Podcasts about Plaster

Paul Marden heads to the AVEA conference in front of a LIVE audience to find out why gift shops are such an important part of the attraction mix. Joining him is Jennifer Kennedy, Retail Consultant, JK Consulting and Michael Dolan, MD of Shamrock Gift Company. They discuss why your gift shop is an integral part of your brand and why it needs to be just as good as the experience you have on offer. This coinsides with the launch of our brand new playbook: ‘The Retail Ready Guide To Going Beyond The Gift Shop', where you can find out exactly how to improve your online offering to take your ecommerce to the next level. Download your FREE copy here:  https://pages.crowdconvert.co.uk/skip-the-queue-playbookBut that's not all. Paul walks the conference floor and speaks to:Susanne Reid, CEO of Christchurch Cathedral Dublin, on how they are celebrating their millennium anniversary - 1000 years!Charles Coyle, Managing Director, Emerald Park, on how they are bringing AI integrations to enhance their booking processesRay Dempsey, General Manager of The Old Jamerson Distillery on how they offering more accessible touring optionsIt's a mega episode and one you'll not want to miss. 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:  Jennifer Kennedy — Founder, JK Consultinghttps://jkconsultingnyc.com/https://www.linkedin.com/in/jennifer-kennedy-aba75712/Michael Dolan — Managing Director, Shamrock Gift Companyhttps://www.shamrockgiftcompany.com/Catherine Toolan — Managing Director, Guinness Storehouse & Global Head of Brand Homes, Diageohttp://diageo.comhttps://www.linkedin.com/in/catherinetoolan/Máirín Walsh — Operations Manager, Waterford Museumhttps://www.waterfordtreasures.com/Dean Kelly — Photography & Visitor Experience Specialist https://www.wearephotoexperience.com/https://www.linkedin.com/in/dean-kelly-1259a316/Charles Coyle — Managing Director, Emerald Parkhttps://www.emeraldpark.ieSusanne Reid — CEO, Christ Church Cathedral Dublinhttp://www.christchurchcathedral.iehttps://www.linkedin.com/in/susannereid/Ray Dempsey — General Manager, Jameson Distilleryhttps://www.jamesonwhiskey.com/en-ie/visit-our-distilleries/jameson-bow-street-distillery-tour/https://www.linkedin.com/in/ray-dempsey-37a8665a/ Transcription: Paul Marden: Welcome to Skip the Queue, the podcast that tells the stories behind the world's best attractions and the amazing people that work in them. In today's episode, I'm at the AVEA 2025 conference in Waterford, Ireland, and we're talking about gift shop best practices. With Jennifer Kennedy from JK Consulting, a tourism and retail consultancy. And Jennifer led retail at Guinness Storehouse for more years than she would care to mention, I think. And we're also here with Michael Dolan, MD of Shamrock Gift Company, who has brought along the most amazing array of gift shop merchandise, which I'm sure we'll get into talking a little something about later on. And I've also got an amazing live audience. Say hello, everybody.Everyone: Hello.Paul Marden: There we go. So we always start with icebreaker that I don't prepare the two of you. Now this is probably a very unfair question for the pair of you, actually. What's the quirkiest souvenir you've ever bought? I can think of those little, the ones that you get in Spain are the little pooping santas.Jennifer  Kennedy: I have a thing for Christmas decorations when I go on travel, so for me, there always tends to be something around having a little decoration on my tree every year. That if I've had one or two holidays or I've been away, that has some little thing that comes back that ends up on the tree of Christmas. I have a lovely little lemon from Amalfi that's a Christmas decoration, and so you know, so a little kind of quirky things like that.Paul Marden: Michael, what about you? Michael  Dolan: One of our designers who will remain nameless? She has a thing about poo. So everyone brings her back to some poo relation. Paul Marden: Sadly, there's quite a lot of that around at the moment, isn't there? That's a bit disappointing. First question then, what's the point of a gift shop? If I put that in a more eloquent way, why are gift shops such an important part of the attraction mix?Jennifer  Kennedy: Okay, it was from my point of view, the gift shop in an attraction or a destination is the ultimate touch point that the brand has to leave a lasting memory when visitors go away. So for me, they're intrinsically important in the complete 360 of how your brand shows up— as a destination or an attraction. And without a really good gift shop and really good product to take away from it, you're letting your brand down. And it's an integral piece that people can share. From a marketing point of view, every piece of your own product that's been developed, that's taken away to any part of the world can sit in someone's kitchen. It can be in multiple forms. It can be a fridge magnet. It could be a tea towel. It could be anything. But it's a connection to your brand and the home that they visited when they chose to be wherever they're visiting. So for me, I'm very passionate about the fact that your gift shop should be as good as everything else your experience has to offer. So that's my view on it. Michael  Dolan: Sometimes it's neglected when people create a new visitor attraction. They don't put enough time into the retail element. I think that's changing, and a very good example of that would be Game of Thrones in Banbridge. We worked with them for two years developing the range, but also the shop. So the shop reflects the... I actually think the shop is the best part of the whole experience. But the shop reflects the actual whole experience.  Jennifer  Kennedy: The teaming.Michael  Dolan: The teaming. So you have banners throughout the shop, the music, the lighting, it looks like a dungeon. All the display stands have swords in them, reflecting the theme of the entrance.Jennifer  Kennedy: Yeah, it's a good example of how a brand like that has incorporated the full essence and theme of why they exist into their physical retail space.Paul Marden: They definitely loosened a few pounds out of my pocket. Michael  Dolan: Another good example is Titanic Belfast. So they spent 80 million on that visitor attraction, which was opened in 2012, but they forgot about the shop. So the architect who designed the building designed the shop that looked like something out of the Tate Gallery. Yeah, and we went and said, 'This shop is not functional; it won't work for our type of product.' They said, 'We don't have anything in the budget to redevelop the shop.' So we paid a Dublin architect to redesign the shop. So the shop you have today, that design was paid for by Shamrock Gift Company. And if you've been in the shop, it's all brass, wood, ropes. So it's an integral part of the overall experience. But unfortunately... you can miss the shop on the way out.Paul Marden: Yeah, it is very easy to walk out the building and not engage in the shop itself. It's a bit like a dessert for a meal, isn't it? The meal's not complete if you've not had a dessert. And I think the gift shop experience is a little bit like that. The trip to the experience isn't finished.  If you haven't exited through the gate. Michael  Dolan: But it's the lasting memories that people bring back to the office in New York, put the mug on the table to remind people of when they're in Belfast or Dublin to go to. You know, storehouse or Titanic. So those last impressions are indelibly, you know, set.Paul Marden: So we've already said the positioning of the shop then is super important, how it feels, but product is super important, isn't it? What product you fill into the shop is a make or break experience? How do you go about curating the right product? Michael  Dolan: Most important is authenticity. You know, it has to be relevant to the visitor attraction. So it's not a question of just banging out a few key rings and magnets. So I brought you along some samples there. So we're doing two new ranges, one for Titanic and one for the Royal Yacht Britannia, and they're totally different. But reflect the personality of each attraction.Paul Marden: Absolutely.Michael  Dolan: I mean, a good example, we worked together or collaborated together on many, many projects in Guinness. But we also worked in St. Patrick's Cathedral.Jennifer  Kennedy: Yeah.Michael  Dolan: You were the consultant.Jennifer  Kennedy: Yeah, yeah. So I suppose, again, from the product point of view. Yeah, if you can root product in why the experience exists. So in that example, a cathedral is a great example of how you can create really great product by utilising. Well, the main reason people are there is because this amazing building exists and the historic elements of it. So I suppose to make it real, some examples of products that connected with the audience in that environment are things like a little stone coaster. But the stone coaster is a replica of the floor you're standing on. So I suppose the other balance in attractions is realistic price points and realistic products. So there's no point in creating a range of products that's outside the price point of what your visitors are prepared to pay. So it's that fine balance of creating product that connects with them, which is, I'm using the cathedral as an example because you've got architraves, you've got stained glass windows, you've got stunning tiles. So all the elements of the fabric of that building. Can be utilised to create really beautiful products, but castles, you know, cathedrals, all of those sorts of spaces.Jennifer  Kennedy: When we start talking about product, always we go to, 'why are we here?' And also the storytelling elements. There's some beautiful stories that can, I can give you another really great example of a product that was created for another cathedral, which was... So in cathedral spaces, there's all these stunning doors that run the whole way through, like they're spectacular; they're like pieces of art in their own right. And every one of them has a very unique ornate key that unlocks each door. So one of the products that did one of the cathedrals was we wanted to create a ring of brass keys with replicas of all the keys in the cathedral. But as we were progressing, we forgot at the start— it was like we forgot to tell them to scale them down. They weren't the same size as all the keys in the cathedral. So it was a very intrinsically specific gift to this particular cathedral. And it's been used ever since as kind of the special gift they give to people who come to visit from all over the world. They get quite emotional about this particular gift because it's like this is the actual replica of all the keys to all the doors in the cathedral.Jennifer  Kennedy: So it's a product that's completely born. It can never be replicated anywhere else. And it's completely unique to that particular space. And I think that's the power of, for me, that's what authenticity feels and looks like in these environments. It has to be connected to the fabric of why you exist.Paul Marden: Yeah, so I was at Big Pit in Wales six months ago, I think it was. Museums Wales are redeveloping all of their gift shops and they are going through exactly that process that you're talking about, but bringing it back to the place itself because all, I think, it's six of their museums, the gift shops had much the same set of product. They described it as, you know, you were just walking into a generic Welsh gift shop with the dressed lady.Jennifer  Kennedy: And it's hard— like it really takes an awful lot of work— like it doesn't just happen, like you really have to put a lot of thought and planning into what our product should and could look like. And then, when you've aligned on with the team of people managing and running these businesses, that this is the direction you want to take, then it's the operational element of it. It's about sourcing, MOQs, and price, and all of that stuff that comes into it. Minimum order quantities.Michael  Dolan: That's where we come in. So, you know, we met Jennifer in St. Patrick's and we met Liz then, we met the Dean. So we really sat around and talked about what were the most important elements in the cathedral that we wanted to celebrate in product.Michael  Dolan: And St. Patrick obviously was the obvious number one element. Then they have a harp stained glass window. And then they have a shamrock version of that as well. So they were the three elements that we hit on. You know, it took a year to put those three ranges together. So we would have started out with our concept drawings, which we presented to the team in St. Patrick's. They would have approved them. Then we would have talked to them about the size of the range and what products we were looking at. So then we would have done the artwork for those separate ranges, brought them back in to get them approved, go to sampling, bring the samples back in, then sit down and talk about pricing, minimum order quantities, delivery times.Michael  Dolan: So the sample, you know, so that all goes out to order and then it arrives in about four or five months later into our warehouse. So we carry all the risk. We design everything, we source it, make sure that it's safely made, all the tests are confirmed that the products are good. In conformity with all EU legislation. It'll be in our warehouse and then it's called off the weekly basis. So we carry, we do everything.  So one stop shop. Paul Marden: So the traction isn't even sitting on stock that they've invested in. We know what we're doing and we're quite happy to carry the risk. So one of the things we were talking about just before we started the episode was the challenges of sourcing locally. It's really important, isn't it? But it can be challenging to do that.Jennifer  Kennedy: It can. And, you know, but I would say in recent years, there's a lot more creators and makers have come to the fore after COVID. So in kind of more... Specifically, kind of artisan kind of product types. So things like candles are a great example where, you know, now you can find great candle makers all over Ireland with, you know, small minimum quantity requirements. And also they can bespoke or tailor it to your brand. So if you're a museum or if you're a, again, whatever the nature of your brand is, a national store or whatever, you can have a small batch made. Which lets you have something that has provenance. And here it's Irish made, it's Irish owned. And then there's some, you know, it just it gives you an opportunity.Jennifer  Kennedy: Unfortunately, we're never going to be in a position where we can source everything we want in Ireland. It just isn't realistic. And commercially, it's not viable. As much as you can, you should try and connect with the makers and creators that they are available and see if small batches are available. And they're beautiful to have within your gift store, but they also have to be the balance of other commercial products that will have to be sourced outside of Ireland will also have to play a significant role as well.Máirín Walsh: I think there needs to be a good price point as well. Like, you know, we find that in our museum, that, you know, if something is above 20, 25 euro, the customer has to kind of really think about purchasing it, where if it's 20 euro or under, you know, it's...Michael  Dolan: More of an input item, yeah.Máirín Walsh: Yes, exactly, yeah.Paul Marden: And so when it's over that price point, that's when you need to be sourcing locally again. Máirín Walsh: It's a harder sell. You're kind of maybe explaining a bit more to them and trying to get them to purchase it. You know, they have to think about it.Jennifer  Kennedy: But it's also good for the storytelling elements as well because it helps you engage. So I've often found as well that even train the teams and the customer service. It's actually a lovely space to have, to be able to use it as part of storytelling that we have this locally made or it's made in Cork or wherever it's coming from, that it's Irish made.Máirín Walsh: We have, what have we got? We've kind of got scarves and that and we have local— we had candles a few years ago actually. I think they were made or... up the country or whatever. But anyway, it was at Reginald's Tower and there were different kinds of candles of different attractions around and they really connected with your audience.Michael  Dolan: So 20% of our turnover would be food and all that is made in Ireland. Virtually all of that is sourced locally here in Ireland. And that's a very important part of our overall product portfolio and growing as well.Paul Marden: Is it important to serve different audiences with the right product? So I'm thinking... Making sure that there's pocket money items in there for kids, because often when they come to a museum or attraction, it's their first time they ever get to spend their own money on a transaction. Yeah, that would be their first memory of shopping. So giving them what they need, but at the same time having that 25 euro and over price point. To have a real set piece item is?Jennifer  Kennedy: I would say that's very specific to the brand. Paul Marden: Really? Jennifer  Kennedy: Yes, because some brands can't actually sell products or shouldn't be selling products to children. Paul Marden: Really? I'm looking at the Guinness items at the end of the table.Jennifer  Kennedy: So it depends on the brand. So obviously, in many of the destinations around Ireland, some of them are quite heavily family-oriented. And absolutely in those environments where you've got gardens, playgrounds or theme parks. Absolutely. You have to have that range of product that's very much tailored to young families and children. In other environments, not necessarily. But you still need to have a range that appeals to the masses. Because you will have visitors from all walks of life and with all perspectives. So it's more about having something. I'm going to keep bringing it back to it. It's specific to why this brand is here. And if you can create product within a fair price point, and Mairin is absolutely right. The balance of how much your products cost to the consumer will make or break how your retail performs. And in most destinations, what you're actually aiming to do is basket size. You want them to go away with three, four, five products from you, not necessarily one.Jennifer  Kennedy: Because if you think about it, that's more beneficial for the brand. I mean, most people are buying for gifting purposes. They're bringing things back to multiple people. So, if I'm able to pick up a nice candle and it's eight or 10 euros, well, I might buy three of them if it's a beautiful candle in a nice package. Whereas, if I went in and the only option available to me was a 35-euro candle, I probably might buy that, but I'm only buying one product. And I'm only giving that to either myself or one other person. Whereas, if you can create a range that's a good price, but it's also appealing and very connected to why they came to visit you in the first place, then that's a much more powerful, for the brand point of view, that's a much more... Powerful purchasing options are available to have a basket size that's growing.Michael  Dolan: We worked together in the National Stud in Kildare, so we did a great kids range of stationery, which worked really well. We've just done a new range for the GAA museum, all stationery-related, because they get a lot of kids. Again, we would have collaborated on that.Jennifer  Kennedy: And actually, the natural studs are a really nice example as well, because from even a textile point of view, you can lean into equine as the, so you can do beautiful products with ponies and horses. Yeah. You know, so again, some brands make it very, it's easy to see the path that you can take with product. And then others are, you know, you have to think harder. It's a little bit more challenging. So, and particularly for cultural and heritage sites, then that really has to be grounded in what are the collections, what is on offer in these sites, in these museums, in these heritage sites, and really start to unravel the stories that you can turn into product.Paul Marden: But a product isn't enough, is it?Jennifer  Kennedy: Absolutely not.Paul Marden: Set making, merchandising, storytelling, they all engage the customer, don't they?Jennifer  Kennedy: 100%.Paul Marden: Where have you seen that being done well in Ireland?Michael  Dolan: Get a store is the preeminent example, I would think. I mean, it's a stunning shop. Have you met Catherine too? Paul Marden: No, not yet. Lovely to meet you, Catherine.  