got rescued by the... Well, I didn't get in the lift. I walked because there wasn't enough room. But two of them had to be rescued by the fire brigadeRheanna  Sorby: Okay, so this might be triggering. Well, you know.Paul Marden: Oh, no, I found it hilarious.Paul Marden: I was hugely supportive on the outside, yelling into them.Paul Marden: But Santa won't let me get stuck in a lift today, will he? Absolutely not.Rheanna  Sorby: No, there's an emergency exit. Excellent.Paul Marden: So what's new and innovative then about the Santa Express? What are you bringing to market?Rheanna  Sorby: So a lot of our clients, we sell business to business. They're struggling to get people into shopping centres and we're finding that we need to create retail theatre. So that is something I see as a massive trend moving forward. People want nostalgia. They want an experience, something memorable. But also our customers need a way to return investment as well. So they hopefully will spend something with us and then ticket the experience. So that's something that we're pivoting our business towards. Trying to create a brand new experience every year. A lot of people are struggling nowadays, cost of living.Paul Marden: Yeah, absolutely.Rheanna  Sorby: It's difficult, so we're trying to find a way that brings the Christmas magic to people's doors.Paul Marden: We are, where are we at the moment? We're in September, so we've still got a couple of months left before Christmas 2025, but that must be over for you.Rheanna  Sorby: No, the quality of the street is on the shelves. It's already happening. The install season starts literally on Monday for us. Really? Yes. When we get back, we land and then we start installing.Paul Marden: And so this is the busy time. So let's talk about Christmas 2026. What are the trends that you see coming along at that point?Rheanna  Sorby: Whimsical, whimsical. So we've got Wicked number two coming out. And we've also had all like the Whoville, that sort of style, the Grinch. So imagine pastels, furry trees, things that don't quite make sense, a lot of whimsical wonderland, I would say, trend-wise. But equally immersive experiences and how we can bring magic to you.Paul Marden: Wonderful, wonderful. Thank you ever so much. Rheanna, it's been lovely to meet you. Thank you for coming on the podcast. And let's go and visit Santa in his lift, shall we? Yeah, excellent.Paul Marden: And here it is. So we are surrounded by suites in an old-fashioned lift. And there's our doors closed.Paul Marden: Oh, how amazing is this? We're going up.Paul Marden: Ice like Charlie and the Chocolate Factory. The Great Glass Elevator. This is amazing. We're up over the clouds. Just stunning. There's a train there. I think we're going to follow into the tunnel after the train. Yes.Paul Marden: Got cold, now we're underground. Now we're in the tunnel.Paul Marden: And I think this might be Santa's factory.Paul Marden: Let's get ready.Paul Marden: Merry Christmas. The big man's chair as well. Can I take a seat in the big man's chair? Ho, ho, ho.Sohret Pakis: Hi, Paul. My name is Shorhet Pakis. I'm the brand ambassador for Polin Waterparks.Paul Marden: What are you launching this year at IAAPA? What's new for you?Sohret Pakis:Last year, we have won two big awards for a themed water slide, which is... Stingray it was in Nantes in France and it was something big because you know it was like Europeans best water slide number one and I have a brass ring award winner about two million number one but last night in Porta Ventura Stingray has won the second time best water slide of Europe award. But we have something new about it. Last year when I was telling about Stingray, it was an eight-person slide. This year we have something new. Now the capacity went up to 10, especially when we're talking about all these queue management issues. So that's something wonderful. And also, you ask, what is new? This year, we have something very exciting. A parrot-themed stingray. It's the same slide, but it's parrot-themed.Sohret Pakis: It's coming to Dubai by January. It's going to be open.Paul Marden: So can I ask you, what makes that innovative? What's new about that?Sohret Pakis: Actually, it's a very specifically themed waterslide. You know that POLIN has been pioneer in RTM manufacturing and U-texture. It's kind of a composite material technology which we can make waterslides look.  Look like a character, actually. We are the company who did this first because we said that storytelling is very important. Yes, but you know, slides are just slides. So we just wanted the slides look like the characters in that story. Of course, behind that, there is huge material technology, composites technology, design technologies. Actually, that's the time when we introduced King Cobra years ago. And now with Stingray, we took it much further. So actually, the team looks perfectly like a Stingray, but at the same time, it's a water slide with so many features. It has two big towers and between the towers, there's a bridge. From each tower, two slides start with a very special mist roofing and very special bridge where you can just see what's happening all over the slide.Paul Marden: So the queuing experience is enriched so it doesn't feel quite so long and boring because you can watch what everyone is doing.Sohret Pakis: It is, yes.Paul Marden: Super impressive. So we have been asking everybody to think about what are their predictions for 2026?Sohret Pakis: Everybody is talking about AI. Everybody is talking about immersive. So AI, of course, will make a huge difference in operation, especially.Paul Marden: In what way?Sohret Pakis: Actually, in guest satisfaction, because personalisation is very important in our industry. Whoever comes to the park, they are the heroes at the park. And so actually, if the park can make them feel that they are the heroes, truly— if that's their birthday, if that's their wedding anniversary, so whatever. If the park can make you feel that you're special, and thanks to technology, now it's possible.Paul Marden: Absolutely. That's so interesting. Thank you so much for your insights and for joining us on Skip the Queue. Thank you.Thomas Collin: I'm Thomas, I'm from VEX Solutions, so we are a VR company at the start, and now we're going to the arcade with mixed reality as well. Okay, so that's a nice link. What are you launching here at IAFA? So here for the first time we are introducing VEX Party Dash. The Party Dash is a mixed reality arcade machine. So automated, people can go on it, play on it. You have two huge screens that are really highly interactive. You can walk on the screen, you can touch the screen. The goal is really to make you moving. So that's what we want to do with the Dash.Paul Marden: That's amazing, isn't it? So we're watching people at the moment. You can see lights up on the floor that they're stepping on and on the wall.Thomas Collin: What is really the key aspect of this product is that it's highly attractive. People, they just go around, they stop by it, they want to try it. Actually, we can say, 'Hey, come and try it,' because we watch you, we see you. So we can say, 'Hey, come and try it.' And people stop by, they play it. It's highly immersive, but also highly active. Yes. You're just not standing on an arcade, sitting down. No, you're really moving around. So, this is really good for kids and families. Absolutely. That's what we see.Paul Marden: So, where do you see this being used? What sort of attractions will take this?Thomas Collin: Actually, with this product, it can go either in the attraction side or either at the arcade side. So, you can play it as one game, and you can play a three-minute game like an arcade, or you can actually book for 15 minutes. Since there is not a single game, but multiple games, you can play different games, you can play different levels inside the main gate. So you have a high replayability. Because we want you to come back, we want to attract the gamers, and then make them come back.Paul Marden: 15 minutes with this much activity sounds like quite a tall order. It's a workout.Thomas Collin: It's a workout. It's a workout. Yeah, yeah, yeah.Peter Cliff: Hi, my name is Pete Cliff. I'm from Conductr. We're here in Barcelona and it's so exciting to be back at IAAPA. Now, what we're super excited about this year is talking about our collaboration with Norwegian Cruise Lines on Great Stirrup Cay. It's their new water park. It's a great project. We're excited to talk to people about it. It's also lovely to be back in Barcelona. It's been, I think, about six years since we were last back here, and it's always one of my favourite European cities for IAPA. It's great to meet with people from the industry, reconnect with old colleagues and friends, and really see what's happening. There's a huge amount of innovation and special projects that are launching all over the show floor. So yeah, great to be back, and can't wait to see what the future of the themed entertainment industry has to offer.Laura Baxter: My name is Laura Baxter. You may know me as the girl with the purple jumpsuit on LinkedIn. I am the head of marketing for Black Gang Shine, but have most recently just announced that I've gone into freelancing and I've launched your CMO.Paul Marden: And I have to say, the jumpsuits work because I was about 50 metres behind you earlier on and I spotted the Your CMO logo on the back of the jumpsuit, so well done for that. We've talked to a lot of suppliers with stands that are exhibiting. From your perspective, this is your first time stepping over to the dark side and coming to an IAPA. What's the experience like for you? What are you here to get out of the show?Laura Baxter: I'd say it's twofold. Mainly it is for networking. Obviously anybody who's anyone in the industry is here. But also, it's inspiration because I want to be able to talk about new and exciting stuff with... Potential clients that I may have and ideas still for Black Gang as well. So, when you walk around show floor, which is just so vibrant and there's so much going on everywhere—you turn, you can draw inspiration from so many of the suppliers here.Paul Marden: What have you seen that's innovative?Laura Baxter: There's a huge amount of stuff being done with tech and it's very interesting because I think that's where a lot of people are going to think that they need to go, because that's the way of the world now, and the next generation don't know life off of a screen and they're expecting to have these incredible digital experiences.Laura Baxter: I'm not convinced that is the way to go. But yes, it's still impressive tech. So for me, there are things that I stand back out and look at and I'm like, 'Whoa, that's really, really cool.'Laura Baxter: I'm not so sure it's potentially what consumers want, though, controversially.Paul Marden: It's really hard, isn't it? Because as a parent of young kids, you want them off the tech as much as you possibly can. But you need a hook. To be able to attract them, don't you? So there's been some amazing stuff here that bridges that gap between the real world and the tech world. So, summer season 2025 is over. What are your predictions about summer 26 and what operators should be thinking about right now?Laura Baxter: It's a really tough market, we all know that. Budgets are tight for households, so there is an awful lot more thought going into their spending and what they're doing and where they're choosing to take that little bit of disposable money that they do have. Therefore actually I don't think next year operators should be thinking about huge innovations or new attractions. I think they need to strip back to basics and nail their customer service. I think guest expectations now are so high. because they're parting with money that is a little bit more precious to them than perhaps if they don't leave at the end of that day having had a good experience they feel ripped off they're going to go straight to review platforms they're going to let it all out and actually you need to be focusing on making sure that every single touch point with that customer is bang on and we're talking pre-visit as well from the your website journey to buying it to the follow-up emails to the pre-visit emails to that first person they meet on front of house to the ride operators to the events team if you have that kind of entertainment on park if you are not nailing your experienceLaura Baxter: You are going to lose out well.Paul Marden: I think we should end it right there. That there is a nugget of gold.Paul Marden: So I am here with co-host Andy Povey and our good friend Josh Haywood from Crealy down in Devon.Josh Haywood: Hello.Paul Marden: It's the end of day two. What have you seen, Josh? What's blown your socks off?Josh Haywood: Good couple of days so far. We're probably into 40,000 steps, which is great. I think technology is the thing that struck me this week so far. Just the small changes that some of the operators and some of the manufacturers are putting into their existing kits. So, for example, I attended a seminar this morning about bowling. and normally temping bowling is temping bowling. Yeah, yeah, yeah. But now there's augmented reality, and they've got features on the lanes, and it's not about just taking all the pins down, it's taking pin one and six out, and all those things they're trying to do to reinvent older, more traditional attractions, which I think I find really interesting. Yeah. I think some of the seasonality stuff, the Christmas and Halloween stuff has been really good. We sat on a train and went on a journey and the seats rumbled and the sound and the visual effects, they were great.Paul Marden: I saw that. There was no room for me to go and sit on that train. It was amazing.Josh Haywood: I thought that was really good. And, you know, I've been really impressed with generally the show. I think you can get around it all as well. It feels really friendly. I think the sun shining always helps as well. It's not too tough, is it?Paul Marden: I mean, the last time we were in Barcelona, we were all wearing face masks. Absolutely, yes. So it's really refreshing to be back here. And not have that.Josh Haywood: Absolutely. And not have to queue to get in as well. I think that was interesting on the first day.Paul Marden: Oh, did they see you and then just wave you through?Josh Haywood: Red carpet was up for, of course, award-winning theme park and resort. Paul Marden: Mr. Hayward. Did you say award? Winnie and obviously you're on the back of your two awards in the theme park awards last week. How was that? And then we've got some really exciting news from Creeley.Josh Haywood: I saw it at the press this morning. Yes, so a couple of things happened last week. So first of all, we had our anniversary 25 years of Maximus the Coaster. The Vekoma Coaster, 25 years. The first coaster in Devon. It was Devon's first coaster, over half a million riders later. It's done 2 million miles around the track. It's great. So we did a sort of event for that, and we used it to sort of make some announcements about future attractions, which I'll tell you about in a minute. But then we went to the Theme Park Awards last week at Wickste Park, where... We've been the recipients of a few bronze and silvers, and we go being little old us and hope for the best. And then the award I really wanted to win was one of two: the best for families and the best for value. And when the family award came up, they said, 'In bronze is such and such, in silver.' And I was like, 'Well, there you go.' That's all that's left for another year. And then when they said the win at gold was cruelly for best for families, we were delighted. I got a bit emotional about it. I think we would just work so hard over the years to be the best in the Southwest, certainly. And certainly since we put Sootyland in as well. We won the award for Toddlers.Josh Haywood: So it was a double wham. And within 10 minutes as well. It wasn't separated. Within 10 minutes, I just got my breath back from the first one. And then we were up on stage again taking that second award. Oh, it's tough, isn't it? Which was great, yeah. Multi-award winning. Multi-award winning theme parking resort. Devon's finest. Most right in Devon. We're just going to... absolutely bleep the hell out of this for the next 12 months because who knows we may not win it again so we'll just shout from the treetops about this and then we also won thanks to martin rose and rose events uh silver for best entertainment event for the city show It's still very popular, the legacy brand. People love the Sooty show. And as I said at the awards, we sell loads of those puppets. People love a Sooty and a Sweep. So it's been a really good collaboration for us.Paul Marden: We were at our first away day for our Merak team back a few months ago down at Creeley, and I found a little sooty puppet underneath the lectern. I was absolutely chuffed to bits. And there he was, just sitting at the front of the away day, watching everything going on with Sue next to him.Josh Haywood: He's still popular. We understood when we put Cityland in, it wasn't going to be Peppa Pig. world and we didn't think for a minute we'd even sort of get to those heights of Thomas Land at Drayton Manor but it certainly hit a chord with the older market certainly the nannies and the granddads who remember such from when they were kids and you know it's a legacy brand and it works but what we have done really well is sort of corner that market for younger children and toddlers and we Sort of took some comments over the last 12 to 18 months that we may be missing the mark when it comes to the 8 to 12-year-olds, which we were pretty good at five or six years ago. So we've decided this year that we're going to invest in some thrill attractions. So we've just launched news that we've got two new rides going in next year. One, I can't tell you exactly because we're still going under. Got some planning issues, but we're going to have the Southwest tallest ride and the Southwest first inverted ride. So a multi-million pound investment going in and hopefully that will give us another boost that we need to kick on again. We've still got new accommodation going in. We'll still be doing new events and shows for next year.Josh Haywood: So it's going to be a bumper year for Crealy. Absolutely.  I really look forward to that.Paul Marden: I look forward to you being on the launch ride.Paul Marden: Me down on the ground watching and videoing.Josh Haywood: What they have said, which is really interesting, we spoke to an operator, there's only one other ride like it in the UK, and that operator said, whatever you do, make sure when you put the ride in, you fit a hose pipe and a tap right in. Because you may be washing the seats down more than you would usually on your current ride. So, yeah, it certainly will add that next level of ride experience to our family market.Paul Marden: Yeah, I think that's super important, isn't it? Mr. Povey, what have you seen today that has blown your socks off?Andy Povey: I'm really looking for the place to go and get some more soft, comfortable socks. I've walked so much. I've stood around and listened to so many fantastic talks, had so many brilliant conversations. I'm done. My feet hurt. I need to sit down and have a beer.Paul Marden: Well, I hate to break it to you, but there's another day left. And there's still more interviews to do. Still more opportunities for us to get some interesting stories on Skip the Queue.Andy Povey: Look forward to that.Paul Marden: Gentlemen, I think we're about done. So thank you ever so much. It has been a joy. And Mr. Povey, see you back here tomorrow. Josh, wonderful as always.Josh Haywood: Maybe see you at OrlandoPaul Marden: Oh. Absolutely, yeah.Josh Haywood: We'll do it againPaul Marden: Thanks for listening to today's episode. If you liked it, leave a comment in Spotify or Apple Podcasts. If you didn't, let us know on hello@skipthequeue.fm. Today's episode was a team effort for Sami and Emily from Plaster, Steve from Folland Co., as well as Claire and Wenalyn from Skip the Queue HQ. We're back again tomorrow for more fun from IAAPA, including Andreas Andersen from Liseberg, one of Scandinavia's most visited parks. See you all tomorrow. The 2025 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsTake the Rubber Cheese Visitor Attraction Website Survey Report