Michael  Dolan: Catherine is in charge of getting the stories. Paul Marden: Okay. Any other examples that aren't, maybe, sat at the table? Game of Thrones is a really good example and Titanic.Michael  Dolan: Game of Thrones.  I think Titanic's good. The new shop in Trinity College is very strong, I think. So it's a temporary digital exhibition while they're revamping the library. They've done an excellent job in creating a wonderful new shop, even on a temporary basis.Jennifer  Kennedy: I would say Crowe Park as well. The GAA museum there has undergone a full refurbishment and it's very tailored towards their audience. So they're very, it's high volume, very specific to their... And the look and feel is very much in keeping with the nature of the reason why people go to Crowe Park. I would say the Irish National Asteroid as well. And Colmar Abbey, Cliffs of Moher. We've got some really great offers all over the island of Ireland.Paul Marden: Yeah, absolutely. I was at W5 recently in Belfast and I think that is a brilliant example of what a Science Centre gift shop could be like. Because often there will be the kind of generic stuff that you'll see in any attraction— a notebook with rubber and a pencil— but they also had lots of, there were lots of science-led toys and engineering-led toys, so they had... big Lego section. It was like going into a proper toy shop. It was just a really impressive gift shop that you could imagine engaging a kid.Catherine Toolan: And if I could come in there for an example outside of Ireland, you've got the House of Lego in Billund. I don't know if anybody has been there, but they've got a customised range, which is only available. Really? Yes, and it's so special. They've got a really unique building, so the Lego set is in the shape of the building. They've got their original dock. But the retail store in that space, it's very geared towards children as Lego is, but also imagination play. So they've done a brilliant job on looking at, you know, the texture of their product, the colour of their product. And whilst it's usually geared to children, it's also geared to adult lovers of Lego. So it's beautiful. Huge tech as well. They've incredible RFID wristbands, which you get from your ticket at the beginning of the experience. So all of your photo ops and everything you can download from the RFID wristband. Very cool.Jennifer  Kennedy: Actually, I would say it's probably from a tech point of view, one of the best attractions I've been to in recent years. Like, it's phenomenal. I remember going there the year it opened first because it was fascinating. I have two boys who are absolutely Lego nuts. And I just— we went to the home of LEGO in Billund when it opened that year and I just was blown away. I had never experienced, and I go to experiences everywhere, but I've never, from a tech point of view and a brand engagement perspective, understood the nature, the type of product that they deliver. For me, it's, like I said, I tell everyone to go to Billund. Paul Marden: Really? We've got such amazing jobs, haven't we? However, as you're both talking, I'm thinking you're a bit like me. You don't get to go and enjoy the experience for the experience's own sake because you're looking at what everybody's doing.Jennifer  Kennedy: But can I actually just add to that? There's another one in the Swarovski Crystal in Austria.Paul Marden: Really?Jennifer  Kennedy: That is phenomenal. And in terms of their retail space, it's like, I like a bit of sparkle, so I'm not going to lie. It was like walking into heaven. And their retail offering there is world-class in that store. And the whole brand experience from start to finish, which is what you're always trying to achieve. It's the full 360 of full immersion. You're literally standing inside a giant crystal. It's like being in a dream. Right. A crystal, sparkly dream from start to finish. And then, every year, they partner and collaborate with whoever— designers, musicians, whoever's iconic or, you know, very... present in that year or whatever. And they do these wonderful collaborations and partnerships with artists, designers, you name it.Paul Marden: Sorry, Catherine, there you go.Catherine Toolan: Thank you very much. It's on my list of places to go, but I do know the team there and what they're also doing is looking at the premiumization. So they close their retail store for high net worth individuals to come in and buy unique and special pieces. You know, they use their core experience for the daytime. And we all talk about the challenges. I know, Tom, you talk about this, you know, how do you scale up visitor experience when you're at capacity and still make sure you've a brilliant net promoter score and that the experience of the customer is fantastic. So that is about sweating the acid and you know it's that good, better, best. You know they have something for everybody but they have that halo effect as well.  So it's really cool.Paul Marden: Wow. Thank you. I'm a bit of a geek. I love a bit of technology. What do you think technology is doing to the gift shop experience? Are there new technologies that are coming along that are going to fundamentally change the way the gift shop experience works?Jennifer  Kennedy: I think that's rooted in the overall experience. So I don't think it's a separate piece. I think there's loads of things out there now where you can, you know, virtual mirrors have been around for years and all these other really interesting. The whole gamification piece, if you're in an amazing experience and you're getting prompts and things to move an offer today, but so that's that's been around for quite some time. I'm not sure that it's been fully utilised yet across the board, especially in I would say there's a way to go in how it influences the stores in Ireland in attractions at the moment. There'll be only a handful who I'd say are using technology, mainly digital screens, is what I'm experiencing and seeing generally. And then, if there is a big attraction, some sort of prompts throughout that and how you're communicating digitally through the whole experience to get people back into the retail space. Paul Marden: Yeah, I can imagine using tech to be able to prompt somebody at the quiet times of the gift shop. Michael  Dolan: Yeah, also Guinness now you can order a pint glass with your own message on it in advance. It's ready for you when you finish your tour. You go to a locker and you just open the locker and you walk out with your glass. Catherine Toolan: Could I just say, though, that you just don't open a locker like it's actually lockers? There's a lot of customisation to the lockers because the idea came from the original Parcel Motel. So the locker is actually you key in a code and then when you open the customised locker, there's a Guinness quote inside it and your personalised glass is inside it. And the amount of customers and guests that we get to say, could we lock the door again? We want to actually open it and have that. whole experience so you know that's where I think in you know and one of the questions that would be really interesting to talk about is you know, what about self-scanning and you know, the idea of checkouts that are not having the human connection. Is that a thing that will work when you've got real experiences? I don't know. But we know that the personalisation of the engraved glasses and how we've custom designed the lockers— not to just be set of lockers— has made that difference. So they're very unique, they're colourful, they're very Guinnessified. And of course, the little personal quote that you get when you open the locker from our archives, make that a retail experience that's elevated. Paul Marden: Wow.Jennifer  Kennedy: But I would also say to your point on that, that the actual, the real magic is also in the people, in the destinations, because it's not like gift shops and destinations and experiences. They're not like high street and they shouldn't be. It should be a very different experience that people are having when they've paid to come and participate with you in your destination. So I actually think technology inevitably plays a role and it's a support and it will create lovely quirks and unusual little elements throughout the years.Paul Marden: I think personalisation is great.  Jennifer  Kennedy: And personalisation, absolutely. But the actual, like I would be quite against the idea of automating checkout and payouts in gift shops, in destinations, because for me... That takes away the whole essence of the final touch point is actually whoever's talked to you when you did that transaction and whoever said goodbye or asked how your experience was or did you enjoy yourself? So those you can't you can't replace that with without a human personal touch. So for me, that's intrinsically important, that it has to be retained, that the personal touch is always there for the goodbye.Dean Kelly: I'm very happy that you brought up the human touch. I'm a photo company, I do pictures. And all the time when we're talking to operators, they're like, 'Can we make it self-serve? Can we get rid of the staffing costs?' I'm like, 'I'm a photographer. Photographers take pictures of people. We need each other to engage, react, and put the groups together. No, we don't want the staff costs. But I'm like, it's not about the staff costs. It's about the customer's experience. So all day long, our challenge is, more so in the UK now, because we operate in the UK, and everybody over there is very, we don't want the staff.' And I think, if you lose the staff engagement, especially taking a picture, you lose the memory and you lose the moment. And photographers have a really good job to do, a very interesting job, is where to capture people together. And if you lose that person— touch point of getting the togetherness— You just have people touching the screen, which they might as well be on their phone.Paul Marden: And the photo won't look as good, will it? Anybody could take a photo, but it takes a photographer to make people look like they're engaged and happy and in the moment.Dean Kelly: Yeah, exactly, and a couple of other points that you mentioned— with the brand, personalisation, gamification, all that kind of cool, juicy stuff, all the retail stuff, people going home with the memory, the moment, all that stuff's cool, but nobody mentioned photos until Cashin, you mentioned photos. We've had a long conversation with photos for a long time, and we'll probably be still chatting for another long time as well. But photography is a super, super retail revenue stream. But it's not about the revenue, it's about the moment and the magic. Jennifer  Kennedy: Yeah, you're capturing the magic. Dean Kelly: Capturing it. And fair enough that what you guys do at Shamrock is very interesting because you talk to the operators. You kind of go, 'What gifts are going to work for your visitors?' And you turn that into a product. And that's exactly what we do with all the experiences. We take pictures.Dean Kelly: But what's your demographic saying? What's your price points? What's your brand? What's your message? And let's turn that into a personalised souvenir, put the people in the brand, and let them take it home and engage with it.Paul Marden: So... I think one of the most important things is how you blend the gift shop with the rest of the experience. You were giving a good example of exiting through the gift shop. It's a very important thing, isn't it? But if you put it in the wrong place, you don't get that. How do you blend the gift shop into the experience?Jennifer  Kennedy: Well, I would say I wouldn't call it a blend. For me, the retail element of the brand should be a wow. Like it should be as invaluable, as important as everything else. So my perspective would be get eyes on your retail offering sooner rather than later. Not necessarily that they will participate there and then.Jennifer  Kennedy: The visual and the impact it has on seeing a wow— this looks like an amazing space. This looks like with all these products, but it's also— I was always chasing the wow. I want you to go, wow, this looks amazing. Because, to me, that's when you've engaged someone that they're not leaving until they've gotten in there. It is important that people can potentially move through it at the end. And, you know, it depends on the building. It depends on the structure. You know, a lot of these things are taken out of your hands. You've got to work with what you've got. Jennifer  Kennedy: But you have to work with what you've got, not just to blend it, to make it stand out as exceptional. Because that's actually where the magic really starts. And it doesn't matter what brand that is. The aim should always be that your retail offering is exceptional from every touch point. And it shouldn't be obvious that we've spent millions in creating this wonderful experience. And now you're being shoehorned into the poor relation that was forgotten a little bit and now has ten years later looks a bit ramshackle. And we're trying to figure out why we don't get what we should out of it.Michael  Dolan: And it has to be an integral part of the whole experience.Jennifer  Kennedy: Yeah, and I think for new experiences that are in planning stages, I've seen that more and more in recent years. Now, where I was being called to retrofix or rip out things going, this doesn't work, I'm like, okay, well, we have to retro do this. Now, when people are doing new builds or new investments into new spaces, I'm getting those calls at the planning stages where it's like, we've allocated this amount of space to retail. Do you think that's enough? And I don't think I've ever said yes, ever. At every single turn, I'm like... No, it's not enough. And, you know, what's your anticipated football? Oh, that's the numbers start to play a role in it. But it's not just about that. It's about the future proofing. It's like what happens in five years, 10 years, 15? Because I've been very lucky to work in buildings where it's not easy to figure out where you're going to go next. And particularly heritage sites and cultural heritage. Like I can't go in and knock a hole in the crypt in Christchurch Cathedral. But I need a bigger retail space there.Jennifer  Kennedy: The earlier you start to put retail as a central commercial revenue stream in your business, the more eyes you have on it from the get-go, the more likely it is that it will be successful. Not now, not in five years, not in ten years, but that you're building blocks for this, what can become. Like it should be one of your strongest revenue streams after ticket sales because that's what it can become. But you have to go at it as this is going to be amazing.Catherine Toolan: I think it's important that it's not a hard sell and that's in your face. And, you know, that's where, when you think about the consumer journey, we always think about the behavioural science of the beginning, the middle, and the end. And people remember three things. You know, there's lots of other touch points. But if retail is a really hard sell throughout the experience, I don't think the net promoter score of your overall experience will, you know, come out, especially if you're, you know, and we're not a children's destination. An over 25 adult destination at the Guinness Storehouse and at our alcohol brand homes. But what's really important is that it's authentic, it's really good, and it's highly merchandised, and that it's unique. I think that uniqueness is it— something that you can get that you can't get anywhere else. You know, how do you actually, one of the things that we would have done if we had it again, we would be able to make our retail store available to the domestic audience, to the public without buying a ticket. So, you know, you've got that opportunity if your brand is the right brand that you can have walk-in off the high street, for example.Catherine Toolan: So, you know, there's so many other things that you can think about because that's an extension of your revenue opportunity where you don't have to come in to do the whole experience. And that is a way to connect the domestic audience, which is something I know a lot of the members of the Association, AVEA are trying to do. You know, how do we engage and connect and get repeat visits and and retail is a big opportunity to do that, especially at gifting season.Paul Marden: Yeah, yeah, sustainability is increasingly important to the narrative of the whole retail experience, isn't it? How do you make sure that we're not going about just selling plastic tat that nobody's going to look after?Michael  Dolan: We've made this a core value for Shamrock Gift Company, so we've engaged with a company called Clearstream Solutions, the same company that Guinness Store has. have worked with them. So it's a long-term partnership. So they've measured our carbon footprint from 2019 to 2023. So we've set ourselves the ambitious target of being carbon neutral by 2030.Michael  Dolan: So just some of the elements that we've engaged in. So we put 700 solar panels on our roof as of last summer. All our deliveries in Dublin are done with electric vans, which we've recently purchased. All the lights in the building now are LED. Motion-sensored as well. All the cars are electric or that we've purchased recently, and we've got a gas boiler. So we've also now our shipments from China we're looking at biodiesel. So that's fully sustainable. And we also, where we can't use biodiesel, we're doing carbon offsetting as well.Paul Marden: So a lot of work being done in terms of the cost of CO2 of the transport that you're doing. What about the product itself? How do you make sure that the product itself is inherently something that people are going to treasure and is not a throwaway item?Michael  Dolan: We're using more sustainable materials, so a lot more stone, a lot more wood. Paul Marden: Oh, really? Michael  Dolan: Yeah. Also, it begins with great design. Yeah. So, you know, and obviously working with our retail partners, make sure that the goods are very well designed, very well manufactured. So we're working with some wonderful, well, best in class manufacturers around the world. Absolutely.Jennifer  Kennedy: I think as well, if... you can, and it's becoming easier to do, if you can collaborate with some creators and makers that are actually within your location.Jennifer  Kennedy: Within Ireland, there's a lot more of that happening, which means sourcing is closer to home. But you also have this other economy that's like the underbelly of the craft makers market in Ireland, which is fabulous, which needs to be brought to the fore. So collaborations with brands can also form a very integral part of product development that's close to home and connected to people who are here—people who are actually creating product in Ireland.Paul Marden: This is just instinct, not knowledge at all. But I would imagine that when you're dealing with those local crafters and makers, that they are inherently more sustainable because they're creating things local to you. It's not just the distance that's...Jennifer  Kennedy: Absolutely, but in any instances that I'm aware of that I've been involved with, anyway, even the materials and their mythology, yeah, is all grounded in sustainability and which is fabulous to see. Like, there's more and there's more and more coming all the time.Michael  Dolan: We've got rid of 3 million bags a year. Key rings, mags used to be individually bagged. And now there are 12 key rings in a bag that's biodegradable. That alone is 2 million bags.Paul Marden: It's amazing, isn't it? When you look at something as innocuous as the bag itself that it's packaged in before it's shipped out. You can engineer out of the supply chain quite a lot of unnecessary packaging Michael  Dolan: And likewise, then for the retailer, they don't have to dispose of all that packaging. So it's a lot easier and cleaner to put the product on the shelf. Yes.Paul Marden: Something close to my heart, online retail. Have you seen examples where Irish attractions have extended their gift shop experience online, particularly well?Jennifer  Kennedy: For instance, there are a few examples, but what I was thinking more about on that particular thought was around the nature of the brand again and the product that, in my experience, the brands that can do that successfully tend to have something on offer that's very nostalgic or collectible. Or memorabilia and I think there are some examples in the UK potentially that are where they can be successful online because they have a brand or a product that people are collecting.Paul Marden: Yeah, so one of my clients is Jane Austen House, only about two miles away from where I live. And it blew me away the importance of their online shop to them. They're tiny. I mean, it is a little cottage in the middle of Hampshire, but they have an international audience for their gift shop. And it's because they've got this really, really committed audience of Jane Austen fans who want to buy something from the house. Then everybody talks about the Tank Museum in Dorset.Paul Marden: Who make a fortune selling fluffy tank slippers and all you could possibly imagine memorabilia related to tanks. Because again, it's that collection of highly curated products and this really, really committed audience of people worldwide. Catherine Toolan: The Tank were here last year presenting at the AVEA conference and it was such an incredible story about their success and, you know, how they went from a very small museum with a lot of support from government to COVID to having an incredible retail store, which is now driving their commercial success.Paul Marden: Yeah, absolutely. Nick has done a load of work. Yeah, that leads me nicely onto a note. So listeners, for a long time, Skip the Queue has been totally focused on the podcast. But today we have launched our first playbook. Which is hopefully the first of many. But the playbook that we're launching today is all about how attractions can focus on best practice for gift shop e-commerce. So we work with partners, Rubber Cheese, Navigate, and Stephen Spencer Associates. So Steve and his team has helped us to contribute to some sections to the guide around, how do you curate your product? How do you identify who the audience is? How do you create that collection? The team at Rubber Cheese talk about the mechanics of how do you put it online and then our friends at Navigate help you to figure out what the best way is to get bums on seats. So it was a crackpot idea of mine six months ago to put it together, and it is now huge.Paul Marden: It's packed full of advice, and that's gone live today. So you can go over to skipthequeue.fm and click on the Playbooks link there to go and download that. Thank you. So, Jennifer, Michael, it has been absolutely wonderful to talk to both of you. Thank you to my audience. You've also been fabulous. Well done. And what a packed episode that was. I get the feeling you two quite enjoy gift shops and retailing. You could talk quite a lot about it.Jennifer  Kennedy: I mean, I love it.  Paul Marden: That didn't come over at all. Jennifer  Kennedy: Well, I just think it's such a lovely way of connecting with people and keeping a connection, particularly from a brand point of view. It should be the icing on the cake, you know?Paul Marden: You're not just a market store salesperson, are you?Jennifer  Kennedy: And I thoroughly believe that the most successful ones are because the experiences that they're a part of sow the seeds. They plant the love, the emotion, the energy. All you're really doing is making sure that that magic stays with people when they go away. The brand experience is the piece that's actually got them there in the first place. Paul Marden: Now let's go over to the conference floor to hear from some Irish operators and suppliers.Charles  Coyle: I'm Charles Coyle. I'm the managing director of Emerald Park. We're Ireland's only theme park and zoo. We opened in November 2010, which shows you how naive and foolish we were that we opened a visitor attraction in the middle of winter. Fortunately, we survived it.Paul Marden: But you wouldn't open a visitor attraction in the middle of summer, so give yourself a little bit of a run-up to it. It's not a bad idea.Charles  Coyle: Well, that's true, actually. You know what? I'll say that from now on, that we had the genius to open in the winter. We're open 15 years now, and we have grown from very small, humble aspirations of maybe getting 150,000 people a year to we welcomed 810,000 last year. And we'll probably be in and around the same this year as well.  Paul Marden: Wowzers, that is really impressive. So we are here on the floor. We've already heard some really interesting talks. We've been talking about AI in the most recent one. What can we expect to happen for you in the season coming in?Charles  Coyle: Well, we are hopefully going to be integrating a lot of AI. There's possibly putting in a new booking system and things like that. A lot of that will have AI dynamic pricing, which has got a bad rap recently, but it has been done for years and years in hotels.Paul Marden: Human nature, if you ask people, should I be punished for travelling during the summer holidays and visiting in a park? No, that sounds terrible. Should I be rewarded for visiting during a quiet period? Oh, yes! Yes, I should definitely. It's all about perspective, isn't it? Very much so. And it is how much you don't want to price gouge people. You've got to be really careful. But I do think dynamic pricing has its place.Charles  Coyle: Oh, absolutely. I mean, a perfect example of it is right now, our top price is not going to go any higher, but it'll just be our lower price will be there more constantly, you know, and we'll... Be encouraging people to come in on the Tuesdays and Wednesdays, as you said, rewarding people for coming in at times in which we're not that busy and they're probably going to have a better day as a result.Susanne Reid: Hi, Suzanne Reid here. I'm the CEO at Christchurch Cathedral, Dublin. What are you here to get out of the conference? First and foremost, the conference is a great opportunity every year to... catch up with people that you may only see once a year from all corners of the country and it's also an opportunity to find out what's new and trending within tourism. We've just come from a really energising session on AI and also a very thought-provoking session on crisis management and the dangers of solar panels.Paul Marden: Yes, absolutely. Yeah, the story of We the Curious is definitely an interesting one. So we've just come off the back of the summer season. So how was that for you?Susanne Reid:Summer season started slower than we would have liked this year in 2025, but the two big American football matches were very strong for us in Dublin. Dublin had a reasonable season, I would say, and we're very pleased so far on the 13th of the month at how October is playing out. So hoping for a very strong finish to the year. So coming up to Christmas at Christchurch, we'll have a number of cathedral events. So typically our carol concerts, they tend to sell out throughout the season. Then we have our normal pattern of services and things as well.Paul Marden: I think it's really important, isn't it? You have to think back to this being a place of worship. Yes, it is a visitor attraction. Yes, that's an aside, isn't it? And the reason it is a place of worship.Susanne Reid: I think that's obviously back to what our earlier speaker was talking about today. That's our charitable purpose, the promotion of religion, Christianity. However, you know, Christchurch is one of the most visited attractions in the city.Susanne Reid: Primarily, people do come because it will be there a thousand years in 2028. So there is, you know, the stones speak really. And, you know, one of the sessions I've really benefited from this morning was around accessible tourism. And certainly that's a journey we're on at the cathedral because, you know, a medieval building never designed for access, really. Paul Marden: No, not hugely. Susanne Reid: Not at all. So that's part of our programming and our thinking and our commitment to the city and to those that come to it from our local communities. But also from further afield, that they can come and enjoy the splendour of this sacred space.Paul Marden: I've been thinking long and hard, and been interviewing people, especially people like We The Curious, where they're coming into their 25th anniversary. They were a Millennium Project. I hadn't even thought about interviewing an attraction that was a thousand years old. A genuine millennium project.Susanne Reid: Yeah, so we're working towards that, Paul. And, you know, obviously there's a committee in-house thinking of how we might celebrate that. One of the things that, you know, I know others may have seen elsewhere, but... We've commissioned a Lego builder to build a Lego model of the cathedral. There will obviously be some beautiful music commissioned to surround the celebration of a thousand years of Christchurch at the heart of the city. There'll be a conference. We're also commissioning a new audio tour called the ACE Tour, Adults, Children and Everyone, which will read the cathedral for people who have no sense of what they're looking at when they maybe see a baptismal font, for example. You know, we're really excited about this and we're hoping the city will be celebratory mood with us in 2028.Paul Marden: Well, maybe you can bring me back and I'll come and do an episode and focus on your thousand year anniversary.Susanne Reid: You'd be so welcome.Paul Marden: Oh, wonderful. Thank you, Suzanne.Paul Marden: I am back on the floor. We have wrapped up day one. And I am here with Ray Dempsey from Jameson Distillery. Ray, what's it been like today?Ray  Dempsey: Paul, it's been a great day. I have to say, I always loved the AVEA conference. It brings in such great insights into our industry and into our sector. And it's hosted here in Waterford, a city that I'm a native of. And, you know, seeing it through the eyes of a tourist is just amazing, actually, because normally I fly through here. And I don't have the chance to kind of stop and think, but the overall development of Waterford and the presentation from the Waterford County Council was really, really good. It's fantastic. They have a plan. A plan that really is driving tourism. Waterford, as a tourist destination, whereas before, you passed through Waterford. It was Waterford Crystal's stop and that was it. But they have put so much into the restoration of buildings, the introduction of lovely artisan products, very complimentary to people coming to here, whether it is for a day, a weekend, or a week. Fantastic.Paul Marden: What is it? We're in the middle of October and it's a bit grey and drizzly out there. But let's be fair, the town has been packed. The town has been packed.With coaches outside, so my hotel this morning full of tourists.Ray  Dempsey: Amazing, yeah it's a great hub, a great hub, and they've done so much with the city to enable that, and you see, as you pass down the keys, you know that new bridge there to enable extra traffic coming straight into the heart of the city, it's fantastic. We're all learning from it, and hopefully, bring it all back to our own hometowns.Paul Marden: I think it's been really interesting. We were talking earlier on, before I got the microphone out, saying how it's been a real mixed bag this year across the island of Ireland, hasn't it? So some people really, really busy, some people rubbish year.Ray  Dempsey: Yeah, I mean, I feel privileged the fact that, you know, we haven't seen that in Dublin. So, you know, there's a it's been a very strong year, a little bit after a little bit of a bumpy start in January, February. But, like, for the rest of the year onwards, it's been fantastic. It's been back to back festivals and lots of things, lots of reasons why people come to Dublin. And, of course, with the introduction of the NFL. That's new to us this year. And hopefully, we'll see it for a number of years to come. But they're great builders for organic growth for our visitor numbers. So I'm happy to say that I'm seeing a growth in both revenue and in visitor numbers in the Jameson Distillery. So I'm happy to see that. Now, naturally, I'm going to have to work harder to make sure it happens next year and the year after. But I'm happy to say that the tourism product in Dublin has definitely improved. And Dublin-based visitor attractions are doing well. Paul Marden: Exciting plans for summer 26? Ray  Dempsey: Yes, every year is exciting, Paul. And every year brings a challenge and everything else. But I'm delighted to say that our focus for 2026 really is on building inclusion. So we're looking at language tours.Ray  Dempsey: We're looking at tours for... you know, margins in society. And I think it's a really interesting way for us to be able to embrace accessibility to our story. And also, we have increased our experience repertoire to engage more high-end experiences, not private experiences. More demand for those. Okay. So we're delighted to say that we have the product in order to be able to do that. So that's exciting for us, you know, to be building into 2026. Great. Paul Marden: Thank you so much for joining us. I am the only thing standing in the way of you and a drink at the cocktail reception later on. So I think we should call it quits. Ray  Dempsey: And for sure. Paul Marden: If you enjoyed today's episode, then please like and comment in your podcast app. It really does help others to find us. Today's episode was written by me, Paul Marden, with help from Emily Burrows from Plaster. It was edited by Steve Folland and produced by Wenalyn Dionaldo. 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