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Turns out the 2025 Emmys were a snooze. Same goes for the first three episodes of The Paper, the much-hyped follow-up to The Office. (Shoutout to the Italian woman from The White Lotus with the Peppa Pig line, though. She came to work.)Hunter and Peyton also break down the new Jussie Smollett documentary and spin their theories on the saga that refuses to end. Plus, online comedian Lavelle Dontae drops in to talk about the wildest corners of the internet.Follow @lemmesaythispod on Instagram, Tik Tok and Youtube for more from Lemme Say This.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We've well and truly kicked off season 7 in style as we welcome our first guest onto the show - IAAPA Board Chairman, Massimiliano Freddi. In this episode, Paul sits down with Massimiliano Freddi, the first Italian to ever hold the role of IAAPA Chairman in the association's 107-year history. From his early dream of running a theme park to founding Wonderwood and shaping Italy's unique attractions landscape, Massi shares how passion, storytelling, and a people-first mindset continue to drive his vision for the industry. Skip The Queue is back for Season 7 and we're announcing some big changes! Get ready for new hosts, a fresh new look, weekly content and find out where you can catch us live at events to be part of the action.Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on LinkedIn, or Bluesky for your chance to win the books that have been mentioned in this podcast.Competition ends on 24th September 2025. The winner will be contacted via LinkedIn or Bluesky. Show references:  https://iaapa.org/https://www.linkedin.com/in/freddi/Massimiliano Freddi  a leading figure in the amusement and entertainment industry, has been appointed president of the steering committee of IAAPA (International Association of Amusement Parks and Attractions, the leading international association for attractions and theme parks) for 2025. This is the first time since the foundation of the World Association of Attractions (1918) that this position has been entrusted to an Italian.The appointment underscores his extensive experience and significant contribution to the global industry. Freddi brings a wealth of experience gained at some of the industry's most prominent companies. His career began in marketing and press office for the Italian market at Disneyland Paris. He subsequently joined Leolandia.A visionary entrepreneur, in 2018, Massimiliano Freddi founded Wonderwood, an adventure and amusement park for all ages, of which he is currently CEO, in his hometown of Trarego Viggiona, in the Verbano-Cusio-Ossola region on Lake Maggiore. This growing business has redeveloped several local facilities and provided employment to several young residents of the small towns in the area. His passion for the sector also extends to academia. Since 2016, he has been a member of the coaching staff of Seth Godin's Altmba and is a professor of marketing and experience design at IULM University in Milan. At the same university, where Italy's first course in theme park and attraction management was introduced, he teaches subjects such as consumer experience, marketing, and soft skills as an adjunct professor. Freddi was also one of the original founders of Parksmania, the first newspaper dedicated to amusement parks.Freddi will continue to bring his innovative vision and deep industry knowledge to the global association, helping shape the future of attractions internationally. Regarding Italy, he commented that he sees great potential and wants to help realise it. Transcriptions:  Paul Marden: Welcome to Skip the Queue, the podcast about the world's best visitor attractions and the people that work in them. I'm Paul Marden, along with my co-hosts Andy Povey and Sinead Kimberley, I spend my days working with ambitious attractions like theme parks, museums, galleries, and science centres to help them to attract more guests. Paul Marden: Today on Skip the Queue, I'm joined by someone who has been shaping the attractions industry in truly remarkable ways. Massimiliano Freddi is the first Italian ever to hold the role of chairman in IAAPA's 107-year history. A milestone that not only celebrates his career, but also shines a light on Italy's growing influence in the global attractions landscape. Massimiliano has worn many hats across his journey, from fulfilling his childhood dream of becoming a Theme Park Managing Director at just 28, where he grew guest numbers from 300,000 to over 800,000, to founding his own destinations like Wonderwood on Lake Maggiore and Wonderwood Spina Verde, overlooking Lake Como. Along the way, he's pioneered inclusive and eco-conscious practices, championing the power of storytelling and shown how attractions can thrive by creating meaningful experiences for every guest.Paul Marden: Beyond his leadership roles, Massimiliano is also a Professor of Marketing and Experience Design at IULM University in Milan, where he's passionate about nurturing the next generation of talent in our sector. Often described as both a dreamer and a doer, he brings together vision and practicality in a way that continues to inspire operators around the world.Paul Marden: Massimilliano, welcome to the show. It really is a pleasure to have you with us. We always start Skip the Queue and the kickoff of season seven, no less, is going to be no different. We always start with an icebreaker question. And I'm thinking back to, we're just back off of our summer holidays, aren't we? For your perfect holiday, would it start with planes, trains or driving.Massimiliano Freddi: Oh, that's a beautiful question. By the way, congratulations because you've pronounced Massimiliano in a very correct way. So that's unusual. I have a complicated name. I know, I know.Massimiliano Freddi: Hey, I would say train. Train is really, really part of the way that I love to travel with. And unfortunately, too often it happens by car, which I like a little bit less. I get dizzy, you know, and stuff. Train is my ultimate, ultimate way to travel.Paul Marden: I did a sleeper train to Scotland a couple of years ago, and it was amazing. I absolutely loved it. And what's brilliant is there's more of those sleeper trains hitting Europe, aren't there now? So there really is very few excuses for us not to be holidaying with the start with some elegant sleeper train. My only disappointment was that there was no murder on the train, so I couldn't have an Agatha Christie style novel themed around my train  journey, but uh, you know.Massimiliano Freddi: I mean, I mean, it could have been the Hogwarts Express, but apparently, it doesn't run every day, so.Paul Marden: That would be pretty cool as well. I've just come back from Edinburgh, actually, and we saw, you know, the viaduct where the train goes to Hogwarts, and completely unplanned, there was a steam train that went over the bridge whilst we were there. It was amazing.Massimiliano Freddi: Happy go lucky.Paul Marden: Yeah. So enough of my holidays. Let's kick off talking about you and IAAPA. What can international markets learn from attractions in Italy? Tell us a little bit about the attractions landscape over there in Italy at the moment.Massimiliano Freddi: Yes. So let's say that the attraction landscape is very similar, somehow, to how the restaurants or the retail landscape has always been, which means a lot of mom and pop stores. And I think that what people who travel to Italy love is to find something that is one of a kind that you can find only in Italy. I have a deep respect for Starbucks, but I'm always... questioning myself, you know, when somebody comes to Italy, do they really want to find Starbucks? Is this a real thing? So when it comes to parks and attractions, Italy has not faced a big concentration in players like it has happened in other countries. Of course, some big players are there. Parques Reunidos owns Mirabilandia, which is the second most important Italian park. And the most important Italian park is Gardaland, owned by Merlin Entertainment. Then we have a few other groups. Owning and operating some of the facilities, but let's say that, out of 250 parks between—or, you said, attractions— that's very correct now, if we talk about attractions, now the number is endless, because where is the border?Paul Marden: What is an attraction? Yeah, that's a big philosophical question.Massimiliano Freddi: Okay, okay, so let's say that, once upon a time, we used to count parks. So when we talk about parks, we have roughly 250 parks in Italy, and most of them are tiny, tiny, tiny, and they are independently owned. That's my case. I own and operate two parks right now, and I'm about to open, a third location that will be an indoor one this November. And so, yes, I think that what what others can learn from Italy i think is to keep this respect for your roots and to make sure that you don't make every attraction look like another one, but you kind of keep it, you know, different.Massimiliano Freddi: And so it's a matter of the mix of how people can have fun and get entertained. But it's really also about retail and about food and about shows and festivals and you name it, you know. So there are these places that we see on Instagram and immediately we say, oh, that's, I mean, when I see a picture of the Empire State Building or of the Tower Bridge. I know immediately where it belongs to. And so I think that, with attractions, we need to think in the future always about this. Guests coming to visit us, they want to have the ultimate experience and they want to have something that's different from anything they've done before. So this is the responsibility we have.Paul Marden: And a big one it is. Let's talk a little bit about the experience economy. And especially when we think about, you know, beyond the parks, there's this... massive ecosystem around the outside of different ways that people can enjoy themselves. What does that experience economy mean to you, especially in Italy?Massimiliano Freddi: The experience economy, first of all, it truly matters to me, the book. Because in 1999, it was once upon a time, it was really difficult to find literature and scientific literature on the leisure industry. And so I think that at that time, we thought that everybody could take inspiration from the attractions industry. And it has happened because right now. Yes, definitely. You know, food is experience and travel is experience and lodging is experience. You name it, you name it. You know, even there is also a funeral house in Italy, which has become very famous because they are really based on the experience they will give, you know, not to the people who passed away, unfortunately, you know, but the people remain. So I think that it's very hard now to find an industry that doesn't think, that we are in the experience economy and that everything should be experienced and experiential. And so I think that when I go back to my example, I think that we as attractions, we need to be even more wise in how we choose to present ourselves and what we cater to our guests.Massimiliano Freddi: Because of course, we need to raise the bar. So right now, we know that some access... And some services to our attractions have become better with technology. But still, we are, you know, long lines sometimes. And we feel we are paying too much for what we are getting back.Massimiliano Freddi: I would say that in the end, experience economy starts with people and ends with people. And so we need to be people-centric. And only like this, we can be truly experiential. I don't think that an experience is about technology.  It's always, always about people.Paul Marden: Absolutely. I wonder as well, I'm always struck by this industry, how close we are, how we collaborate with one another. And really, the competition aren't the other parks or attractions. The competition is getting people out and doing something. There are so many things at home that could keep you at home, getting you out and about and visiting places and enjoying those experiences. I wonder whether collaboration is the answer to this.Massimiliano Freddi: I think you nailed it because it's crucial. Everybody who has not been working for this industry, when they enter the industry, because they might change jobs, everybody is so surprised that we collaborate so heavily. And I think that a key to this success has always been this big collaboration. I have almost always in my career been part of smaller facilities. And to me, IAAPA and the associations were, it's been crucial, you know, because you are alone. Very, very often your facility is in the middle of nowhere. No matter if you're part of a big group, because even big groups have facilities in the middle of nowhere, but for family-owned and operated attractions, that's almost the golden rule.Massimiliano Freddi: And so there are so many days in your life, in your career, in your profession, where you would benefit strongly from talking to somebody else who's been through something like you before and who's found a different solution and who can open up your eyes. So I think that's the beauty of our industries is getting together. Again, if we don't get together, how can we make people get together?Paul Marden: Yeah, I'm very excited about getting together because I've got my first IAAPA in Barcelona coming up. And I'm very excited about what this is going to be like.Massimiliano Freddi: Oh, you will be blown away.Paul Marden:  I can't wait. I absolutely can't wait. Now, look. Someone has once described you as a dreamer and a doer. One of your dreams was to be managing director of a theme park. Where did that inspiration come from?Massimiliano Freddi: So it comes from a terrible childhood. And so it comes from the fact that, yeah, the world around me when I was a kid was not a positive world. And my family had a lot of troubles. And I'm an orphan from the side of my mother. I mean, I went through several things. And so I think that the attractions industry, to me, it really meant this place that's always happy and where grownups can really take great care of kids and kids at heart.Massimiliano Freddi: So I think that my passion came out of that. Now, dreaming and doing, of course, we all have as a big myth and as a reference, Walt Disney himself, and he was the guy who first said, 'Dreamers and doers' talking about, what enterprises, so his imagineers. I think that whenever I see something, I want to say something. Everybody who knows me knows pretty well. But it means that I love to see the world in a constant improvement. So, if I check in at a hotel and I see that there is something in there that, you know, it even doesn't impact me. But with a small step, they could make it better and fix it. I just share it and I share it, you know, wherever I am. And so I think that maybe this was a bit of my secret weapon because I got involved in several things. I think because I'm curious and maybe because I'm generous in sharing.Massimiliano Freddi: And I don't know if there is a secret there. There is just that in the moment in which you accept yourself the way you are and you acknowledge that you have some talents, and you don't have some others, and some skills you can get better, some others no way—okay. I could never never be an attorney, I could never do a lot of jobs on the planet, but now I know, at the age of 44, that I know what I'm good at, and even if I'm good at that, I want to constantly improve. So I think that maybe the support that I could bring to the table to the companies I've worked for, to the associations, to my own business, and so on, it's always been this obsession with constant improvement every day.Paul Marden: I think it takes a certain vulnerability, doesn't it? To spot something that you think can be improved and to offer a suggestion. And I think it's so valuable. I was at an attraction recently and I got the email at the end of the day, saying, 'How was it?' Please leave us a review. I went to click it and it didn't work. I knew the head of marketing, so I just pinged him off a quick email that just said, 'Oh, I had such a brilliant time but I couldn't leave you a review. I wanted to give you a brilliant review, but I couldn't do it because it didn't work. And that led them to go and look at all of their outbound emails, and none of them were working properly. But you know, you could walk by and just leave that alone. But I can't do it. However, it is sometimes does make you feel really awkward, couldn't you? But when I get great services in a restaurant, when somebody looks after me while at an attraction, I want to tell them how good it was, and if I can see something they can do better, I want to tell them what they could do.Massimiliano Freddi:  Totally, totally. And I'm so much on the same page. I was about to say that it's equally important to call people out when they're doing well.Paul Marden: Yeah.Massimiliano Freddi: So to make sure that they are aware. And sometimes, you know, to say there was one day where I travelled during a bank holiday, and I arrived at the entire bank holiday, and I arrived to the airport, and I decided I wanted to thank each and every employee that I would meet because they were there that day. I mean. We got used that Sundays are no longer Sundays, but the bank holidays, these are the moments in which you spend time with your family and with your kids and so on. And if you're there and you're working, I mean, it's good that somebody sees you and tells you, 'Hey, thank you because you're working even today, you know?' And you can tell how everybody gets surprised. So I think that we learn so much more by positive reinforcement.Massimiliano Freddi: And so how important it is also to tell attractions, facilities, managers, CEOs. I mean, CEOs, they are so used to just getting... I can't use swear words. Yes, you can. Under those kind of storms, you know, all the time, all the time. And so when a CEO does something good, come on, let's tell her.Paul Marden: Yeah, it's a really lonely job. And all you get is... is the spankings and the tellings off. Isn't it? So when they get it right, they definitely need a pat on the back because they're not going to get it. They're not going to get it. So I can't believe this. At the age of 28, you made your dream come true and you were managing director of a theme park in Italy for Minitalia, which became Leolandia, in this role you took guest numbers from 300, 000 guests a year to over 800,000.Paul Marden: Tell us that story. How do you so dramatically increase footfall at the attraction?Massimiliano Freddi: I don't think it was me. I think it was a great teamwork because it's a great teamwork, you know, and you can grow this much. If your operation is working very well, if your safety is right on spot, if the park is clean, you know, and so on. I can tell you one thing that when we were at the basic level, so at the very beginning, of course, we couldn't afford to buy big attractions or too heavily themed. And we needed really, I remember that the first Halloween, we had a 10K budget, 10,000 euro budget for a whole month of Halloween. Okay, so we would go to the do-it-yourself stores and buy brooms and build everything. I mean, that was a magical moment because it created the capability of the team to envision that, if you want, you can do with the things you have. And of course, with a huge budget, you can do fantastic things.Massimiliano Freddi: But sometimes, you know, this helps. So in that moment... TripAdvisor was a true success still. We're talking about 20 years ago. So TripAdvisor was kind of the reference. That's even before Google Maps and all that. So I remember that I did an analysis and I understood that every restaurant or park who had over 4. 