In this powerful conversation, I sit down with researcher and truth seeker Kenny Plaster, whose mission is to help people reclaim their rights, question broken systems, and live freely. We dive into how distraction and division keep people focused on surface-level political battles while deeper forces shape systems behind the scenes. Kenny breaks down how legal and financial contracts work (often without our full understanding or consent) and how knowledge of our inherent rights can create real empowerment. He also explains the difference between rights and privileges, the evolution of citizenship status, and how modern systems rely on compliance more than coercion.If you've ever sensed that there's more beneath the surface of modern governance, this conversation is your invitation to look deeper, ask better questions, and stand more firmly in your own power. Visit statenationalsrock.com and use code LUKE for 15% off all products (except PMAs and recurring subscriptions).DISCLAIMER: This podcast is for educational purposes only and not intended for diagnosing or treating illnesses. The hosts disclaim responsibility for any adverse effects from using the information presented. Consult your healthcare provider before using referenced products. This podcast may include paid endorsements.THIS SHOW IS BROUGHT TO YOU BY: EONS | Visit lukestorey.com/eons and use code LUKE20 to save 20%LITTLE SAINTS | Visit lukestorey.com/littlesaints and use code LUKE to get 20% off your first order.JUST THRIVE | Head to lukestorey.com/justthrive and use code LUKE20 to save 20%.LEELA QUANTUM TECH | Go to lukestorey.com/leelaq and use the code LUKE10 for 10% off their product line.MORE ABOUT THIS EPISODE:(00:00:00) How One Audit Sparked a Lifelong Fight for Freedom(00:20:31) Rights vs. Privileges—Foundations of Freedom(00:34:17) Vetting Teachers, Avoiding Traps, & Finding a Lawful Path(00:51:11) “Sovereign Citizen” vs. Lawful Strategy—Choosing a Real Path(01:12:49) Kenny's Step-By-Step: Foundations, Status, & Trusts(01:34:05) From Paperwork to Parallel Systems—Timeline, Trade-Offs, & True North(01:58:10) Pitfalls & Red Flags—How to Stay Free (and Out of Trouble)(02:10:50) Due Process Defender—Fighting Back with AIResources:• Website: statenationalsrock.com • Instagram: instagram.com/statenationalsrock • Facebook: facebook.com/StateNationalsRock • X: x.com/StateNationalsR • YouTube: youtube.com/@stevebardistatenational6235 • Shop all our merch designs at...

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

In this episode, we chat with Choni Fernández, Chief Sustainability Officer and Customer at PortAventura World, the first carbon-neutral theme park in the world, and now proudly B Corp certified.Choni isn't just ticking ESG boxes, she's leading a cultural shift in how attractions operate. From zero-emissions hotels to renewable energy and deep supply chain work, PortAventura is setting the global standard.In this episode, we dive into the real work behind the headlines. How do you build a sustainability culture that actually sticks? Can you lead without a big green team? And what does digital sustainability really mean?If you're serious about sustainability, or wondering where to start, this is the conversation you need to hear.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:  PortAventura World website: https://www.portaventuraworld.com/nosotros/trabaja-con-nosotrosChoni Fernández on LinkedIn: https://www.linkedin.com/in/choni-fern%C3%A1ndez-veciana/Choni Fernández is Customer, Sustainability and Communications Director at PortAventura World. With a background in Economics and over a decade at BASF, she joined PortAventura in 2007, where she has led Procurement, Logistics, and Sustainability. She spearheaded the company's sustainability strategy, achieving the milestone of B Corp Certification, and now leads the newly created Customer Department to drive a more customer-centric approach. Choni also serves as Catalonia Delegate at DIRSE and is Chair of the IAAPA EMEA Sustainability Committee. Plus, live from the IAAPA Expo Europe show floor, we catch up with:Jakob Wahl, President & CEO of IAAPAhttps://iaapa.org/https://www.linkedin.com/in/jakob-wahl/Elliot Hall from Expression Capital Partners LLPhttps://expressioncapitalpartners.com/https://www.linkedin.com/in/elliot-h-1b804a6a/Matt Barton, CEO / Co-Founder CurtainUp Ltd. & President of Themed Entertainment Association TEA https://www.curtainup.livehttps://www.linkedin.com/in/matt-barton-99a8039/Melissa Oviedo, Chief Executive Officer, Themed Entertainment Association TEA https://www.teaconnect.org/https://www.linkedin.com/in/melissa-oviedo-ruminot-90a63228/Kevin Murphy, Senior VP, Kraftwerk Living Technologieshttp://www.kraftwerk.athttps://www.linkedin.com/in/kevin-murphy-854439/Jacob Thompson, CX Director, Attractions.io https://attractions.iohttps://www.linkedin.com/in/jacob-thompson-icap-151271149/ Transcriptions:  Welcome, skip the queue, to Barcelona.Paul Marden: Welcome to Skip the Queue, the podcast about the world's best attractions and the amazing people that work in them. I'm your host, Paul Marden, and along with my co-host, Andy Povey, and roving reporter Claire Furnival, we're bringing you the latest news from IAAPA Expo Europe in Barcelona.Paul Marden: You join me today tired and just a little bit emotional at the airport after an amazing week at the show.Paul Marden: In this episode, we wrap up our time at IAAPA Expo Europe with a final look back at the show floor buzz. I catch up with Jakob Wahl, Chief Executive Officer of IAAPA, to get his reflections on an unforgettable week, from standout innovations to what's next for the global attractions industry. But first, Andy sits down with Choni Fernandez, Chief Sustainability Officer at PortAventura World, to explore what it really takes to become the first carbon neutral theme park on the planet and why sustainability must be at the heart of guest experience going forward.Andy Povey: So hello, everybody. I'm joined today by Choni Fernandez from PortAventura World. Choni is responsible for sustainability and guest experience and a number of other things, I believe, Choni. Hello and welcome to Skip the Queue. Hello. Choni Fernandez: Thank you very much for your invitation. Andy Povey: So, Choni, you guys at PortAventura World are really leading the industry and probably more than just our industry. In terms of sustainability, you were the first carbon neutral theme park in the world and in '24, the first theme park company to achieve a BCorp certification. Am I right?Choni Fernandez: Yes, you're right. It was, in fact, we are VCOPS since 2022. And yes, we were operational carbon neutral because we reduced our emissions during several years. And after that, we acquired some carbon credits to compensate the result of the balancing emissions. For scope one and two. Yes. So since then we are operational carbon neutral. That is not really an official name, but it's easy to explain what we are doing. Andy Povey: Okay. So what is the official name?Choni Fernandez: The official name, in fact, now that's interesting because it's a big discussion in the European community. We chat the terms we can use or not. In the new CCRG, that is going to change. Some words like green, sustainable, are probably forbidden, words that cannot be used any longer. And you need to speak properly about the impact of your activity without using these words that can lead to a type of greenwashing. And you need to be more clear about when you say, for instance, 'carbon neutral,' you need to say, 'we have reduced emissions, we compensate.' More explanation than just using one word that can be easily misunderstood.Andy Povey: Okay, yeah, yeah. That makes a lot of sense. Just buying carbon credits. You're actually doing something positive. Taking action. Like, is it Europe's largest solar farm?Choni Fernandez: It's the largest solar farm. That was one of the biggest at the source of Europe. And for sure, I guess, is still the biggest in Spain.Andy Povey: The biggest solar farm in Spain.Choni Fernandez: Sorry, in a holiday resort, yes. There are other very big solar plants that they produce energy for third parties, but they are not linked to a tourist industry.Andy Povey: No, that makes absolute sense. So you're generating your own power.Choni Fernandez: We generate 30%. The plant is not big enough and we have some restrictions of the government. So we cannot sell the surplus of energy we produce. So we could only make the plan as big as the low on consumption we have in a period of a year.Andy Povey: That makes absolute sense.Choni Fernandez: So that means that there are several months where we produce 100% energy we need. But then, obviously, in the peak of the season, we need extra energy. We buy from the net, but we always buy green energy from the net, too. Then 100% of the energy we consume is green energy, not coming from non-renewable.Andy Povey: It all becomes much more complicated as you dive into the detail, doesn't it?Choni Fernandez: Yes, yes, yes. Everything is much more complicated. And in Europe, yes, I would say even one step more complicated than the rest of the world because of all the regulations.Andy Povey: So what was it that inspired PortAventura World and how did you persuade PortAventura World to take sustainability so seriously?Choni Fernandez Okay, the history starts really with, I would say, a huge pain point, even when they were designing the park. And it was related to water. We are established in an area where we suffer from water scarcity many periods. So for those designers, they already designed the park with sustainability in mind. So they have created a complex system to recover all water rains in a big tank that is our Mediterranean lake.Andy Povey: Yeah, yeah, yeah.Choni Fernandez: So water was a treasure since the beginning. And they have also in a private-public investment. Take all the gray waters from the park, sending it to a water treatment plant several kilometres far away from the resort, and making the pipe bring the recycled water back to the resort for gardening. So PortAventura was using recycled water since 30 years ago. And that was really the starting point of sustainability at PortAventura. So we start with all the environmental impacts that the activity was going to have. And they created the park open doors in 1995. So in 1997, just two years after that, they have created the Green Team.Choni Fernandez: It's a team from different members of different departments who takes care of the environmental impacts and how they can reduce the use of water, energy and so on. And this team is still working nowadays and takes care of more complex things, certifications, but with the same, I would say, purpose, you know, that is to reduce the environmental impact of the resort, and now we start to regenerate different areas. So it's not producing impact, it's creating positive impact through regeneration.Choni Fernandez: And that was a starting point. But I like to repeat that sustainability has not fixed rules. So that is the story of Pota Aventura, because we are what we are. We are located where we are. But for instance, in the Global Sustainability Committee of IAAPA, SCARBRED was a member of that. And SCARBRED, the sustainability, had not begun for the water scarcity. They don't have this problem.Choni Fernandez: So sustainability there was more linked to the social sustainability, how to integrate communities in the project. So it really depends, again, in that moment, the momentum, you know, that we call. Where you are, who you are, what is your future footprint of your activity in your community and in the environment.Choni Fernandez: So we start with that. And year after year, we consolidate this beginning. So any new activity of PortAventura, it doesn't matter— new hotel, new park, convention centre has always followed the same philosophy that we started in 1997.Andy Povey: Very good.Choni Fernandez: Yes, because I think that this makes the project really coherent, consistent, and resilient. So it's something that we have not done from day to night, you know. It's something that we have. It's like a dish you have cooked in a low, low temperature, you know. Andy Povey: Yeah, yeah, yeah. Slow cooker. Choni Fernandez: Slow cook. That is. Sustainable PortAventura is slow cook. But at the end, you know, the dish is very good cooked and it's good.Andy Povey: Absolutely. And then, as the person responsible for customer experience within PortAventura World, before talking to you, I wouldn't necessarily have put... sustainability and customer experience together in the same group.Choni Fernandez: You're right because, okay, that is something that has changed also through years, you know, so sustainability was linked and happened at PortAventura. It was totally linked to the environmental part. But that is only one third of what sustainability means. Sustainability is also the social impact and obviously the governance.Choni Fernandez: We call also ESG. Okay, it has some difference because it has more financial meaning. But what is clear when you talk, when we talk about sustainability, we talk about the environmental impacts and the social impacts. And the social impacts are the impacts that your activity, our activity has on people. And when we talk about people, we talk about employees, we talk about our community that's surrounding us, we talk about shareholders, we talk about suppliers, and we talk about guests or visitors. And the activity of any company should have a positive impact on these people that are affected by the activity, that they are also called stakeholders.Choni Fernandez: So, and here is the reason why we try to improve every year the guest experience in order to improve this positive impact. And at the end of the day, because we are not NGOs. We strongly believe that a positive impact on the guest experience is going to be translated in future revenues, more attendance for our parks, and makes our resort more resilient because it's more profitable in the long term.Andy Povey: So this really is a sort of a wheel or a cycle. Choni Fernandez: You are right. You are right. You are right. So we really differentiate at PortAventura. I mean, sustainability is also a new angle to see your business. There is the financial angle. And then there is the angle— how your activity affects the difference they hold up. But that is clear that both need to go together. I mean, business and sustainability. In fact... One of the reasons to become a BCorp company is to evolve our mission and vision with a purpose that integrates sustainability in the business model. So it is much easier for us to talk to employees, to talk to suppliers, to talk to guests. About what is the reason why it exists and why it's important to have sustainability included in order, again, to make our business resilient through the past of the years.Andy Povey: So we have a lot of listeners around the world. What would be your advice to someone running a venue that doesn't have the advantage of starting with sustainability right at the heart and from where they started their business? How do you make a start on this?Choni Fernandez: That is a very interesting question. And the first I think any company needs to do is really to understand the stakeholders they are affecting too. Because just with this complete transparent and dialogue with the different stakeholders, you really can understand what is the impact you are producing on them. And from this result, then you know where are your main pain points, where you need to focus first on. Obviously, there are some general rules. Your impact on the environment, as I told you before, normally a new venue has, for sure, clients, or at least customer guests, employees, probably shareholders, and then in another level, suppliers, community, etc.Choni Fernandez: So, and depends what is the situation, you need to start with that. You need to prepare a good analysis because, if not, what could happen? Imagine that you focus a lot on the environmental part and you start with that because you have seen that PortAventura has started with that.Choni Fernandez: But then that is not your problem because you are in an area where your resources are really well controlled or your resort has very good standards, very efficient, because it has done with high technology, but you have an employee problem.Choni Fernandez: You have problems perhaps to attract employees, to retain the talent, or really to make them happy working with you. Then you have to start the sustainability for not the most important topic in your company. So the most important is to understand what the stakeholders need from you and then to prepare. And it's also very interesting, I think, to start, you know, things small.Choni Fernandez: Making small projects that can be consolidated and embedded into the company. Because what is really important in a company is that each department, each area of the company, maintenance, procurement, human resources, marketing, and each of the departments really is doing the part of sustainability they need to, because it is impossible that one person on every team produces all the sustainability that the whole company needs to do.Choni Fernandez: So if sustainability is really not embedded in the activity of each Japan, it's really impossible to be a successful company in terms of sustainability. You know what I mean?Andy Povey: I know exactly what you mean. That rule is so true for so many things, isn't it? You could replace the word sustainability with guest experience or ride safety. Choni Fernandez: Yes, it's the same. Andy Povey: Any number of different things.Choni Fernandez: I always explain when people say, 'but you have done a lot, Choni.' I say, 'no, no, no, no, no.' Choni has not done a lot.Choni Fernandez: Many people are doing a lot, you know. And sustainability managers or directors normally are orchestra directors. But each one needs to play its own instrument so we have a nice music, you know. If not, it does not work at all, you know, like in orchestra. So we need the maintenance guy, really. or the energy manager to really take care of that. And human resources really to prepare inclusivity, et cetera, policies linked to employees. And marketing, doing really an ethic marketing to guests. So, and that is how everyone is really doing a part of the peak and sustainability of the company.Andy Povey: That sounds very familiar and I'm sure for our guests will ring true in many different areas. It's interesting you talk about really understanding where you are. What it is you're doing. We've done some work here in the UK on the sustainability of websites. So by not printing a park map, you obviously save resources, you save paper. But if you put that on a really inefficient webpage, then you're just consuming someone else's electricity. It doesn't make you any more sustainable.Choni Fernandez: And one thing I would like to tell you is that one of the big steps for us was when our investors make the management very clear that investors of the private funds that own PortAventura were asking for sustainable investments. So that was also a way, really, to receive more money from the investors to the owners. And that is very important because when the financial markets really recognise that sustainability is a plus for an investment, then, you know, things change. Things happen. And we had two moments in this company, in my opinion, for us, for sustainability managers, that make this big change in our mindset. Choni Fernandez: One is the world of our shareholders. And that was really a big, big step forward. Because we realised then, 'oh my God, we are sustainable. We can be sustainable. Our sustainability is a lever really to receive more funds to our business.'Choni Fernandez: And the second one was when we have two different businesses, really a B2C— final customer— and a B2E— travel agencies, companies who do their conventions in our convention, et cetera, et cetera. Once upon a time, a company came to PortAventura asking for a quotation for a big convention, European size, very big one.Choni Fernandez: And before receiving the quotation, they asked, 'Please, can you send us your sustainability report?' Because we would like to see if that's the venue where we want to go. Now, everything changed.Andy Povey: Absolutely.Choni Fernandez: Because at first time, sustainability was bringing business to the company. It was not a nice to have, something that we need to have. It was really part of the business. And that changed the history of the, I would say, the sustainability journey of this company when we have both shareholders' commitment and really request to continue on that. And on the other side, we were recognised for our sustainability activity in a business case.Andy Povey: It's very interesting when you get push or pull from both sides. Choni Fernandez: You're right. Then you realise that there is no other way to do that, you know, so you need pushing, pushing.Andy Povey: You're doing a lot of work about education, work, and working with schools, and having to engage them in your journey.Choni Fernandez: That's again the same case, you know. So in our guest segmentation, school groups are one of them. And it is a very important group for us and I guess for other operators too. As we receive many schoolers. But, you know, the teachers, not students, they thought that the trip to PortAventura was really 100% entertainment. And schools were looking for something more cultural, educational.Choni Fernandez: So then, at that moment, we prepare some workshops at the beginning of the day before the park opens. If the park opens at 10, we can deliver a sustainability workshop from 9 to 10. For instance, talking to kids about biodiversity, about waste management, how to produce green energy. So in the solar plant, we don't have only solar panels. We also have some instruments, some elements to explain children how to produce green energy with movement, with wind, with sun, with solar energy. And they can experiment with their hands. With this element, how to produce this green energy. And they understand very well because that is part of the curriculum that they have to study at school. But now they can put it in practice in a different way, in a way... that our industry delivers very well, that is entertainment, you know?Andy Povey: Yes, yeah, yeah.Choni Fernandez: And that is driving more schools to visit us. So again, there is another link with sustainability, more business, more attendance, more revenues.Andy Povey: We're back on the cycle.Choni Fernandez: Yeah, again, the cycle. We close the loop, you know.Andy Povey: Absolutely. Choni, is there something you'd like to leave as a sort of parting message or a final thought to everybody that's listening to the podcast? A single sentence about how they can emulate your success.Choni Fernandez: No, I think that, okay, sometimes in life, you know, for sustainability managers, I mean, and now in the world, perhaps you feel like Talmon, you know, coming up to the river.Andy Povey: Yeah, yeah, yeah.Choni Fernandez: In a difficult situation, but it doesn't matter. So the evidence is so strong that, if you really can close