5 out of 5 was growing. And having 4 out of 5 was not enough. Now we call it NPS, we call it a different way. But there, in this practical way, so I remember this moment with my team saying, 'Hey, we need to be obsessed with getting five stars.' And this is the point. So what can we do? First of all, we can have the cleanest toilets on earth. Let's make sure that the smell is good, they are super clean, and so on. Because people, that's a level of service. Of course, this is not a driver of visit, but this is a driver of satisfaction. And in the same way, let's start to work with better suppliers when it comes to food and beverage.Massimiliano Freddi: Let's start to make things more comfortable. So I think that this was the first thing. The second aspect, again, it's very much linked to IAAPA because I think that attending the show every year and knowing the people. At that time, Jakob Wahl, he used to be one of the employees of IAAPA in Brussels. I don't think he was a manager at the time yet. He was in charge of keeping relationships with members. So I reached out to him. We are the same age. I reached out to him and I said, 'Hey, I would love to visit a few facilities in other countries because I need to get fresh ideas.' It was a very delicate moment. We came out of two bad seasons due to bad weather. Because then you know, you don't go from here to here as a straight line, but always as this roller coaster. And in a moment you think, 'Oh, I made it.' There's a dip.Paul Marden: Yeah.Massimiliano Freddi: You can never sleep. And so he put me in contact with several facilities. I visited some in Belgium, in the Netherlands, and in the UK. And in the UK, I visited this, at that time, small park still called Paulton's Park. You might know that. I remember it was a weekday with bad weather and the parking lot was packed. And I was like, 'How comes?' Kids are not at school today. What is the point? I enter the park. The park is, yeah, not so crowded. So I really suspect that they are, you know, keeping the people all shut down together in a place. I don't know. I don't know what the point was. And then I enter the Peppa Pig's World.Massimiliano Freddi: And it blows my mind. And again, what blows my mind is that it didn't have any huge attraction. But it had that feeling. And people were just so happy. It was magic. Little kids there with their families, a lot of strollers all over the place, traffic jams due to strollers. And so I came back and I said, 'Hey, we need to get Peppa Pig.' And I remember that the team was like, 'It can't happen.' It has happened. In the end, we were the second park in the world after Paulton's Park to get Peppa. And that reshaped the entire strategy of the park we had at that time, turning it into what we wanted to achieve, is to become the best park for the kids under the age of 10 in Southern Europe. And best means really the best, rated from the bottom of the heart. And so this is what has happened. So I think that, you know, before Leolandia, I had worked for Disneyland Paris and I'm a big Disney fan. So that was kind of the school I had attended and I just had to apply. The theory that I've learned, I had to apply it, and I had a fantastic team and the resources to do that.Paul Marden: Amazing. Now, fast forward to 2018, and you've taken the step from MD to founder and founded Wonderwood on Lake Maggiore. Now, let's test my Italian. You've also founded Wonderwood Spina Verde. Massimiliano Freddi: I'm speechless. I can't correct anything.Paul Marden: Wonderful. Overlooking Lake Como, both of which, by the way, were... So I've been to Maggiore and Lake Como for my honeymoon. So a beautiful, beautiful place. And you've put two parks there. How has that been?Massimiliano Freddi:  It has been crazy. So I remember that the first year, and I mean, we created the company at the end of 2018. We've opened our gates in the summer of 2019. Now, if we all remember what has happened at the beginning of 2020.Paul Marden: Yeah.Massimiliano Freddi: Okay, so perfect timing. Now, I can tell you that the first season, every day, I would literally cry, but for real.Massimilliano Freddi: I was exhausted. My husband was exhausted. We thought that this was a nightmare, the worst possible nightmare. And if somebody had knocked on my door and asked me, 'Hey, could I just take it over?' I don't give you a penny. I will just take home the loans. I would have said yes. And that's because, of course, every project is over budget. Of course. No matter. No matter.Massimiliano Freddi: And when it's a family company and you don't have the money because you've contracted several loans and so on, it makes it super, super difficult. So in that moment, my call for action was because the possibility of Lake Maggiore was in the town where I spent every summer as a kid. So it was a love story. And I wanted to give back to the community. I wanted to do something in the nature that would inspire kids to hike more. To become more active and just not only to stay in front of a screen, but to do something different. So that came out of this kind of dream. And so it was a nightmare. It was a nightmare at the very beginning. Then COVID hit and we were very lucky, of course, because we didn't lose anyone from our families and friends. So I am very thankful for that. And at the same time, it gave us the possibility to stop for a second, rewind, and refine our strategy.Massimiliano Freddi: Because we had just closed the park in, I mean, the week before Christmas, and we were supposed to reopen in less than three months, but we were exhausted. So I'm telling this story because usually it's so nice to tell that the triumphs, you know, and say, 'Hey, it's been fantastic.' Yeah, we nailed it. We had, no, we made 200 mistakes.Massimiliano Freddi: And we paid for all the mistakes. So I think that in that moment, yeah, we were struggling at the beginning. We were reflecting in the middle part. And then three years ago, two to three years ago, I woke up one morning and I understood that I really loved what I was doing. And it had changed. It had changed. And seeing so many families happy and so many people visiting and seeing... How many young professionals or students started to work with us and then you see them leaping? I think that this is the most beautiful thing on earth. It's very empowering. So right now I'm in this situation where I am so grateful for this entire six years, even if they started in a way that was very, very heavy. But, you know, the Latins used to say 'per aspera ad astra.' It means... 'towards the stars through the asperities.' And so we need to go through that thing, that tunnel.Paul Marden: Absolutely. Now, as if founding your own parks wasn't enough, you also mix your time as a professor at the university. I can hear from what you were talking about, about bringing the young professionals into the park, that there's an element to you of apprenticeship almost, of teaching that next cohort of people that are going to come and take over the world.Paul Marden: How exciting is that for you to be able to mix that in at the university?Massimiliano Freddi: It's fantastic. It's fantastic. And again, it came out of passion. It came out. I didn't do a PhD after my university. My career wasn't supposed to be the academic one. And I didn't trust I would be able to do that. And then I got called for a lecture, then two lectures, and three lectures. And then, right now, I have several courses at university.Massimiliano Freddi: There's a point. The point is that, if we meet between our age of 14, 14, 15, until our 25, and if we narrow it down, it's between maybe 16 and 22, this is the moment in which it's more important to meet some mentors. And most of us don't meet mentors. They meet nice people around them, giving them very nice advice based on their experience and not seeing the talents they have in front of them. And in several cases, we are scared. We think that we are not enough. And so I really think that it's such a huge privilege for me to be able to be at university and to meet so many hundreds of students every year and to try to make my small impact so that, first of all, they can believe in themselves and they can believe that the world can be a better place, even if right now it's kind of a tough moment. But from tough moments, again, we can learn things.Massimiliano Freddi: Even at IAAPA, one of the things that I really am passionate more about is what are the spaces we can create for young professionals and students. So I want to give two very short examples. The IAAPA Foundation has evolved a lot over the last few years. We were able to collect so many more donations.Massimiliano Freddi: And now, this year, it will be a record-breaking year when it comes to scholarships to which students can apply in universities around the globe. So I think that's... But to me and to all of us in the board of the IAAPA Foundation, that's like the starting point. We are here celebrating because it's a big achievement and then we look each other in the eyes and say, 'Okay, now what's next?' Now, how can we make sure that the impact is even bigger? And if we go on the side of IAAPA, I think we are very... We pay a lot of attention to make sure that the membership fees are very low for the people entering. The word of leisure. Just a few weeks ago, it got launched on the IAAPA job board that whoever has a company and wants to post an internship, that's free to post. So that, you know, there could be thousands of internships available for students.Massimiliano Freddi: Of course, as a big association, we are used to talk to members and maybe older members because we visit facilities and we visit manufacturers and we need to deal with safety and stuff. But students and young professionals are not on the back of my head. They are like near and dear to my heart. And so my real question is: when this year ends in a couple of months, how can I dedicate myself even more to contribute to young people? Because I think that they are making a change. They will make a change. And we are learning so much from them because the work we are leaving you and me right now. I have bad news. It's no longer our world. We don't have the code to decode that. So we don't have the keys. We can just support people that are better than us and make sure that they can live, that they can teach, that they can learn.  That's a bit of what I see.Paul Marden: I completely agree with you. I think it's interesting because you talk about what you're giving, but you're also getting something back. This is not entirely altruistic, is it? The support that you're giving for these young people and early career professionals, you're getting something back, enriching yourself and learning new things from them.Massimiliano Freddi: Always, always. And I think that, you know, I don't always teach. Market leisure marketing and stuff— you know, I teach marketing at a at a Master's Degree in Management of Beauty and Wellness, total different industry, you know, food and wine. As I was telling, but what I bring home every time is how much young people need to feel seen and, and this is truly important because if we create for them not a safe zone, because of course we want them to get messy. We want them to take risks, but they need to feel safe as humans and they need to feel safe as seen. And so I appreciate a lot this because then the energy that I... And you know, when we talk about IAAPA, we have so many ambassadors that have been contributing to the IAAPA trade shows and events all over the globe. We have young people joining the committees.Massimiliano Freddi: Right now, there are a few, more than a few young professional task forces around the globe that are really helping us, old people, to understand what they need. So I think that we are at the very beginning. And if I could say a dream out loud, I wish that IAAPA in five or ten years, maybe in five years, can multiply the number of young engaged people in the association by 100. 10 is not enough. 20 is by 100. We need to make an impact. And I think we want to make an impact. So hopefully.Paul Marden: Well, there's an ambition for you. And I think every... worthwhile project— every it always starts with that kind of ambitious goal— at the very beginning of it you need to be driven by that  hundred times impact not the 10 times impact we we always like to finish our interviews with a book recommendation, fiction, non-fiction, industry-related or not, give us a view uh into your reading habits, okay, so can I mention more than one book? You bankrupt me because I always offer the book recommendation as a prize for people, but you can have more than one.Massimiliano Freddi: Okay. Okay. Thank you because I'm a big reader. So the first author that I would love to mention is J. K. Rowling because Harry Potter is not just a story of a kid or of magic, but it's a story of a woman who was a bit desperate. And then... She followed what she was feeling. She allowed her emotions to flow. And she has created a masterpiece. And she has impacted us all, you know, no matter business-related, non-business-related, and so on. So I think that, to read again, the first Harry Potter book, it's very important because it brings us back to some reason why, you know, and to some things. The second book that I would love to mention is a book written by Seth Godin. I have had the privilege to work for Seth for several years.Paul Marden: Really?Massimiliano Freddi: And yeah, he's an amazing guy. He's an amazing guy. And come on, he's such a generous person and he's amazing.Massimiliano Freddi: I don't have any other words that's amazing. He wrote a book maybe 10 years ago, 15 years ago called Linchpin. And Linchpin is not his most famous book, but it's the book that changed my life because it really nudges you. In a gentle and not so gentle way sometimes. No, I'm saying in a gentle way. It nudges you to don't set for what you have, but to see your inner talents and to innovate and to be creative, be generous, and so on. So, Linchpin to me is the book that changed it all for me. So, I think that everybody, young, less young, everybody should read once in a lifetime.Paul Marden: I feel like I need to go and read this because that is one Seth Godin book I have not read. So there we go. Listeners, if you would like a copy of Linchpin, then the first person that heads over to LinkedIn and reposts our show notice and says, 'I want Massimiliano's book' and can spell Massimiliano correctly, will have a copy of the book sent to them. We've got IAAPA Europe taking place next week in Barcelona.Paul Marden: And we have a very special Skip the Queue announcement. We are going to be hitting the show floor on a daily basis. We are going to go live for daily episodes of Skip the Queue from the show floor. We're going to be talking to operators about what their challenges are like. Finding out what new supplier announcements are coming out. And the Skip the Queue team is going to be feverishly working away. We'll be recording during the day and Steve and Wenalyn will be editing and producing through the night, ready to post the show the following morning. So I'm very excited about that.Massimiliano Freddi: And I think we are super excited to have you guys on the trade show floor. And I recommend... Of course, visiting it, making the most out of it, and don't underestimate the fantastic education sessions that take place. There is a strong lineup of speakers that will impact the way that the industry will be in a few years. So, great opportunity.Paul Marden:  How's that for a trailer? That sounds amazing. Massimilliano, it really has been a pleasure to talk to you.Massimiliano Freddi: Thank you so much, Paul, for me as well. And see you in Barcelona.Paul Marden: Yes, how exciting. Looking forward to it.Paul Marden: Remember, if you'd like a copy of today's book, head over to LinkedIn and repost our show notice saying, 'I want a copy of Massimiliano's book.' If you've enjoyed this episode, please leave a review on your podcasting platform. It really helps people to find the show. If you didn't enjoy it, or you've got ideas about how we could improve the show, then let us know at hello@skipthequeue.fm. My thanks to Massimiliano and his team at IAAPA for their help with this episode. Skip The Queue is brought to you by Rubber Cheese, the digital agency that creates amazing websites for ambitious visitor attractions. This episode was written by Emily Burrows, produced by Wenalyn Dionaldo and edited by Steve Folland. To Skip the Queue team, also includes Sami Entwistle, Sinead Kimberley, Claire Furnival, and Andy Povey. The 2025 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsTake the Rubber Cheese Visitor Attraction Website Survey Report