the loop, as we have been talking, if you can really demonstrate and we can close the gap. Between the sustainability impacts and the financial impacts, then sustainability is part of your business. I think that should be the goal— to really don't have sustainability as something nice to have additional to the business. Avoid that at all.Choni Fernandez: Sustainability is part of the business and makes the business more resilient and more profitable in the long term.Andy Povey: Lovely. That's a great message to leave us with. Paul Marden: Now let's hear some of the buzz from the show floor.Claire Furnival: So day three of IAAPA and I've just bumped into Matt Barton. Matt Barton: Hello. Claire Furnival: Matt, you wear many hats.Matt Barton: My day job is I'm the founder and CEO of Curtain Up. I'm also the owner of 7th Sense, a company that makes media servers and pixel management systems. But I'm also the president of the Themed Entertainment Association, better known as the TEA.Claire Furnival: Crumbs, the busy man. I hear you had a party last night. Matt Barton: We did. Yeah, we had a very successful mixer. We have a great relationship with IAAPA and we have a mixer at all of IAAPA's events around the globe. And we bring our members together, usually on the second or third night of the event.Claire Furnival: Anything announced last night at the party?Matt Barton: Yeah, so we announced our next SAIT conference, and SAIT stands for Storytelling, Architecture, Technology equals Experience. So it's a thought leadership conference where we talk about trends in the industry, best practices to follow, that kind of thing. We've just finished our SAIT Asia event just three weeks ago now, and that was in New Zealand this year. And we just last announced that we're going to be in Dubai next year. Again, building on that great relationship we have with IAAPA, we're actually doing it almost like a pre-conference event. So it's tied in with IAAPA Middle East, which is going to be in Abu Dhabi. We're going to be the week before. So people can then come to SAIT, enjoy SAIT with us, and then go straight down to Abu Dhabi for the IAAPA conference.Claire Furnival: What activities is it that the TEA do? What do you offer your members?Matt Barton: So a whole range of things. And what I'm going to do now is introduce our CEO, Melissa. Melissa Oviedo.Claire Furnival: Great to meet you, Melissa. So what is it that TEA offers its members?Melissa  Oviedo: We are really the connection community. The connection community for the design, the makers, the builders, the creators. Everybody who delivers world-class experiences around the world, that's really who we are and what we represent. That can be from theme parks to museums to cultural to location-based entertainment. Claire Furnival: So I understand that the TEA does an annual benchmark report. Melissa  Oviedo: Yeah, we've just rebranded this. This is the TEA Theme Experience Index. This is the 19th year that we're doing this benchmark study. Yeah, it's really exciting for us. And what this is, is this is the annual attendance report that tracks attendance data from around the globe for the top theme parks, water parks, and museums globally. It really looks at trends, so we can understand where are the guests going, where are they spending their time, how are the parks, especially as they're coming new on the market, how do they influence those trends? And we're actually going to be launching this on October 22nd.Claire Furnival: So a couple of questions spring to mind on that one. So first of all, can anybody access the report?Melissa  Oviedo: Yeah, sure can. It's a completely free resource. You can go online. If you're not a member, we just ask for you to fill out a quick form so we know who's downloading the report. And you will have full access to all of the data, and we will have actual books to hand out at IAAPA in Orlando in November.Claire Furnival: The sector's very, very, very lucky to have this piece of research. So can you give us any snippets as to what we might see in the report?Melissa  Oviedo: I think you'll see that the theme parks are really consistent. The big players are still the big players with Disney and Universal really driving the... main attendance data. And then China, with Chimalong Park, really still holding rank at number one water park in the world. We're seeing the attendance coming back in a fierce way in China.Melissa  Oviedo: Outlook is positive. Overall, though, you'll be able to find in the report a lot of the trends that we're seeing. A lot of what we're not only anticipating in 2025, but in the future as well, with all of the developments that are happening. So, really exciting, this year's report. Claire Furnival: And what about 2026? What does that bring the TEA? Melissa  Oviedo: Momentum is high, right? The community continues to look at how they diversify as an organisation or as a business. Theme parks is our core, but we're so much more than just that. So I think you're going to see. More people doing really cool and immersive things in new places. I think the definition of themed entertainment gets broadened and further defined. I think that you're going to see more activity and more collaboration because collaboration is really when the magic happens. And you're going to start to see that even more robustly in 2026 and beyond. Claire Furnival: Sounds exciting. So last thought from you, Matt.Matt Barton: Yeah, I just wanted to touch on a couple of things we've got left in 2025 before we look to 2026. So I mentioned SAIT earlier. We also have our SAIT conference in North America coming up. So that's in October. at Knott's Berry Farm, and that ties in with when we're launching the Global Experience Index. And then in November, we've got our mixer, our international mixer, combined with the IAAPA conference in Orlando. And so on the Tuesday night of IAAPA, we have our international mixer at the Isle of Berk attraction at Epic Universe. We've got the whole land, we've got dinner and drinks, and it's going to be a good one, so make sure you get your tickets in.Claire Furnival: One not to miss. Well, it's fabulous to catch up with both you, Matt, and you, Melissa. So thank you very much for your time.Matt Barton: Thank you.Melissa  Oviedo:  Thank you so much, Claire.Andy Povey: So we're on day three, and I'm sitting here with Elliot Hall, who's one of the founding partners behind Expression Capital Partners. Elliot, hello. Elliot Hall: Hi, Andy. Good to see you. Andy Povey: For our listeners at home, can you just tell me what Expression Capital Partners do and treat me like an idiot because I really don't understand the world of investment banking and all that kind of stuff.Elliot Hall: Okay, so Expression Capital Partners is the advisory firm to Entertainment Investments 1LP. Which is specialising in the entertainment industry. Andy Povey: Interesting. So I understand you're doing some work with Hasbro and in particular things like Monopoly.Elliot Hall: Yes, yes, yes, absolutely. So we're looking to open monopoly-themed hotels and casinos around the world. Andy Povey: Wow. Elliot Hall: Along with many of the different types of brands, as we're rather across their 1000 plus brands. Andy Povey: I understand there's also some sporting connections. Tell us a little bit about, tell us what you can. Elliot Hall: Yeah, so what we can. We are working with some brands that have relationships and contracts for the IP for UEFA, FIFA and the FA. Yeah, so some really exciting products there and businesses. And we are in a position to be able to sign licenses and lease agreements and so on. And we're looking at bringing all of those brands together, either in the same cluster of IP attractions or within one building under one roof. Andy Povey: So, Elliot, you guys really are the people that are bringing the magic together. The IP, the operators, and then working out how someone funds it all.Elliot Hall: Yes, absolutely, yes. Andy Povey: Fantastic.Claire Furnival: So I'm here talking to Kevin Murphy from Kraftwerk Living Technologies. How are you finding the show this year and what do you see the trends for 2026 for you, Kraftwerk or also the industry?Kevin Murphy: I think in many respects, the trend at the moment is survival, which isn't being negative, but the world is a different place from how it was pre-COVID. The industry, though, is very, very alive. There's a lot happening out there. It's good to see the show for full. We actually tried to get a booth this year and couldn't. Everything had sold out. It's busy. People are wandering around with a very positive vein. But there's no doubt that there's— world tensions and there's problems with investment— and it does affect the industry and you know we're not immune from that. Kevin Murphy: But what's been good about this show is that a lot of the partners and Clients that we're working with are starting to announce their new projects. You have to bear in mind, for us, we do high technology behind the scenes in parks and museums and science centres. We can be working on them for many, many years. So we've had projects that have been brewing and they're just starting to get announced now. So what I'm seeing is, although there's concern about the industry, there is a slightly more positive vein coming through. I think the economy is improving out there, investors are starting to come out, and you can make money out of our industry.Claire Furnival: So what in particular have you got going on in 2026? Anything you can talk about and share with us?Kevin Murphy: Well, we're very, very pleased it's been announced, so I can talk about it. Plopsaland, which is a park in Belgium, are working with Mac. And I'm delighted to see that they've just announced, earlier than we expected, we're still working behind the scenes, but they've now announced their new flying theatre. Which will be ready and prepared at the end of 2026 for the 2027 opening.Claire Furnival: Congratulations, that's really, really exciting news.Kevin Murphy: Sadly, a lot of the other projects, I still can't say too, too much, because they may not have announced.Claire Furnival: Yeah, the dreaded NDAs.Claire Furnival: Just bumped into Jacob from Attractions. io. How's the show been for you?Jacob   Thompson: Great. This is my second time at IAAPA in Barcelona. It's been even better than the first time. So the weather's held out. Great conversations, great company. So overall, a success.Claire Furnival: And a little birdie has told me that you have a new feature coming out.Jacob   Thompson: That is true. So, yeah, we have launched a new product this month called GX Pulse. And the idea is it's enabling operators to make sense of all the noise of guest reviews and sentiment by breaking... reviews down from TripAdvisor, Google reviews, their own internal platforms to make sense and map that across a guest journey, specifically for attractions. So it's able to understand sentiment across things like queue management, your attractions, your food and beverage, give you scores and benchmark you against other venues. But most importantly, give you actionable insights to make improvements to the guest experience.Claire Furnival: Brilliant use of data there. Really, really, really good. So is this product now launched?Jacob  Thompson: Yes, yes it is. So we've been demoing it across some attractions at the trade show floor this week and it's had some really positive feedback. This product is completely separate from our core app platform and experience. So even if you don't have a mobile app and don't need a mobile app, this can be valuable for anybody that is looking to understand the sentiment and experience of their guests across their attractions.Claire Furnival: Fabulous. Guest will be seeing you in IAAPA Orlando.Jacob   Thompson: Yes, and I heard there's going to be a great party hosted by Skip the Queue.Claire Furnival: I'm not sure we'll be hosting a party, but we'll certainly be partying.Jacob   Thompson: Well, I'll be there to join you nonetheless.Paul Marden: So we're here for the final day of IAAPA Expo Europe. I've had a whale of a time and I'm sat here with Jakob Wahl, who amazingly, considering three days into this fantastic expo, is still looking fresh and bright. Jakob, please introduce yourself for our listeners who may not know you.Jakob  Wahl: I'm president and CEO of IAAPA, the Global Association for the Attractions Industry. I've done that now for two and a half years, but in total I've been with IAPA for, I think, nearly 15 years.Paul Marden: Wow, so man and boy almost.Jakob  Wahl: Yeah, you know, and I always say the kid in the candy store— I love doing what we do and bringing people together.Paul Marden: How could you not? So this is my first IAAPA. It has been fantastic and stood on the show floor. I think it was yesterday. I was on my own, done so many interviews. I've been bouncing around, but I just had a few minutes by myself and just stood in the middle of it all. Totally is like being a kid in a candy store, the Willy Wonka moment isn't it? Of what this place is like, because it is so fantastic.Jakob  Wahl:  It is and the most wonderful thing about it is, you know, we as an association, we create a framework, but it is actually all of you, our members, who fill it with life. Because everybody comes together. It's just a massive class reunion. People know each other. And the best thing about it is they're all willing to help and support each other. So obviously, the trade show floor is one component, but we have all those networking sessions, the education sessions, safety corners, we have places where people can exchange, depending on what they work in or where they work, and everybody comes together to share. That is so wonderful, because it's not only family-owned parks, small parks, big parks, but it's also the big private equity corporate players. They're all here to really benefit from this platform, and that fills me with pride.Paul Marden: Good. So, as the week draws to a close, what's been the real highlights for you?Jakob  Wahl: How much time do I have? First of all, the people. It's always the people. It's, you know, for me, it's my team coming together from all around the world, putting this together. And then it's... the people coming and creating those education sessions, creating those moments together, sharing their knowledge. That is just wonderful. There's not one specific moment like that, but it happens all the time. Jakob  Wahl: And then one of the highlights for me is always, always, always the opening reception. That is our Tuesday night event, which took place at Tibidabo, this classic historic amusement park on top of Barcelona. We were a little bit concerned Monday. Will it rain? Will it not rain? So we had to rent tents to make sure that everybody will stay dry. And what happens if you're intense? Obviously, it doesn't rain. Jakob  Wahl: There was an expensive insurance, but it turned out to be exactly that evening. And we have been to Barcelona three times now. We have been to the Tibidabo three times and I think I can be pretty sure that when we go back to Barcelona in three years, we will also go again to Tibidabo because, you know, it's just this evening filled with magic and good people.Paul Marden: Excellent. You've had some time wandering the show floors, I'm sure, talking to suppliers, getting a feel for what's happening in the industry. What have you heard from the show floor that you think is going to influence the sector over the year ahead?Jakob  Wahl: I would have loved to ask you that question, actually. What is your impression?Paul Marden: Oh, the blending of tech with real life I find really interesting. We all want to take our kids to attractions because we want to pull them away from their screens. But there's got to be a hook, I think. And in many cases, there are rides or there are amusements of some form that is a skillful blending of that tech with an in-life, in-real-life experience that I think is the hook to get the kids in. But then we're still wrenching them away from the screens. They're doing something for real with family.Jakob  Wahl: Yeah, I think technology enhances the experience. It doesn't replace the experience. I think that is something which is very clear on the show floor, that there are different ways of how you can combine existing attractions with new technology. And we sometimes call it fusion attractions, where you bring several elements into play with each other. And I think that is very important. What we have seen also is an increase in what I would call smart technology. How can you use technology... to improve the guest flow, to make it even smoother. We all want to have a smooth process. It should be easy on the phone. All those things, besides the classic coasters and water slides and inflatables, that is, I think, some area which has really grown on our trade show floor over the past years.Paul Marden: Yeah, absolutely. If you can smooth that process from the moment that they hit the website all the way through, getting them to the experience and then back out the other side and encouraging them to want to return again is really important, isn't it?Jakob  Wahl: And the same is for operations and maintenance, the front of house for the customer, but also the back of house. And we learned some fascinating things. We talked in our leadership breakfast with the CEO of a large park group, and he said, 'There are tools that can now predict 93% of the attendance of every day.' And that is just fascinating because that helps operational planning, that helps food and beverage planning, that helps all those aspects in running a park successfully or running an attraction successfully.Paul Marden: Absolutely. So, as we come to the end of IAAPA Expo Europe, there are many US listeners, I'm sure, also quite a few Brits as well, anticipating IAAPA Expo Orlando in November. Have you got any insider tips or things that we can look forward to in Orlando? Jakob  Wahl: I can say it will be epic. There's quite a significant theme park which opened this year, Epic Universe, which is just down the road from the convention centre.Jakob  Wahl: And we actually have not only... Mark Woodbury is speaking in our keynote in our leadership breakfast. But we also have privatised the park on Thursday evening for the IAAPA Celebrates for four hours. So it is Epic Universe, just for IAAPA members, which will be amazing. I've had the luck to visit the park several times. And I can only tell you, you know, you should be there. The evening before the show opens on Monday, IAAPA has the Legends event, the honorary evening for the Hall of Fame. And this year we're actually inducting five inductees. Among them is Dolly Parton. So if you have ever wanted to meet Dolly Parton. Paul Marden: The real Dolly Parton. Wow.Jakob  Wahl: Yeah, Dolly Parton is getting into the IAAPA Hall of Fame, besides some other really fantastic candidates or inductees. And she will be there to receive that accolade. And as you said, you have many British listeners. Next year, IAAPA Expo Europe is in London.Paul Marden: Now, I'd quite like to do an edit for my family that might be listening, because that did sound quite epic. And we need to be absolutely clear that there's lots of hard work to be done in Orlando, as well as enjoying ourselves at Epic and seeing Dolly Parton.Jakob  Wahl: Yeah, I'm pretty sure we need to Skip the Queue on site for a podcast from Orlando.Paul Marden: Oh, there we go. There we go. I think we should end it there. Jakob, it has been delightful to meet you. I've really enjoyed it. I'm so grateful for being invited to come to IAAPA this year. Bring the podcast here. I've had so much fun. I've learned so much. It's been wonderful. Thank you.Jakob  Wahl: Oh, we love what you do. Thank you, you know, for making the attractions industry present in the digital space. And we are all great listeners of your podcast. So thank you for what you do for us.Paul Marden: Wow, what a week. A massive thank you to IAAPA for hosting us in Barcelona. It was an incredible few days of connection, innovation, and inspiration. We've absolutely loved being part of it. And who knows, maybe we'll see you again sooner than you think. If you liked today's episode, please like us or leave a comment on your podcast platform. It really does help people to find us. And lastly, thank you to all of the team that made these daily episodes and today's wrap-up session. A possibility without the team it could not have been possible to have done this— thank you to Emily and Sami at Plaster, Steve at Folland Co. Wenayn, Claire, and Andy back at Skip the Queue HQ. It has been a delight to be with you and I look forward to seeing you again 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