On est de retour pour une nouvelle saison! On débute avec des reviews en vrac des parcs qu'on a visité cet été!On a hâte de lire vos commentaires sur cet épisode! Interagissez avec nous sur:InstagramBlueskyThreadsFacebookTwitter Merci pour votre écoute!

Aug. 22-28: Scott Bakula is a magic detective, Patricia Arquette and Owen Wilson are both in danger in Southeast Asia, an internet remix goes to Isengard, Matt Damon and Heath Ledger fight fairy tales, Peppa Pig warms our hearts, spooky caves are spooky, Narcos and Fear the Walking Dead debut, and like all men, we talk about Rome way too much. All that and more from 30, 20, and 10 years ago.

Ed Sheeran sits down with iHeartRadio Canada’s Shannon Burns to chat about his new album PLAY, balancing new and old songs on tour and what songs from Play have already become his and fan favourites! Ed Sheeran gives Shannon a list of some of his favourite films of all time - and why he's mostly done with spending hours watching TV shows these days - and gives his thoughts about Bluey vs. Peppa Pig! Ed Sheeran talks about exploring the world and incorporating many musical cultures with this new release. Ed explains the differences between an album like 'Subtract' and how the promotion for this album is so much more upbeat! Ed Sheeran chats about working with Rupert Grint and wearing the dress in the video for 'A Little More'. He shares with his fans what this next chapter means to him & what they can expect from him - including the announcement that REWIND is almost done! Ed Sheeran expresses his deep admiration of Pharrell , and how the times they worked together in the studio helped open up his mind to creating new sounds in his music. He opens up about his daughter inspiring his music and the ways seeing her grow up influences him now. Ed Sheeran dishes on five things that he can’t live without - and 5 things that really GRIND HIS GEARS. Finally, Ed Sheeran tells his Canadian fans why he loves them so much! Ed Sheeran the album ‘Play', things he can't live without & almost falling into a VOLCANO?! #edsheeran #play #edsheeranlive

Hey, friend. I'm pulling an amazing episode from the archives with over 400 episodes here on the Proof to Product podcast. There is a gold mine of information for you to help you grow your business, and, frankly, it can be hard to take it all in. Today's episode is a look back at an interview I did with Paper Camp alum Ashley Sutton of Hustle and Hope on the topic of grants. A lot of grants for small businesses are due during the fall season so we thought this was a perfect time to reair this episode. Ashley is a corporate gal turned entrepreneur. Her career began with marketing and developing the perfect shade of lipstick for Avon to creating buzzworthy toys at Mattel and crafting unforgettable marketing campaigns for leading TV shows for children such as Peppa Pig and PJ Masks. She's also creating the number one best-selling marketing campaigns for authors at Penguin Random House.  As a stationery lover and a consumer products professional, her goal was to channel her career experience into a product with purpose, and that is how she founded Hustle and Hope. The first 2 in one motivational greeting card company that includes free digital guides with every single card. A certified minority and certified woman-owned business, Hustle and Hope has retail placement at Buy Buy Baby, World Market, HomeGoods, Amazon, and over 45 other shops across the US. Today, Ashley shares Hustle and Hope's origin story. She talks about her experience participating in the Target Accelerator program, and we talk about how she's been utilizing grants for her business, including how she got started applying for grants, what she looks for, and how these grants have benefited her business. She also shares resources in case you want to get started applying for grants for your business. Today's episode is sponsored by our Unlock Buyer Secrets Interview series. To make a strong first impression with wholesale buyers, we need to do a few things really well: We need to make it easy for stores to purchase from us We need to have clear pricing and terms & conditions We need to clearly communicate and add value at each touchpoint We need to focus on building strong relationships with our customers. And all of this becomes infinitely easier when we actively listen to our customers. This on-demand interview series will give you a competitive edge by providing an exclusive window into what buyers want and need from you. And, the best part, it's only $27 bucks.  Get Access to the Unlock Buyer Secrets Interview Series

This is a rerelease of our 2021 episode. In 2017, YouTube Kids was embroiled in a major scandal when it was discovered that a dark underbelly of inappropriate cartoons, computer animations, and live action videos were lurking just under the surface of the supposedly safeguarded app. With themes of injections, sexuality, violence, scatology, and much more, we will explore these bizarre, uncanny valley videos made by mysterious content creators using low-budget methods and popular characters like Elsa, Spiderman, Peppa Pig, and Shrek in order to generate clicks. But is that their only goal? Some believe in a larger conspiracy to harm our children, but one thing is for sure: our algorithms are out of control. Get some of our new merch at ⁠americanhysteria.com⁠, all profits this month go to The Sameer Project, a Palestinian-led mutual aid group who are on the ground in Gaza delivering food, supplies, and cash envelops to displaced families. Instagram: ⁠⁠@AmericanHysteriaPodcast⁠⁠ ⁠Become a Patron⁠⁠⁠⁠ to support our show and get early ad-free episodes and bonus content Or subscribe to American Hysteria on ⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠ Leave us a message on our Urban Legends Hotline at ⁠⁠⁠⁠americanhysteria.com⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

China has one of the world's most sophisticated internet censorship systems - it's so extensive that it's been nicknamed ‘The Great Firewall of China'. Many Western websites, such as Google or WhatsApp, are shut off to Chinese Internet users, while Chinese equivalents like Baidu and WeChat are popular instead. Blockbuster films like Top Gun Maverick have been edited, celebrities like Lady Gaga are taboo and even Peppa Pig has been censored.So, what is the Chinese government trying to achieve with internet censorship? And in an increasingly globalised world, how are they managing to filter out the information they don't want people to know? Shawn Yuan from the BBC's Global China Unit explains how the ‘Great Firewall' works - and what it tells us about the relationship between the government and citizens in China.Instagram: @bbcwhatintheworld Email: whatintheworld@bbc.co.uk WhatsApp: +44 330 12 33 22 6 Presenter: Hannah Gelbart Producers: Julia Ross-Roy and Chelsea Coates Video Journalist: Baldeep Chahal Editor: Verity Wilde

You're listening to Burnt Toast! Today, my guest is Ash Brandin of Screen Time Strategies, also know as The Gamer Educator on Instagram. Ash is also the author of a fantastic new book, Power On: Managing Screen Time to Benefit the Whole Family. Ash joined us last year to talk about how our attitudes towards screen time can be…diet-adjacent. I asked them to come back on the podcast this week because a lot of us are heading into back-to-school mode, which in my experience can mean feelingsss about screen routines. There are A LOT of really powerful reframings in this episode that might blow your mind—and make your parenting just a little bit easier. So give this one a listen and share it with anyone in your life who's also struggling with kids and screen time.Today's episode is free but if you value this conversation, please consider supporting our work with a paid subscription. Burnt Toast is 100% reader- and listener-supported. We literally can't do this without you! PS. You can take 10 percent off Power On, or any book we talk about on the podcast, if you order it from the Burnt Toast Bookshop, along with a copy of Fat Talk! (This also applies if you've previously bought Fat Talk from them. Just use the code FATTALK at checkout.)Episode 208 TranscriptVirginiaFor anyone who missed your last episode, can you just quickly tell us who you are and what you do?AshI'm Ash Brandin. I use they/them pronouns.I am a middle school teacher by day, and then with my online presence, I help families and caregivers better understand and manage all things technology—screen time, screens. My goal is to reframe the way that we look at them as caregivers, to find a balance between freaking out about them and allowing total access. To find a way that works for us. VirginiaWe are here today to talk about your brilliant new book, which is called Power On: Managing Screen Time to Benefit the Whole Family. I can't underscore enough how much everybody needs a copy of this book. I have already turned back to it multiple times since reading it a few months ago. It just really helps ground us in so many aspects of this conversation that we don't usually have.AshI'm so glad to hear that it's helpful! If people are new to who I am, I have sort of three central tenets of the work that I do: * Screen time is a social inequity issue. * Screens can be part of our lives without being the center of our lives. * Screens and screen time should benefit whole families.Especially in the last few years, we have seen a trend toward panic around technology and screens and smartphones and social media. I think that there are many reasons to be concerned around technology and its influence, especially with kids. But what's missing in a lot of those conversations is a sense of empowerment about what families can reasonably do. When we focus solely on the fear, it ends up just putting caregivers in a place of feeling bad.VirginiaYou feel like you're getting it wrong all the time.AshShame isn't empowering. No one is like, “Well, I feel terrible about myself, so now I feel equipped to go make a change,” right?Empowerment is what's missing in so many of those conversations and other books and things that have come out, because it's way harder. It's so much harder to talk about what you can really do and reasonably control in a sustainable way. But I'm an educator, and I really firmly believe that if anyone's in this sort of advice type space, be it online or elsewhere, that they need to be trying to empower and help families instead of just capitalizing on fear.VirginiaWhat I found most powerful is that you really give us permission to say: What need is screen time meeting right now? And this includes caregivers' needs. So not just “what need is this meeting for my child,” but what need is this meeting for me? I am here recording with you right now because iPads are meeting the need of children have a day off school on a day when I need to work. We won't be interrupted unless I have to approve a screen time request, which I might in 20 minutes.I got divorced a couple years ago, and my kids get a lot more screen time now. Because they move back and forth between two homes, and each only has one adult in it. Giving myself permission to recognize that I have needs really got me through a lot of adjusting to this new rhythm of our family.AshAbsolutely. And when we're thinking about what the need is, we also need to know that it's going to change. So often in parenting, it feels like we have to come up with one set of rules and they have to work for everything in perpetuity without adjustment. That just sets us up for a sense of failure if we're like, well, I had this magical plan that someone told me was going to work, and it didn't. So I must be the problem, right? It all comes back to that “well, it's my fault” place.VirginiaWhich is screens as diet culture.AshAll over again. We're back at it. It's just not helpful. If instead, we're thinking about what is my need right now? Sometimes it's “I have to work.” And sometimes it's “my kid is sick and they just need to relax.” Sometimes it's, as you were alluding to earlier, it's we've all just had a day, right? We've been run ragged, and we just need a break, and that need is going to dictate very different things. If my kid is laid up on the couch and throwing up, then what screen time is going to be doing for them is very different than If I'm trying to work and I want them to be reasonably engaged in content and trying to maybe learn something. And that's fine. Being able to center “this is what I need right now,” or “this is what we need right now,” puts us in a place of feeling like we're making it work for us. Instead of feeling like we're always coming up against some rule that we're not going to quite live up to.VirginiaI'd love to talk about the inequity piece a little more too. As I said, going from a two parent household to a one parent household, which is still a highly privileged environment—but even just that small shift made me realize, wait a second. I think all the screen time guidance is just for typical American nuclear families. Ideally, with a stay at home parent.So can you talk about why so much of the standard guidance doesn't apply to most of our families?AshIt's not even just a stay at home parent. It's assuming that there is always at least one caregiver who is fully able to be present. Mom, default parent, is making dinner, and Dad is relaxing after work and is monitoring what the kids are doing, right? And it's one of those times where I'm like, have you met a family?VirginiaPeople are seven different places at once. It's just not that simple.AshIt's not that simple, right? It's like, have you spent five minutes in a typical household in the last 10 years? This is not how it's going, right?So the beginning of the book helps people unlearn and relearn what we may have heard around screens, including what research really does or doesn't say around screens, and this social inequity piece. Because especially since the onset of COVID, screens are filling in systemic gaps for the vast majority of families.I'm a family with two caregivers in the home. We both work, but we're both very present caregivers. So we're definitely kind of a rarity, that we're very privileged. We're both around a lot of the time. And we are still using screens to fill some of those gaps.So whether it's we don't really have a backyard, or people are in a neighborhood where they can't send their kids outside, or they don't have a park or a playground. They don't have other kids in the neighborhood, or it's not a safe climate. Or you live in an apartment and you can't have your neighbors complain for the fifth time that your kids are stomping around and being loud. Whatever it is—a lack of daycare, affordable after school care —those are all gaps. They all have to be filled. And we used to have different ways of filling those gaps, and they've slowly become less accessible or less available. So something has to fill them. What ends up often filling them is screens. And I'm not saying that that's necessarily a good thing. I'd rather live in a world in which everyone is having their needs met accessibly and equitably. But that's a much harder conversation, and is one that we don't have very much say in. We participate in that, and we might vote for certain people, but that's about all we can really do reasonably. So, in the meantime, we have to fill that in with something and so screens are often going to fill that in.Especially if you look at caregivers who have less privilege, who are maybe single caregivers, caregivers of color, people living in poverty—all of those aspects of scarcity impacts their bandwidth. Their capacity as a caregiver is less and spread thinner, and all of that takes away from a caregiver's ability to be present. And there were some really interesting studies that were done around just the way that having less capacity affects you as a caregiver.And when I saw that data, I thought, well, of course. Of course people are turning to screens because they have nothing else to give from. And when we think of it that way, it's hard to see that as some sort of personal failure, right? When we see it instead as, oh, this is out of necessity. It reframes the question as “How do I make screens work for me,” as opposed to, “I'm bad for using screens.”VirginiaRight. How do I use screen time to meet these needs and to hopefully build up my capacity so that I can be more present with my kids? I think people think if you're using a lot of screens, you're really never present. It's that stereotype of the parent on the playground staring at their phone, instead of watching the kid play. When maybe the reason we're at the playground is so my kid can play and I can answer some work emails. That doesn't mean I'm not present at other points of the day.AshOf course. You're seeing one moment. I always find that so frustrating. It just really feels like you you cannot win. If I were sitting there staring at my child's every move in the park, someone would be like, “you're being a helicopter,” right? And if I look at my phone because I'm trying to make the grocery pickup order—because I would rather my child have time at the playground than we spend our only free hour in the grocery store and having to manage a kid in the grocery store and not having fun together, right? Instead I'm placing a pickup order and they're getting to run around on the playground. Now also somehow I'm failing because I'm looking at my phone instead of my kid. But also, we want kids to have independent time, and not need constant input. It really feels like you just can't win sometimes. And being able to take a step back and really focus on what need is this meeting? And if it's ours, and if it is helping me be more present and connected, that's a win. When I make dinner in the evening, my kid is often having screen time, and I will put in an AirPod and listen to a podcast, often Burnt Toast, and that's my decompression. Because I come home straight from work and other things. I'm not getting much time to really decompress.VirginiaYou need that airlock time, where you can decompress and then be ready to be present at dinner.I'm sure I've told you this before, but I reported a piece on screen time for Parents Magazine, probably almost 10 years ago at this point, because I think my older child was three or four. And I interviewed this Harvard researcher, this older white man, and I gave him this the dinner time example. I said, I'm cooking dinner. My kid is watching Peppa Pig so that I can cook dinner, and take a breath. And then we eat dinner together. And he said, “Why don't you involve her in cooking dinner? Why don't you give her a bag of flour to play with while you cook dinner?”AshOf all the things!VirginiaAnd I said to him: Because it's 5pm on a Wednesday and who's coming to clean the flour off the ceiling?AshA bag of flour. Of all the things to go to! VirginiaHe was like, “kids love to make a happy mess in the kitchen!” I was like, well I don't love that. And it was just exactly that. My need didn't matter to him at all. He was like, “h, well, if you just want to pacify your children…” I was like, I do, yes, in that moment.AshWell, and I think that's another part of it is that someone says it to us like that, and we're like, “well, I can't say yes,” right? But in the moment, yeah, there are times where it's like, I need you to be quiet. And as hard as this can be to think, sometimes it's like right now, I need you to be quiet and convenient because of the situation we're in. And that doesn't mean we're constantly expecting that of them, and hopefully that's not something we're doing all the time. But if the need is, oh my God, we're all melting down, and if we don't eat in the next 15 minutes, we're going to have a two hour DEFCON1 emergency on our hands, then, yeah, I'm gonna throw Peppa Pig on so that we can all become better regulated humans in the next 15 minutes and not have a hungry meltdown. And that sounds like a much better alternative to me!VirginiaThan flour all over my kitchen on a Wednesday, right? I mean, I'll never not be mad about it. It's truly the worst parenting advice I've ever received. So thank you for giving us all more space as caregivers to be able to articulate our own needs and articulate what we need to be present. It's what we can do in the face of gaps in the care system that leave us holding so much.That said: I think there are some nitty gritty aspects of this that we all struggle wit, so I want to talk about some of the nuts and bolts pieces. One of my biggest struggles is still the question of how much time is too much time? But you argue that time really isn't the measure we should be using. As you're saying, that need is going to vary day to day, and all the guidance that's been telling us, like, 30 minutes at this age, an hour at this age, all of that is not particularly germane to our lives. So can you explain both why time is less what we should fixate on? And then how do I release myself? How do I divest from the screen time diet culture?AshOh man, I wish I had a magic bullet for that one. We'll see what I can do.When I was writing this and thinking about it and making content about it, I kept thinking about you. Because the original time guidelines that everyone speaks back to—they're from the AAP. And they have not actually been used in about 10 years, but people still bring them up all the time. The “no time under two” and “up to an hour up to age five” and “one to two hours, five to 12.” And if you really dig in, I was following footnote after footnote for a while, trying to really find where did this actually come from? It's not based on some study that found that that's the ideal amount of time. It really came from a desire to find this middle ground of time spent being physically idle. These guidelines are about wanting to avoid childhood obesity.VirginiaOf course.AshIt all comes back, right?VirginiaI should have guessed it.AshAnd so in their original recommendations, the AAP note that partially this is to encourage a balance with physical movement. Which, of course, assumes that if you are not sitting watching TV or using an iPad, that you will be playing volleyball or something.VirginiaYou'll automatically be outside running around.AshExactly, of course, those are the only options.VirginiaIt also assumes that screen time is never physical. But a lot of kids are very physical when they're watching screens.AshExactly. And it, of course, immediately also imposes a morality of one of these things is better—moving your body is always better than a screen, which is not always going to be true, right? All these things have nuance in them. But I thought that was so interesting, and it shouldn't have surprised me, and yet somehow it still did. And of course it is good to find movement that is helpful for you and to give your kids an enjoyment of being outside or moving their bodies, or playing a sport. And putting all of that in opposition to something else they may enjoy, like a screen, really quickly goes to that diet culture piece of “well, how many minutes have you been doing that?” Because now we have to offset it with however many minutes you should be running laps or whatever.So those original recommendations are coming from a place of already trying to mitigate the negatives of sitting and doing something sort of passively leisurely. And in the last 10 years, they've moved away from that, and they now recommend what's called making a family media plan. Which actually I think is way better, because it is much more prioritizing what are you using this for? Can you be doing it together? What can you do? It's much more reasonable, I think. But many people still go back to those original recommendations, because like you said, it's a number. It's simple. Just tell me.VirginiaWe love to grab onto a number and grade ourselves.AshJust tell me how much time so that I can tell myself I'm I'm doing a good job, right? But you know, time is just one piece of information. It can be so specific with what am I using that time to do? If I'm sitting on my computer and doing work for an hour and a half, technically, that is screen time, but it is going to affect me a lot differently than if I'm watching Netflix or scrolling my phone for an hour and a half. I will feel very different after those things. And I think it's really important to be aware of that, and to make our kids aware of that from an early age, so that they are thinking about more than just, oh, it's been X amount of minutes. And therefore this is okay or not okay.Because all brains and all screens are different. And so one kid can watch 20 minutes of Paw Patrol, and they're going to be bouncing off the walls, because, for whatever reason, that's just a show that's really stimulating for them. And somebody else can sit and watch an hour and a half of something, and they'll be completely fine. So if you have a kid that is the first kid, and after 20 minutes, you're like, oh my god, it's not even half an hour. This is supposed to be an okay amount. This is how they're acting. We're right back to that “something's wrong. I'm wrong. They're bad,” as opposed to, “What is this telling me? What's something we could do differently? Could we try a different show? Could we try maybe having some physical movement before or after, see if that makes a difference?” It just puts us more in a place of being curious to figure out again, how do I make this work for me? What is my need? How do I make it work for us?And not to rattle on too long, but there was a big study done in the UK, involving over 120,000 kids. And they were trying to find what they called “the Goldilocks amount of time.”VirginiaYes. This is fascinating.AshSo it's the amount of time where benefit starts to wane. Where we are in that “just right”amount. Before that, might still be okay, but after that we're going to start seeing some negative impacts, particularly when it comes to behavior, for example.What they found in general was that the Goldilocks number tended to be around, I think, an hour and 40 minutes a day. Something around an hour and a half a day. But if you looked at certain types of screens, for computers or TV, it was much higher than that. It was closer to three hours a day before you started seeing some negative impacts. And even for things like smartphones, it was over an hour a day. But what I found so so interesting, is that they looked at both statistical significance, but also what they called “minimally important difference,” which was when you would actually notice these negative changes, subjectively, as a caregiver.So this meant how much would a kid have to be on a screen for their adult at home to actually notice “this is having an impact on you,” regularly. And that amount was over four and a half hours a day on screens.VirginiaBefore caregivers were like, “Okay, this is too much!” And the fact that the statistically significant findings for the minutia of what the researchers looking at is so different from what you as a caregiver are going to actually be thrown by. That was really mind blowing to me.AshRight, And that doesn't mean that statistical significance isn't important, necessarily. But we're talking about real minutiae. And that doesn't always mean that you will notice any difference in your actual life.Of course, some people are going to hear this and go, “But I don't want my kid on a screen for four and a half hours.” Sure. That's completely reasonable. And if your kid is having a hard time after an hour, still reasonable, still important. That's why we can think less about how many minutes has it been exactly, and more, what am I noticing? Because if I'm coming back to the need and you're like, okay, I have a meeting and I need an hour, right? If you know, “I cannot have them use their iPad for an hour, because they tend to become a dysregulated mess in 25 minutes,” that's much more useful information than “Well, it says they're allowed to have an hour of screen time per day so this should be fine because it's an hour.”VirginiaRight.AshIt sets you up for more success.VirginiaAnd if you know your kid can handle that hour fine and can, in fact, handle more fine, it doesn't mean, “well you had an hour of screen time while I was in a meeting so now we can't watch a show together later to relax together.” You don't have to take away and be that granular with the math of the screens. You can be like, yeah, we needed an extra hour for this meeting, and we'll still be able to watch our show later. Because that's what I notice with my kids. If I start to try to take away from some other screen time, then it's like, “Oh, god, wait, but that's the routine I'm used to!” You can't change it, and that's fair.AshYes, absolutely. And I would feel that way too, right? If someone were giving me something extra because it was a convenience to them, but then later was like, “oh, well, I have to take that from somewhere.” But they didn't tell me that. I would be like, Excuse me, that's weird. That's not how that works, right? This was a favor to you, right?VirginiaYeah, exactly. I didn't interrupt your meeting. You're welcome, Mom.Where the time anxiety does tend to kick in, though, is that so often it's hard for kids to transition off screens. So then parents think, “Well, it was too much time,” or, “The screen is bad.” This is another very powerful reframing in your work. So walk us through why just because a kid is having a hard time getting off screens doesn't mean it was too much and it doesn't mean that screens are evil? AshSo an example I use many times that you can tweak to be whatever thing would come up for your kid is bath time. I think especially when kids are in that sort of toddler, three, four age. When my kid was that age, we had a phase where transitioning to and from the bathtub