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

In this final episode with Kristen from @EveryDayisDarling, Dr. Plaster and Nurse Practitioner Amber Foster dive into the reality of facing online criticism during a weight loss journey. Kristen opens up about how she's learned to navigate “trolls” and “haters,” why there's no shame in using GLP-1 medications, and how her story has inspired others to take charge of their health.This conversation is a reminder that:Obesity is a disease, not a failure.Medications are tools — not shortcuts.Your journey is yours, no one else's.Whether you're considering treatment options or just need encouragement to tune out the noise, this episode will leave you empowered to focus on what matters most: your health and well-being. Hosted on Acast. See acast.com/privacy for more information.

Text us a pool question!In this conversation, Andrew discusses the intricacies of pool startups, focusing on the importance of proper plaster care, chemical procedures, and maintenance practices. He emphasizes the significance of using calcium over acid during startups and the necessity of regular brushing and filter cleaning to ensure optimal pool conditions. The discussion also touches on the challenges faced during pool construction and the critical role of maintaining water chemistry throughout the startup process.takeawaysStartups involve more than just plaster; they include pumps and water chemistry.Different types of plaster have varying lifespans and care requirements.Hot starts can provide short-term gains but worsen plaster condition over time.Calcium is essential for proper plaster curing during startups.Brushing is crucial during the startup phase to prevent algae growth.Proper water chemistry must be maintained for at least six months post-startup.Dust from construction can clog filters and affect water quality.Regular filter cleaning is necessary, especially after construction work.Managing relationships with construction crews is vital for successful startups.Understanding the startup process can prevent long-term issues with pool maintenance.Sound Bites""Hot starts are bad.""""Dust is bad, plaster dust.""""Clean those filters!""Chapters00:00Understanding Pool Startups08:17The Importance of Proper Chemistry10:33Different Types of Plaster and Their Durability13:07Startup Procedures: Acid vs. Calcium15:38Brushing and Maintenance During Startups18:01Common Issues and Solutions in Pool Startups20:51The Role of Filters in Pool Maintenance23:34Managing Customer Expectations25:59Final Thoughts on Pool Startups Support the showThank you so much for listening! You can find us on social media: Facebook Instagram Tik Tok Email us: talkingpools@gmail.com

In this episode of Between Two White coats, Dr. Plaster, NP Amber, and NP Alicia dive deep into one of the hottest topics in functional medicine: peptides. What are they? Why is everyone talking about them? And more importantly—how can they help YOU?Together, they explore:✅ What peptides are and how they work at the cellular level✅ How peptides support muscle growth, fat loss, autoimmune recovery, gut health, cognitive function, and even sleep and libido✅ Why professional guidance is essential—especially with customized protocols and safe sourcing✅ Real-world results from patients with long COVID, chronic fatigue, and hormone imbalances✅ Why this isn't a trend—it's root-cause, evidence-backed medicineWhether you're looking to optimize your performance, accelerate recovery, or simply age well, peptide therapy may be the game-changer you've been waiting for.

Get ready for a wild ride on the ImVibes Podcast as we hang out with Skewer Rat, Charlotte, NC's own high-octane punk rock band! This episode is packed with everything from their hilarious tales about exotic pets to the ongoing saga of finding the perfect drummer.We dive into their diverse musical influences and chat about their exciting journey joining River Monster Records. Plus, hear how they took matters into their own hands by creating Get Off My Lawn Promotions. The band spills the beans on their unique approach to recording live and gives us the lowdown on their upcoming shows. And of course, no Skewer Rat conversation would be complete without some epic stories of broken arms and concussions. Tune in for all the hard-hitting music talk and the witty banter you've come to expect from ImVibes!

The Ringer's Bill Simmons and Sean Fennessey really want to see a Plaster of that Paris bagel and cream cheese paperweight before rewatching Martin Scorsese's 1985 neo-noir black comedy film, ‘After Hours' starring Griffin Dunne and Rosanna Arquette.  Producers: Jack Sanders and Ronak Nair This episode is sponsored by State Farm®. A State Farm agent can help you choose the coverage you need. Like a good neighbor, State Farm is there.®  Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode of Platemark, Ann talks with artist and teacher Jonathan Thomas who shares insights from his time at the Maryland Institute College of Art (MICA), the printmaking program he chairs, and his personal studio in Baltimore. We take a deep dive into his exploration of printing in plaster, detailing the technical process, historical context, and the challenges it presents compared to traditional intaglio printmaking. We talk about his shift from multi-plate color works to black and white, emphasizing the joy and struggle of achieving precise visual results. We talk about his thematic focus on narrative imagery, spirit companions, and the emotional nuances of life and death. We also talk about his educational approach, the critical role of experiential learning, and the impact of collaborative projects like those facilitated by MICA's Dolphin Press. The conversation concludes with insights into the critique process in art education, emphasizing the balance between constructive feedback and understanding the student's sensitivity.   Show me the images!    

In the second hour, George Plaster came on to discuss Barry Trotz, the Predators as a whole, and more. They also discuss how concerned we should be with Roman Josi POTs diagnosis, and can Cooper Flagg help out with the NBA's Young American star problem 

It's the end of everything! Welcome back to Part 2 of our season finale featuring Dr. Charles Liu, co-host Allen Liu, and our guest archaeology expert and author, Hannah Liu, MEd. (If you haven't caught up to Part 1, we highly recommend you do before embarking on the next leg of this journey! Listen here or wherever you get your podcasts!) We pick right up where we left off, with the next question from our audience. Daniela asks, “If a black hole hits the Sun, will Earth be destroyed?” Chuck explains a few ways a black hole can mess with our day, including the fact that long before any actual collision took place, the Sun would start shedding material that would destroy us. He compares that unlikely event to the actual example of cosmic destruction we're watching in NGC 4676 – aka “The Mice” – which are two galaxies swirling together in a death spiral playing out over hundreds of millions of years. Naturally, this leads Chuck to ponder what happens when civilizations fall apart here on Earth, and Hannah brings up the collapse of the Roman Empire. As she explains, “the fall of Rome happened a lot of times, and also, no time.” From 44 BCE and the assassination of Julius Caesar, to the 476 invasion and conquest of Rome by the Germanic tribes denoted by Edward Gibbon in The History of the Decline and Fall of the Roman Empire, to the fact ever since nations have claimed to be the descendants or inheritors of Rome. Chuck points out the influence of Gibbon's book on Isaac Asimov's “Foundation” series, followed by a very quick romp through “Decline and Fall of America” literature including The Handmaid's Tale, A Canticle for Liebowitz, Man in the High Castle, and the zombie apocalypse tour de force, World War Z. Then it's time for another question from the audience: Michael says, “I heard that scientists brought back a dire wolf. Could they bring back dinosaurs or animals that could destroy us all?” It turns out, these resurrected animals are just gray wolves that have been engineered to have some characteristics of the extinct predator. It's still a pretty impressive feat, though, and you'll hear how they collected bits and pieces of dire wolf DNA to “resurrect them.” Allen also brings up similar modification experiments they're doing on chickens to make them more dinosaur-like. Allen points out that bioengineered germs are far more likely to cause our destruction than resurrected dinosaurs, regardless of the world envisioned in the Jurassic Park franchise. And speaking of Michael Crichton, Chuck gives us a breakdown of his sci-fi classic, The Andromeda Strain, about bacteria from space that cause a biological outbreak here on Earth. Hannah points out that historically, some of the biggest killers of human beings have been plagues. She gives us a guided tour of the bubonic plagues, from the Black Death, which may have wiped out as much as 60% of the population of Europe, to the Plague of Justinian a thousand years earlier that killed as many as 100 million people, while also name dropping the Antonine Plague and the Spanish Flu!) And that's it Season 4 of The LIUniverse. Stay tuned for Season 5 after the summer. If you want to find out more about what Hannah's impending book, check out the Mixed Identity Project  We hope you enjoy this episode, and this season, of The LIUniverse. If you did, please support us on Patreon Credits for Images Used in this Episode: NGC 4676, aka “the Mice” are two galaxies swirling together.  – Credit: NASA, H. Ford (JHU), G. Illingworth (UCSC/LO), M.Clampin (STScI), G. Hartig (STScI), the ACS Science Team, and ESA; The ACS Science Team: H. Ford, G. Illingworth, M. Clampin, G. Hartig, T. Allen, K. Anderson, F. Bartko, N. Benitez, J. Blakeslee, R. Bouwens, T. Broadhurst, R. Brown, C. Burrows, D. Campbell, E. Cheng, N. Cross, P. Feldman, M. Franx, D. Golimowski, C. Gronwall, R. Kimble, J. Krist, M. Lesser, D. Magee, A. Martel, W. J. McCann, G. Meurer, G. Miley, M. Postman, P. Rosati, M. Sirianni, W. Sparks, P. Sullivan, H. Tran, Z. Tsvetanov, R. White, and R. Woodruff. Plaster replica of Statue of George Washington by Antonio Canova at the North Carolina Museum of History.– Credit: Creative Commons / RadioFan (talk) Dire Wolf Cover of TIME magazine, May 12, 2025. – Credit: TIME magazine Page Museum Display of 404 dire wolf skulls found in the La Brea Tar Pits. – Credit: Creative Commons / Pyry Matikainen The spread of the Black Death in Europe, 1346-1353. – Credit: Creative Commons / Flappiefh - Own work from: Natural Earth ; Cesana, D.; Benedictow O.J., Bianucci R. (2017). Yersinia pestis, the bacterium that causes the Plague. Direct Fluorescent Antibody Stain (DFA), 200x. – Credit: CDC 2057 - US Government public domain image, Courtesy of Larry Stauffer, Oregon State Public Health Laboratory Little Ice Age Temperature Chart. – Credit: Creative Commons / RCraig09 - Own work #liuniverse #charlesliu #allenliu #hannahliu #sciencepodcast #astronomypodcast #hannahliu #apocalypse #armageddon #doomsday #ngc4676 #themice #blackhole #romanempire #direwolf #bubonicplague #blackdeath #yersiniapestis #theandromedastrain #michaelcrichton #jurassicpark #littleiceage

In the second hour of DVD, George Plaster joined the show and shared his thoughts on the Titans, Pacman Jones, and the Atlanta Braves. Why is George so upset with the Braves? Listen to hear more. Later in the hour, Willy and DMase answered some calls and texts. 

George Plaster joined the show and shared his thoughts on the Titans, Pacman Jones, and the Atlanta Braves. Why is George so upset with the Braves? Listen to hear more. 

In the first hour, DVD discusses the Stanley Cup Final Game 1 results. George Plaster joins DVD to discuss all things sports and more. They also started a new top around who are the Titans' offseason "All-Stars", Guys who had all the hype but didn't amount to anything 

George Plaster joins DVD to discuss all things sports and more 

In the second hour, George Plaster, host of The George Plaster Show, joins DVD to discuss all things sports and more. They also discuss Ward and Levis splitting reps. What is the deal with that?