was very hard. Getting into it was hard. But then getting out of it was hard.VirginiaThey don't ever want to get in. And then they never want to leave.AshThey never want to get out, right? And in those moments when my kid was really struggling to get out of the bathtub, imagine how it would sound if I was like, “Well, it it's the bathtub's fault.” Like it's the bath's fault that they are having such a hard time, it's because of the bubbles, and it smells too good, and I've made it too appealing and the water's too warm. Like, I mean, I sound unhinged, right?Virginia“We're going to stop bathing you.”AshExactly. We would not say, “Well, we can't have baths anymore.” Or when we go to the fun playground, and it's really hard to leave the fun playground, we don't blame the playground. When we're in the grocery store and they don't want to leave whichever aisle, we don't blame the grocery store. And we also don't stop taking them to the grocery store. We don't stop going to playgrounds. We don't stop having baths. Instead, we make different decisions, right? We try different things. We start a timer. We have a different transition. We talk about it beforehand. We strategize, we try things.VirginiaGive a “Hey, we're leaving in a few minutes!” so they're not caught off guard.AshExactly. We talk about it. Hey, last time it was really hard to leave here, we kind of let them know ahead of time, or we race them to the car. We find some way to make it more fun, to make the transition easier, right? We get creative, because we know that, hey, they're going to have to leave the grocery store. They're going to have to take baths in a reasonable amount of time as they grow up into their lives. We recognize the skill that's happening underneath it.And I think with screens, we don't always see those underlying skills, because we see it as this sort of superfluous thing, right? It's not needed. It's not necessary. Well, neither is going to a playground, technically.A lot of what we do is not technically required, but the skill underneath is still there. So when they are struggling with ending screen time, is it really the screen, or is it that it's hard to stop doing something fun. It's hard to stop in the middle of something. It's hard to stop if you have been playing for 20 minutes and you've lost every single race and you don't want to stop when you've just felt like you've lost over and over again, right? You want one more shot to one more shot, right?People are going to think, “Well, but screens are so much different than those other things.” Yes, a screen is designed differently than a playground or a bath. But we are going to have kids who are navigating a technological and digital world that we are struggle to even imagine, right? We're seeing glimpses of it, but it's going to be different than what we're experiencing now, and we want our kids to be able to navigate that with success. And that comes back to seeing the skills underneath. So when they're struggling with something like that, taking the screen out of it, and asking yourself, how would I handle this if it were anything else. How would I handle this if it were they're struggling to leave a friend's house? I probably wouldn't blame the friend, and I wouldn't blame their house, and I wouldn't blame their boys.VirginiaWe're never seeing that child again! Ash I would validate and I would tell them, it's hard. And I would still tell them “we're ending,” and we would talk about strategies to make it easier next time. And we would get curious and try something, and we would be showing our kids that, “hey, it's it's okay to have a hard time doing that thing. It's okay to have feelings about it. And we're still gonna do it. We're still going to end that thing.”Most of the time, the things that we are struggling with when it comes to screens actually boil down to one of three things, I call them the ABCs. It's either Access, which could be time, or when they're having it, or how much. Behavior, which you're kind of bringing up here. And Content, what's on the screen, what they're playing, what they what they have access to.And so sometimes we might think that the problem we're seeing in front of us is a behavior problem, right? I told them to put the screen away. They're not putting the screen away. That's a behavior problem. But sometimes it actually could be because it's an access issue, right? It's more time than they can really handle at that given moment. Or it could be content, because it's content that makes it harder to start and stop. So a big part of the book is really figuring out, how do I know what problem I'm even really dealing with here? And then what are some potential things that I can do about it? To try to problem solve, try to make changes and see if this helps, and if it helps, great, keep it. And if not, I can get curious and try something else. And so a lot of it is strategies to try and ways to kind of, you know, backwards engineer what might be going on, to figure out how to make it work for you, how to make it better.VirginiaIt's so helpful to feel like, okay, there's always one more thing I can tweak and adjust. Versus “it's all a failure. We have to throw it out.” That kind of all or nothing thinking that really is never productive. The reason I think it's so helpful that you draw that parallel with the bath or the play date is it reminds us that there are some kids for whom transitions are just always very difficult—like across the board. So you're not just seeing a screen time problem. You're being reminded “My kid is really building skills around transitions. We don't have them yet.” We hope we will have them at some point. But this is actually an opportunity to work on that, as opposed to a problem. We can actually practice some of these transition skills.AshAnd I really like coming back to the skill, because if we're thinking of it as a skill, then we're probably more likely to tell our kids that it's a skill, too. Because if we're just thinking of it as like, well, it's a screen. It's the screen's fault, it's the screen's fault. Then we might not say those literal words to our kids, but we might say, like, it's always so hard to turn off the TV. Why is that, right? We're talking about it as if it's this sort of amorphous, like it's only about the television, or it's only about the iPad, and we're missing the part of making it clear to our kids that, hey, this is a skill that you're working on, and we work on this skill in different ways.VirginiaI did some good repair with my kids after reading your book. Because I was definitely falling into the trap of talking about screen addiction. I thought I was saying to them, “It's not your fault. The screens are programmed to be bad for us in this way” So I thought, I was like at least not blaming them, but being like, we need less screens because they're so dangerous.But then I read your book, and I was like, oh, that's not helpful either. And I did have one of my kids saying, “Am I bad because I want to watch screens all the time?” And I was like, oh, that's too concrete and scary.And again, to draw the parallel with diet culture: It's just like telling kids sugar is bad, and then they think they're bad because they like sugar. So I did do some repair. I was like, “I read this book and now I've learned that that was not right.” They were like, oh, okay. We're healing in my house from that, so thank you.AshOh, you're very welcome, and I'm glad to hear that!I think about those parallels with food all the time, because sometimes it just helps me think, like, wait, would I be wanting to send this message about food or exercise or whatever? And if the answer is no, then how can I tweak it so that I'm sending a message I'd be okay with applying to other things. And I like being able to make those parallels with my kid. In my household right now, we're practicing flexibility. Flexibility is a skill that we're working on in so many parts of our lives. And when I say we, I do mean we. Me, everybody is working on this.VirginiaParents can use more flexibility, for sure.AshAbsolutely. And so like, when those moments are coming up, you know, I'm trying to say, like, hey, like, what skill is this right now? Who's having to be flexible right now? Flexible can be a good thing, right? We might be flexible by saying yes to eating dinner on the couch and watching a TV show. That's flexibility. Flexibility isn't just adjust your plans to be more convenient to me, child, so that I can go do something as an adult. And coming back to those skills so they can see, oh, okay, this isn't actually just about screens. This applies to every part of these of my life, or these different parts of my life, and if I'm working on it here, oh, wow, it feels easier over there. And so they can see that this applies throughout their life, and kind of feel more of that buy in of like, oh, I'm getting better at that. Or that was easier. That was harder. We want them to see that across the board.VirginiaOh, my God, absolutely.Let's talk about screens and neurodivergence a little bit. So one of my kiddos is neurodivergent, and I can both see how screens are wonderful for them at the end of a school day, when they come home and they're really depleted. Screen time is the thing they need to rest and regulate. And they love the world building games, which gives them this whole world to control and explore. And there's so much there that's wonderful.And, they definitely struggle more than their sibling with this transition piece, with getting off it. One kid will naturally put down the iPad at some point and go outside for a bit, and this kid will not. And it creates more anxiety for parents. Because neurodivergent kids may both need screens—in ways that maybe we're not totally comfortable with, but need to get comfortable with—and then struggle with the transition piece. So how do you think about this question differently with neurodivergence? Or or is it really the same thing you're just having to drill in differently?AshI think it is ultimately the same thing, but it certainly is going to feel quite more heightened. And I think especially for certain aspects of neurodivergence, especially, I think it feels really heightened because of some of the ways that they might be discussed, particularly online, when it comes to how they relate to technology. I think about ADHD, we'll see that a lot. Where I'll see many things online about, like, “kids with ADHD should never be on a screen. They should never be on a device, because they are so dopamine-seeking.” And I have to just say that I find that to be such an ableist framing. Because with ADHD, we're talking about a dopamine deficient brain. And I don't think that we would be having that same conversation about someone needing insulin, right? Like, we wouldn't be saying, like, oh yeah, nope, they can't take that insulin. VirginiaThey're just craving that insulin they need to stay alive.AshA kid seeking a thing that they're that they are somehow deficient in—that's not some sort of defiant behavior. VirginiaNo, it's a pretty adaptive strategy.AshAbsolutely, it is. And we want kids to know that nobody's brain is good or bad, right? There's not a good brain or a bad brain. There are all brains are going to have things that are easier or harder. And it's about learning the brain that you're in, and what works or doesn't work for the brain that you're in.And all brains are different, right? Neurotypical brains and neurodivergent brains within those categories are obviously going to be vastly different. What works for one won't work for another, and being able to figure out what works for them, instead of just, “because you have this kind of brain, you shouldn't ever do this thing,” that's going to set them up for more success. And I think it's great that you mentioned both how a screen can be so regulating, particularly for neurodivergent brains, and then the double-edged sword of that is that then you have to stop. VirginiaTransition off back into the world.AshSo if the pain point is a transition, what is it really coming from? Is it coming from the executive function piece of “I don't know how to find a place to stop?” A lot of people, particularly kids ADHD, they often like games that are more open-ended. So they might like something like a Minecraft or an Animal Crossing or the Sims where you can hyperfocus and deep dive into something. But what's difficult about that is that, you know, if I play Mario Kart, the level ends, it's a very obvious ending.VirginiaRight? And you can say, “One more level, and we're done.”AshExactly. We've reached the end of the championship. I'm on the podium. I quit now, right?But there's a never ending series of of tasks with a more open-ended game. And especially if I'm in my hyper focus zone, right? I can just be thinking, like, well, then I can do this and this and this and this and this, right?And I'm adding on to my list, and the last thing I want to do in that moment is get pulled out of it when I'm really feeling like I'm in the zone. So if that's the kind of transition that's difficult. And it's much less about games and more about “how do I stop in the middle of a project?” Because that's essentially what that is.And that would apply if I'm at school and I'm in the middle of an essay and we're finishing it up tomorrow. Or I'm trying to decorate a cake, and we're trying to walk out the door and I have to stop what I'm doing and come back later. So one of the tricks that I have found really helpful is to ask the question of, “How will you know when you're done?” Or how will you know you're at a stopping point? What would a stopping point be today? And getting them to sort of even visualize it, or say it out loud, so that they can think about, “Oh, here's how I basically break down a giant task into smaller pieces,” because that's essentially what that is.VirginiaThat's a great tip. Ash“Okay, you have five minutes. What is the last thing you're going to do today?” Because then it's concrete in terms of, like, I'm not asking the last thing, and it will take you half an hour, right? I'm at, we have five minutes. What's the last thing you're wrapping up? What are you going to do?Then, if it's someone who's very focused in this world, and they're very into that world, then that last thing can also be our transition out of it. As they're turning it off, the very first thing we're saying to them is, “So what was that last thing you were doing?”VirginiaOh, that's nice.AshThen they're telling it to us, and then we can get curious. We can ask questions. We can get a little into their world to help them transition out of that world. That doesn't mean that we have to understand what they're telling us, frankly. It doesn't mean we have to know all the nuance. But we can show that interest. I think this is also really, really important, because then we are showing them it's not us versus the screen. We're not opposing the screen, like it's the enemy or something. And we're showing them, “Hey, I can tell you're interested in this, so I'm interested in it because you are.” Like, I care about you, so I want to know more.VirginiaAnd then they can invite you into their world, which what a lot of neurodivergent kids need. We're asking them to be part of the larger world all the time. And how nice we can meet them where they are a little more.AshAbsolutely. The other thing I would say is that something I think people don't always realize, especially if they don't play games as much, or if they are not neurodivergent and playing games, is they might miss that video games actually are extremely well-accommodated worlds, in terms of accommodating neurodivergence.So thinking about something like ADHD, to go back to that example, it's like, okay, some really common classroom accommodations for ADHD, from the educator perspective, the accommodations I see a lot are frequent check ins, having a checklist, breaking down a large task into smaller chunks, objectives, having a visual organizer.Well, I think about a video game, and it's like, okay, if I want to know what I have available to me, I can press the pause menu and see my inventory at any time. If I want to know what I should be doing, because I have forgotten, I can look at a menu and see, like, what's my objective right now? Or I can bring up the map and it will show me where I supposed to be going. If I start to deviate from what I'm supposed to be doing, the game will often be like, “Hey, don't forget, you're supposed to be going over there!” It'll get me back on task. If I'm trying to make a potion that has eight ingredients, the game will list them all out for me, and it will check them off as I go, so I can visually see how I'm how I'm achieving this task. It does a lot of that accommodation for me. And those accommodations are not as common in the real world, or at least not as easily achieved.And so a lot of neurodivergent kids will succeed easily in these game worlds. And we might think “oh because it's addicting, or the algorithm, or it's just because they love it” But there are often these structural design differences that actually make it more accessible to them.And if we notice, oh, wow, they have no problem knowing what to do when they're playing Zelda, because they just keep checking their objective list all the time or whatever—that's great information.VirginiaAnd helps us think, how can we do that in real life? AshExactly. We can go to them and say, hey, I noticed you, you seem to check your inventory a lot when you're playing that game. How do we make it so that when you look in your closet, you can just as easily see what shirts you own. Whatever the thing may be, so that we're showing them, “hey, bring that into the rest of your world that works for you here.” Let's make it work for you elsewhere, instead of thinking of it as a reason they're obsessed with screens, and now we resent the screens for that. Bring that in so that it can benefit the rest of their lives.VirginiaI'm now like, okay, that just reframes something else very important for me. You have such a helpful way of helping us divest from the guilt and the shame and actually look at this in a positive and empowering way for us and our kids. And I'm just so grateful for it. It really is a game changer for me.AshOh, thank you so much. I'm so glad to hear that it was helpful and empowering for you, and I just hope that it can be that for others as well.ButterAshSo my family and I have been lucky enough to spend quite a lot of time in Japan. And one of the wonderful things about Japan is they have a very huge bike culture. I think people think of the Netherlands as Bike cCentral, but Japan kind of rivals them.And they have a particular kind of bike that you cannot get in the United States. It's called a Mamachari, which is like a portmanteau of mom and chariot. And it's sort of like a cargo bike, but they are constructed a little differently and have some features that I love. And so when I've been in Japan, we are on those bikes. I'm always like, I love this kind of bike. I want this kind of bike for me forever. And my recent Butter has been trying to find something like that that I can have in my day to day life. And I found something recently, and got a lovely step through bike on Facebook Marketplace. VirginiaSo cool! That's exciting to find on marketplace, too.AshOh yes, having a bike that like I actually enjoy riding, I had my old bike from being a teenager, and it just was not functional. I was like, “This is not fun.” And now having one that I enjoy, I'm like, oh yes. I feel like a kid again. It's lovely.VirginiaThat's a great Butter. My Butter is something both my kids and my pets and I are all really enjoying. I'm gonna drop a link in the chat for you. It is called a floof, and it is basically a human-sized dog bed that I found on Etsy. It's like, lined with fake fur.AshMy God. I'm looking at it right now.VirginiaIsn't it hilarious?AshWow. I'm so glad you sent a picture, because that is not what I was picturing?Virginia I can't describe it accurately. It's like a cross between a human-sized dog bed and a shopping bag? Sort of? AshYes, yes, wow. It's like a hot tub.VirginiaIt's like a hot tub, but no water. You just sit in it. I think they call it a cuddle cave. I don't understand how to explain it, but it's the floof. And it's in our family room. And it's not inexpensive, but it does basically replace a chair. So if you think of it as a furniture purchase, it's not so bad. There's always at least a cat or a dog sleeping in it. Frequently a child is in it. My boyfriend likes to be in it. Everyone gravitates towards it. And you can put pillows in it or a blanket.Neurodivergent people, in particular, really love it, because I think it provides a lot of sensory feedback? And it's very enclosed and cozy. It's great for the day we're having today, which is a very laid back, low demand, watch as much screen as you want, kind of day. So I've got one kid bundled into the floof right now with a bunch of blankets in her iPad, and she's so happy. AshOh my gosh. Also, it kind of looks like the person is sitting in a giant pita, which I also love.VirginiaThat's what it is! It's like a giant pita, but soft and cozy. It's like being in a pita pocket. And I'm sure there are less expensive versions, this was like, 300 something dollars, so it is an investment. But they're handmade by some delightful person in the Netherlands.Whenever we have play dates, there are always two or three kids, snuggled up in it together. There's something extremely addictive about it. I don't know. I don't really know how to explain why it's great, but it's great.AshOh, that is lovely.VirginiaAll right, well tell obviously, everyone needs to go to their bookstore and get Power On: Managing Screen Time to Benefit the Whole Family. Where else can we find you, Ash? How can we support your work?AshYou can find me on Instagram at the gamer educator, and I also cross post my Instagram posts to Substack, and I'm on Substack as Screen Time Strategies. It's all the same content, just that way you're getting it in your inbox without, without having to go to Instagram. So if that's something that you are trying to maybe move away from, get it via Substack. And my book Power On: Managing Screen Time to Benefit the Whole Family is available starting August 26 is when it fully releases.VirginiaAmazing. Thank you so much. This was really great.AshThank you so much for having me back.The Burnt Toast Podcast is produced and hosted by Virginia Sole-Smith (follow me on Instagram) and Corinne Fay, who runs @SellTradePlus, and Big Undies.The Burnt Toast logo is by Deanna Lowe.Our theme music is by Farideh.Tommy Harron is our audio engineer.Thanks for listening and for supporting anti-diet, body liberation journalism! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit virginiasolesmith.substack.com/subscribe

Best friends, moms, and total travel addicts—Bri and Liz have turned family adventures into an art form. In this episode, they're sharing with the Whine Mama's their top tips, must-know hacks, and hilarious stories to help make your next trip smoother, smarter, and way more fun. Whether you're planning a weekend getaway or a big family vacation, you won't want to miss this one! Wine of the Week: Boen Pinot Noir. Honorable mentions: ChatGPT, indivisible, travel stroller, Peppa Pig

Welcome!

Em um mundo onde tudo grita, piscando e girando sem parar, o episódio propõe uma pausa: que tipo de ser humano os desenhos de hoje estão moldando? Falamos sobre o impacto simbólico da animação infantil na formação emocional, moral e social das crianças. Trazemos sugestões práticas, resgatamos clássicos e mostramos como a nostalgia pode ser uma aliada poderosa na educação. Uma conversa necessária para quem quer formar, e não apenas entreter. O comentário do ouvinte é patrocinado pela Vinho 24 Horas. Já pensou em ter um negócio que funciona 24h, sem precisar de funcionários? Uma adega autônoma instalada no seu condomínio, com vinhos de qualidade, controle pelo celular e margem de 80%. Com apenas R$ 29.900, você inicia sua franquia e ainda ganha 100 garrafas de vinho. Acesse Vinho24.com.br e comece seu novo negócio! A Terra Desenvolvimento revoluciona a gestão agropecuária com métodos exclusivos e tecnologia inovadora, oferecendo acesso em tempo real aos dados da sua fazenda para estratégias eficientes. A equipe atua diretamente na execução, garantindo resultados. Para investidores, orienta na escolha das melhores atividades no agro. Com 25 anos de experiência, transforma propriedades em empreendimentos lucrativos e sustentáveis. Conheça mais em terradesenvolvimento.com.br. Inteligência a serviço do agro! ...................................................................................................................................................................

This week, Jobe Watson is back, Samantha is not. Rude frankly.Dane, Jobe and Ralphy discuss when players start booking the end of season trips, the Bombers are already onto it, and Dane reveals that towards the end of the season there are more players doing weights to get the body 'beach ready'.Jobe reveals the very well known footy name who wore a Peppa Pig outfit to his kids birthday party recently.We talk fat shaming - Toby Greene vs Tom Papley. And talk about skinfolds, getting the piss ripped when having them taken in front of team-mates, and why Dane says if you can't reveal players weight, why can you reveal their height?Bunch of listener questions for the team which we run through - keep them coming.Dane reveals how his crypto investment is going (it's good), Jobe reveals how is is going (it's not good).Daisy....has he had botox? Plenty of piss is ripped over Daisy's medical efforts.Jobe talks about his love for wrestling and how Hulk Hogan's passing affected him.Fantasy footy time the NFL, we hear how Jobe gets his team ready.And what region of Australia does Jobe reckon should get the 20th AFL license? It's not North Queensland or the Northern Territory.Plus we discuss St Kilda and Nasiah Wanganeen-Milera, Jobe says they cannot let him leave.Follow & support us where you can, hit subscribe and share the pod with a mate.Podcast : @swannyandfriendsDane: @danes84Samantha @samantharichesRalphy: Year Round CarnivalGamblers Helpline: 1800 858 858Support this show http://supporter.acast.com/hump-day-with-swanny-and-friends. Hosted on Acast. See acast.com/privacy for more information.

Comments on Wally’s Forrest Frank video, he reads a text from his wife, an episode of Peppa Pig got banned, and Wally’s positive rant. You can join our Wally Show Poddies Facebook group at www.facebook.com/groups/WallyShowPoddies

This week's Star 99.9 Connecticut Humane Society Pet of the Week is Peppa. Also lovingly nicknamed “Peppa Pig” by her fans. She's a short-legged, snuggle-loving house hippo who's just as happy curled up on the couch as she is going for a brisk walk around the block. Peppa is a sweet, adult pup with stellar leash skills, solid house manners, and a serious affection for stuffed toys.  She's looking for a home where she can be the only pet, with dog-savvy humans (12+ please!) who appreciate a good couch cuddle after a play session. Peppa does have a few special needs (some allergies), but with the right care, she's ready to give tons of love. If you're ready to meet your new best snuggle buddy, call 1-800-452-0114 or stop by the Connecticut Humane Society daily between 12:00pm–4:30pm and chat with an adoption counselor! Visit CThumane.org/Adopt for more. 

Fred tells us why parents are canceling Peppa Pig! Paulina needs parenting advice on solo traveling with a little one! Plus, find out why George was ghosted on Waiting by the Phone from the vault. Listen now!See omnystudio.com/listener for privacy information.

Fred asks the 13 if there's any kid shows they refuse to let their kids watch. Plus, there's a haunted doll on the loose and it may have killed someone... And find out what celebrity couple is expecting, listen now!See omnystudio.com/listener for privacy information.

The trial for the dentist accused of killing his wife with cyanide finally started on Tuesday. The man who is being accused has already gone through 2 different lawyers. Peppa Pig is no longer allowed in one social media influencers house after she figured out her son was being mean because he was copying Peppa. Jamie has an update on the nightmare fiance who messaged Jamie's friend asking her to get rid of her ex husband's last name. There is a serial butt slapper in Idaho.

Peppa Pig is no longer allowed in one social media influencers house after she figured out her son was being mean because he was copying Peppa.

The trial for the dentist accused of killing his wife with cyanide finally started on Tuesday. The man who is being accused has already gone through 2 different lawyers. Peppa Pig is no longer allowed in one social media influencers house after she figured out her son was being mean because he was copying Peppa. Jamie has an update on the nightmare fiance who messaged Jamie's friend asking her to get rid of her ex husband's last name. There is a serial butt slapper in Idaho. Labubu, the little rabbit humanoid dolls everyone is collecting, are getting knocked off! If you have a knock off Labubu its called a Lafufu. Jamie is excited to see the Savannah Bananas', but she needs to make sure she has tickets first.

Send us a textMusic speaks volumes about who we are and how we feel. This episode dives headfirst into the emotional resonance of sharing songs with loved ones and what our playlists reveal about our true selves.The crew explores that unique vulnerability of sending someone a track that perfectly captures your feelings about them. From R&B slow jams to heartbreak anthems, we unpack how these musical messages can strengthen connections or signal the end of relationships. When was the last time you sent someone a song that said "this reminds me of us"? The answers might surprise you.Apple Music's 10-year anniversary "All-Time Faves" playlists become a window into our hosts' souls—and occasionally their parenting journeys. One host hilariously discovers Peppa Pig dominates his top tracks, while others reveal their affinity for Summer Walker, Drake, and P. Diddy classics. These musical fingerprints tell stories we sometimes don't even recognize about ourselves.Speaking of Diddy, we break down his trial verdict where he escaped RICO charges but faces transportation charges that could bring substantial prison time. From the bizarre baby oil demonstrations outside the courthouse to celebrity reactions online, this cultural moment reveals much about fame, justice, and public perception. The conspiracy theories around what might happen before his October sentencing will have you questioning everything.New music gets its moment too, with deep dives into Kehlani's relationship-ending anthem "Folded" (when those clothes are neatly stacked at the door, you know it's over), Cardi B's summer banger "Outside," and upcoming releases from Lizzo and Keke Palmer that have us excited.What's been your standout moment of 2024 so far? Hit us up on social media @mixedvibespodcast and let us know which topics from this episode resonated with you most. Your musical confessions are safe with us!FOLLOW. SUBSCRIBE. SHARE. Contactmixedvibeztv@gmail.com (720) 381-1092Facebook www.facebook.com/mixedvibezYouTube https://youtube.com/@mixedvibezmediaTikTokhttps://www.tiktok.com/@mixedvibezmedia?_t=8aEYresFfkw&_r=1Instagramhttps://www.instagram.com/mixedvibezpodcast/

Gary speedran 10 chapters of Boruto, we preview Toonami's Lazarus marathon (July 12th!), and debate whether Demon Slayer's new trailer tops Solo Leveling's hype. Then: Bobobo-bo Bo-bobo's absurd English dub hits Toei's YouTube for free, Pom Pom Purin reclaims Sanrio's #1 spot, and we investigate Peppa Pig's suspiciously inflated height stats.Stick around for our classic One Piece/Naruto tangents – Including Bunny Lords official ranking, and how One Piece is possibly the most woke series ever.---Find Us Everywhere:Spotify | Apple Podcasts | YouTube (full video)@AnimeAlchemists on TikTokYoutube Video: https://youtu.be/iBz4mMSXJMQ

He's backkkk! We've got Max Balegde on the pod this week for a much-needed catch-up and it's just as unhinged as you'd expect

Summerween!...City Plans For The Next Four Years...Summer Heat Trending -- PLUS -- getting a bang out of mowering, is Peppa Pig brainwashing our kids?, the News Not Making The News, and much more

Predator crash lands on the shores of TADPOG to turn invisible and hunt us using it’s heat vision. But don’t worry, we Peppa Pig out with some muddy puddles and we’re safe. But we do bring on the genuine article of foremost Predator experts with Game Bud Prime Nathan E (he held the 2nd best … Continue reading → The post Ep. 822 – Predator (NES) appeared first on TADPOG: Tyler and Dave Play Old Games.

Das Kinderfersehen ist eine Bedrohung und schadet der neuen Generation. Etwas überspitzt ausgedrückt, aber grundsätzlich existiert diese Angst bei Eltern. Wir sprechen heute mal darüber, wie schädlich Inhalte für die Allerkleinsten wirklich sein können, was sind die Herausforderungen im Umgang damit und was genau ist Medienkompetenz. Erzieher und angehender Medienpädagoge Carsten verrät uns, welche Serien er liebt und hasst - und warum er Paw Patrol gar nicht so schlimm findet. zu Gast: Carsten, leitet eine Kita und gibt Elternabende zu Medienkompetenz bei Kindern - - - LINKTREE Alle wichtigen Links zu uns findet ihr hier: https://bit.ly/kussponsored - - - PODCAST KAPITEL (00:06:06) Was ist Medienpädagogik? (00:31:12) Was ist Medienkompetenz? (00:57:43) Wie hat sich Kinderfernsehen verändert? (01:36:14) Paw Patrol (01:51:15) mehr Beispiele: Bluey, Conni, Gabby etc. (02:01:49) Peppa Pig (02:14:16) Bildschirmzeit bei Kleinkindern - - - Kack & Sachgeschichten - Der Podcast mit Klugschiss: https://www.kackundsachgeschichten.de/ Bleib auf dem Laufenden mit dem Kacki WhatsApp Kanal: https://bit.ly/kuswhatsapp

Demi Adejuyigbe is a renaissance man, and this week, he's excelling in a new field: entrepreneurship. Join us as we wade past the roulette tables and through the smoke-filled halls of his children's-only casino to recruit him for the Best Friend Force! Topics may include: Ask Jeeves, Peppa Pig, January Jones, Shirley Temple, Percy Jackson (the text), Mission impossible (the subtext), Stud Country, and trickle-down economics. Demi is on Instagram and Twitter @electrolemon. He's currently on tour with his incredible solo show Demi Adejuyigbe Is Going to Do One (1) Backflip; next stop, Australia! One of Us is hosted and produced by Chris Renfro and Fin Argus. It's executive produced by Myrriah Gossett and Erica Getto for Good Get. Myrriah Gossett is our sound designer, and our theme music is produced by Fin Argus and Brendan Chamberlain-Simon. Our show art was drawn by Fin Argus, and photographed by ⁠⁠⁠⁠Mike⁠⁠⁠⁠ and ⁠⁠⁠⁠Matt McCarty⁠⁠⁠⁠. You can follow One Of Us on ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ and ⁠⁠⁠⁠TikTok⁠⁠⁠⁠ at @oneofus.pod. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Fri, 30 May 2025 00:15:00 GMT http://relay.fm/downstream/96 http://relay.fm/downstream/96 Jason Snell The dominance of YouTube, Disney grabs more kids content, TV's mumbling problem, Amazon's identity, the fate of SpinCos, and our TV picks. The dominance of YouTube, Disney grabs more kids content, TV's mumbling problem, Amazon's identity, the fate of SpinCos, and our TV picks. clean 3353 The dominance of YouTube, Disney grabs more kids content, TV's mumbling problem, Amazon's identity, the fate of SpinCos, and our TV picks. This episode of Downstream is sponsored by: TRMNL: Clarity, at a glance. Get $15 off for 1 week only. Guest Starring: Josef Adalian Links and Show Notes: TV Picks Joe: Netflix comedies: The Four Seasons, Running Point, Nobody Asked for This, A Man on the Inside Jason: “Welcome to Wrexham” (Hulu) Get Downstream+ and don't miss a segment! Submit Feedback CoComelon is headed to Disney Plus in 2027 | The Verge Netflix Welcomes 'Sesame Street' and 'The World of Peppa Pig' - About Netflix How YouTube Became the Most Popular Streaming Service on TVs - The New York Times YouTube Creators Compete W

This week we discuss Sam's ongoing glow-up and Pete shares his thoughts on the new hair. (Does anyone think we should have an intervention, or just let Sam carry on?)The boys also become hypothetical dads and shock, Pete is VERY protective over his non-existent daughter.And SR Today is back! The boys discuss Peppa Pig and online dating, gotta love daytime TV.Listen by clicking 'Play' on Apple Podcasts, Spotify or wherever it is you're listening now.Make sure to subscribe, follow, rate and review. Find us on Instagram, TikTok and Youtube - @stayingrelevantpodcastTo get in touch with the podcast, please email hello@srproductions.co.uk (great e-mail, we know) Hosted on Acast. See acast.com/privacy for more information.

Peppa Pig Baby Announcement full 320 Fri, 23 May 2025 17:50:07 +0000 szFCd6HPYqXcSNSx4BdZX93wcjZzSO2o comedy The Wake Up Call comedy Peppa Pig Baby Announcement The Wake Up Call is a morning radio show based in Sacramento, California, and heard weekday mornings on 106.5 the End. Gavin, Katie, and Intern Kevin wake up every morning to have FUN and be FUNNY, while you start your day. This show has unbelievable chemistry and will keep you laughing all morning! 2024 © 2021 Audacy, Inc. Comedy False https://player.amperwavepodcasting.com?feed-link=https%3A%2F%2Frs

The new F1 movie will be available at the end of June and Jason can't wait to see it! Lady Gaga is one award away from being an EGOT winner. Lastly, Peppa Pig is officially a big sister!See omnystudio.com/listener for privacy information.

Are Bill Belichick and Jordon Hudson engaged? Also, does pizza relieve stress? We talk about Peppa Pig's baby sister being born, Klarna losing money, and lots more!

In this solo episode of Fine Tooning, Jim Hill dives into a packed week of animation news while Drew Taylor covers the opening of Epic Universe in Florida. Topics include: The 70th anniversary of Gumby – A look back at Art Clokey's clay-animated classic and upcoming updates like Gumby Kids. Faith-based animation on the rise – Following the box office success of The King of Kings, Fairly OddParents creator Butch Hartman launches a new animation studio focused on spiritual storytelling. DreamWorks embraces early childhood IP – From the upcoming Cocomelon feature to Gabby's Dollhouse: The Movie and Bad Guys 2. Paramount's shifting release schedule – New dates for Teenage Mutant Ninja Turtles: Mutant Mayhem 2, The Legend of Aang, and Paw Patrol: The Dino Movie. Peppa Pig's gender reveal episode debuts… on Walmart.com – A bold retail-media crossover with exclusive merchandise tied to streaming content. Smurfs movie sparks fan backlash – Rihanna's new song “Friend of Mine” fails to impress her Navy, despite her upcoming role as Smurfette. AI in animation – With $42 million raised by AI animation startups like Cartwheel and Hedra, concerns about job displacement echo the shift from hand-drawn to CG in the '90s. New Shaun the Sheep movie announced – Aardman's The Beast of Mossy Bottom arrives in 2026 with a Halloween theme. A thoughtful and wide-ranging episode covering preschool hits, legacy IP, streaming trends, theatrical strategy, and the evolving role of AI in the animation industry. Be Our Guest Vacations Planning your next Disney vacation? Be Our Guest Vacations is a Platinum-level Earmarked travel agency with concierge-level service to make every trip magical. Their team of expert agents plans vacations across the globe, from Disney and Universal to cruises and adventures, ensuring you have the best possible experience without the stress. Learn More Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we discuss Harry Styles' red booty shorts in Berlin, Peppa Pig's mom getting pregnant for $5,000, Korey naming dogs at the dog park, why you shouldn't keep your cups face down ass up in the cupboard. 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

Rod and Karen banter about wearing glasses in the shower, happy 4/20, Peppa Pig gummies, influencers in ads and people speeding by you on the highway. Then they discuss Azealia Banks, White House mocks wrongly deported man, deportations halted by Supreme Court for now, Boeing jet returned from China, Harvard vs the Government, Pope meets JD Vance, American born doctor gets letter from Homeland Security to leave the country, Drake is a streamer now, Who News (Yellas Beezy, Yung Filly, DigDat, Nivea), White People News, Kesha and Martha Stewart diss Katy Perry's space flight, Jeff Bezos' faceplant, Tyler Fischer banned from Fox news, flaming sex toys spark Staten Island fire, Ex-Harvard Med school morgue chief sells body parts, NJ police chief accused of office harassment and sword ratchetness. Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@rodimusprime⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SayDatAgain⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@TBGWT⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@TheBlackGuyWhoTips⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠theblackguywhotips@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Blog: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.theblackguywhotips.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Teepublic Store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon Wishlist⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Crowdcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Voice Mail: 704-557-0186 GuessTheRace – https://www.youtube.com/@GuessTheRace GuessTheRace – https://www.tiktok.com/@guesstherace?lang=en GuessTheRaceGame – https://www.instagram.com/guesstheracegame/Go Premium: https://www.theblackguywhotips.com/premium/See omnystudio.com/listener for privacy information.

Jennifer Lopez to Host 2025 American Music Awards (PEOPLE) (20:42)"I'm Going To Move To Nashville And Transition To Country" - Ed Sheeran Says Making Country Music Is His 'End Goal' (Country Chord) (28:00)Mariska Hargitay Details Quest to Understand Late Mom Jayne Mansfield in New Doc (E! News) (34:36)New 'SNL' series is coming to the UK with an all-British cast (NY Post) (40:32)'White Lotus' co-stars Walton Goggins and Aimee Lou Wood spark feud rumors after finale (Page Six) (47:01)Summer House Recap (53:34)The Toast with Jackie (@JackieOshry) and Claudia Oshry (@girlwithnojob) Lean InThe Camper and The Counselor by Jackie OshryMerchThe Toast PatreonGirl With No Job by Claudia OshrySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.