In the final hour, George Plaster joins DVD to discuss all things Vanderbilt athletics and more. They also discussed the NBA playoffs and the Transition with Adam Vingan before Stillman and Co 

George Plaster joined DVD to discuss the Titans' PSL sale, he's experience with that and more 

In the second hour, George Plaster joined DVD to discuss the Titans' PSL sale, he's experience with that, and more. They got your reaction and talked more about PSL's for the Titans new stadium 

(music) (10 hours) Plaster of Calm | Let me bore your pain away #28 | Jason Newland | 25th April 2025 by Jason Newland

(no music) Plaster of Calm | Let me bore your pain away #28 | Jason Newland | 25th April 2025 by Jason Newland

(no music) (5 hours) Plaster of Calm | Let me bore your pain away #28 | Jason Newland | 25th April 2025 by Jason Newland

(no music) (10 hours) Plaster of Calm | Let me bore your pain away #28 | Jason Newland | 25th April 2025 by Jason Newland

(music) (5 hours) Plaster of Calm | Let me bore your pain away #28 | Jason Newland | 25th April 2025 by Jason Newland

(music) Plaster of Calm | Let me bore your pain away #28 | Jason Newland | 25th April 2025 by Jason Newland

(music) Plaster of Calm | Let me bore your pain away #28 | Jason Newland | 25th April 2025 by Jason Newland

(music) (10 hours) Plaster of Calm | Let me bore your pain away #28 | Jason Newland by Jason Newland

(no music) Plaster of Calm | Let me bore your pain away #28 | Jason Newland | 25th April 2025 by Jason Newland

(music) (5 hours) Plaster of Calm | Let me bore your pain away #28 | Jason Newland | 25th April 2025 by Jason Newland

(no music) (5 hours) Plaster of Calm | Let me bore your pain away #28 | Jason Newland | 25th April 2025 by Jason Newland

(no music) (10 hours) Plaster of Calm | Let me bore your pain away #28 | Jason Newland | 25th April 2025 by Jason Newland

Are NAD+ supplements the secret weapon for longevity, energy, and brain health in 2025?In this eye-opening episode of Between Two White Coats, Dr. Plaster and Amber sit down with Nurse Practitioner Alicia to dive deep into one of this year's hottest wellness trends: NAD+. They break down what it is, why our bodies need it, and how supplementing with NAD+ might support everything from cellular repair and energy metabolism to mental clarity and graceful aging.You'll hear real talk about:Why our NAD+ levels drop with age—and what that means for your healthThe difference between NAD+ and precursors like NMN & NRHow to choose quality supplements that really workThe importance of pairing supplements with a holistic lifestyle (think: movement, diet, and soul care)Whether you're biohacking your way to better health or just curious about staying vibrant as you age, this conversation is packed with natural, science-backed insight you won't want to miss. Hosted on Acast. See acast.com/privacy for more information.

John L. Plaster is a legendary MACV-SOG operator who served three tours of duty in Vietnam leading high-risk reconnaissance missions deep behind enemy lines in Laos and Cambodia, striking supply lines along the Ho Chi Minh Trail. Wounded in action and decorated for valor four times, he later flew over 350 aerial combat missions as a Forward Air Controller.After Vietnam, Plaster became a pioneer in modern sniper training, co-founding the National Guard Sniper School and instructing elite military and law enforcement units, including the FBI and Royal Canadian Mounted Police. A prolific author, he has chronicled the untold stories of SOG in books including SOG: THE SECRET WARS OF AMERICA'S COMMANDOS IN VIETNAM, SECRET COMMANDOS: BEHIND ENEMY LINES WITH THE ELITE WARRIORS OF SOG, and SOG: A PHOTO HISTORY OF THE SECRET WARS.Plaster has also been inducted into both the Air Commando and Special Forces Halls of Fame.FOLLOW JOHNWebsite: https://majorjohnplaster.com/FOLLOW JACKInstagram - @JackCarrUSA X - @JackCarrUSAFacebook - @JackCarr YouTube - @JackCarrUSASPONSORSCRY HAVOC – A Tom Reece Thriller https://www.officialjackcarr.com/books/cry-havoc/Bravo Company Manufacturing Mk15 Timepiece - MOD3:https://bravocompanyusa.com/bcm-mk15-timepiece-mod-3/ and on Instagram @BravoCompanyUSATHE SIGs of Jack Carr, From Savage Son: P320 X Compact, P320 Custom build from True Precision, P365 Customized from the Sig Custom Workshop, P226 Visit https://www.sigsauer.com/ and on Instagram @sigsauerinc STACCATO HD: https://staccato2011.com/hd and on Instagram @staccato2011Jack Carr Gear: Explore the gear here https://jackcarr.co/gear 

John L. Plaster is a legendary MACV-SOG operator who served three tours of duty in Vietnam leading high-risk reconnaissance missions deep behind enemy lines in Laos and Cambodia, striking supply lines along the Ho Chi Minh Trail. Wounded in action and decorated for valor four times, he later flew over 350 aerial combat missions as a Forward Air Controller.After Vietnam, Plaster became a pioneer in modern sniper training, co-founding the National Guard Sniper School and instructing elite military and law enforcement units, including the FBI and Royal Canadian Mounted Police. A prolific author, he has chronicled the untold stories of SOG in books including SOG: THE SECRET WARS OF AMERICA'S COMMANDOS IN VIETNAM, SECRET COMMANDOS: BEHIND ENEMY LINES WITH THE ELITE WARRIORS OF SOG, and SOG: A PHOTO HISTORY OF THE SECRET WARS.Plaster has also been inducted into both the Air Commando and Special Forces Halls of Fame.FOLLOW JOHNWebsite: https://majorjohnplaster.com/FOLLOW JACKInstagram - @JackCarrUSA  X - @JackCarrUSAFacebook - @JackCarr YouTube - @JackCarrUSASPONSORSCRY HAVOC – A Tom Reece Thriller https://www.officialjackcarr.com/books/cry-havoc/Bravo Company Manufacturing Mk15 Timepiece - MOD3:https://bravocompanyusa.com/bcm-mk15-timepiece-mod-3/ and on Instagram @BravoCompanyUSATHE SIGs of Jack Carr, From Savage Son: P320 X Compact, P320 Custom build from True Precision, P365 Customized from the Sig Custom Workshop, P226 Visit https://www.sigsauer.com/ and on Instagram @sigsauerincSTACCATO HD: https://staccato2011.com/hd and on Instagram @staccato2011Jack Carr Gear: Explore the gear here https://jackcarr.co/gear

Neither Tom nor Ben wants to plaster the walls… so Matthew says we're gonna have to have a flatshare slamdown!Matthew Crosby, Ben Clark and Tom Parry Wicks recorded live at The Pheonix Cavendish Square with guests Lorna Rose Treen and Ivo GrahamIvo Graham - https://www.ivograham.com/Lorna Rose Treen - https://www.lornarosetreen.co.uk/Don't forget…You can get the show early and ad free (plus a bonus episode every week) by joining our Patreon https://www.patreon.com/pappysflatshareWe've got 2 live Flatshare Slamdown shows in March MONDAY MARCH 24TH: HARRIET KEMSLEY + JOZ NORRISTUESDAY MARCH 25TH: SUNIL PATEL + AISLING BEAGet tickets to either show (or a special discounted ticket that gets you into both shows!) right here: pappyscomedy.com/live Hosted on Acast. See acast.com/privacy for more information.

Thanks to the AMAZING people at exocad (https://exocad.com/ids), Elvis and Barb will be recording for the first time at IDS in Cologne, Germany (https://www.english.ids-cologne.de/). March 25 - 28 in Hall 1, booth A040/C041. Come see us, be on the podcast, and see all the amazing things exocad is doing for your lab! This week we had the pleasure of welcoming Josie Schmitz-Burchartz, a denturist from British Columbia, who shared her inspiring journey and insights into the world of denturism. Josie's passion for dental care began at a young age, influenced by her father, who has been a denture technician for over 30 years. This early exposure led her to explore the field of denturism, where she found her calling. Josie's story is not just about her career; it's about the relationships she builds with her patients. She emphasizes the importance of understanding the emotional aspects of denture work. For many patients, receiving dentures is a life-changing experience, and Josie strives to ensure they leave her practice with smiles on their faces. Her approach is patient-centered, focusing on long-term treatment plans rather than quick fixes. Throughout the episode, Josie discusses the challenges she faced while establishing her practice, SB Denture Clinic (https://sbdentureclinic.com/). She opened her office just before COVID-19 hit, which brought unexpected hurdles. However, her determination and passion for her work helped her navigate these challenges successfully. She highlights the significance of teamwork in her practice, where she has built a strong team of professionals dedicated to providing quality care. One of the most fascinating aspects of Josie's work is her commitment to using traditional methods in an increasingly digital world. While many are moving towards digital dentures, Josie believes in the value of hands-on techniques that allow her to connect with her patients and provide personalized care. Her dedication to quality over quantity is evident in her meticulous approach to dental impressions and patient consultations. Take it from Laura Prosser, the digital marketing manager for Ivoclar North America (https://www.ivoclar.com/en_us). She would like to invite you to start following them on Instagram. It's your chance to obtain exclusive updates on product announcements, industry news, upcoming educational events, and heartwarming stories about our local team and industry professionals. Let's get social together. Simply start following us on Instagram @Ivoclar.na (https://www.instagram.com/ivoclar.na/). We'll see you there. Are you a dental lab in need of more talent to improve your bottom line and keep production on schedule? Are you a dental tech with great skills but feel you're being limited at your current lab? Well, the answer is here and this is precisely why WIN WIN GO (https://www.winwingo.com/) was created. The dental lab and dental tech community needed a place where labs and technicians can meet, talk about their needs and connect in ways that foster a win win outcome. As a tech. If you're ready to make a change, thinking about moving in the next year or just curious what's out there, sign up today. It's totally free. As a lab, you might be feeling the frustration of paying the big employment site so much and getting so few tech candidates. We understand they don't much care about our industry. WINWINGO.com is simply the best place for lab techs and lab owners to actively engage in creating their ideal future. WINWINGO.com, how dental techs find paradise. Special Guest: Josi Schmitz-Burchartz.

Join us as we get to talk with the creator of The Aggregate podcast and owner of New Age Artisans, Jeremy Mistretta. Plaster is an ancient art that is being lost to todays world, Jeremy seeks to do it right. Thanks to our sponsor, Viewrail.

Kerry has a cautionary tale. Patrick asks listeners about tamper-resistant electrical receptacles. Alex inquires about best-practice basement finishing. Ryan's chimney keeps popping off plaster.   Tune in to Episode 671 of the Fine Homebuilding Podcast to learn more about:  Avoiding a moldy mess behind stucco  The right way to finish basement walls for vapor control  Water movement through masonry chimneys and plaster Have a question or topic you want us to talk about on the show? Email us at fhbpodcast@taunton.com.     ➡️ Check Out the Full Show Notes: FHB Podcast 671 ➡️ Learn about Framing for High-Performance Houses, the new E-learning course from Fine Homebuilding  ➡️ Follow Fine Homebuilding on Social Media:   Instagram • Facebook • TikTok • Pinterest • YouTube  ⭐⭐⭐⭐⭐  If you enjoy the show, please subscribe and rate us on iTunes, Spotify, YouTube Music, or wherever you prefer to listen.

Relationship Reddit Stories, OP is having a new kitchen refitted and was shocked to walk in on her plasterer peeing into his plaster mix in the middle of her kitchen. 00:00 Intro00:21 Story 1 u/Inner-Cupcake-680900:47 OP's First Post01:39 Second Post03:18 Comments03:32 Third Post04:42 Fourth Post08:05 Comments12:33 Story 2 u/AssignmentCold810615:44 Comments17:52 Update19:00 More Comments20:54 Second Update24:05 Outro#redditupdate #redditrelationship #redditstories Become a member at https://plus.acast.com/s/mark-narrations-the-wafflecast-reddit-stories. Hosted on Acast. See acast.com/privacy for more information.

Text a pool service question HERE!In this episode of the Talking Pools Podcast, Rudy Stankowitz dives deep into crucial topics affecting the pool industry, from upcoming trade shows—particularly the National Plaster Council Conference—to the nitty-gritty science of algae, microorganisms, and their impact on water quality and plaster integrity.Rudy also explores the controversial role of cyanuric acid in pool maintenance, the truth about advertising claims in the industry, and the latest insights into chlorine testing, pH control, and total alkalinity measurements.Additionally, this episode takes a practical turn as Rudy breaks down how to successfully raise your pool service prices without losing your mind—or your best customers. He explains how to time your price increases, handle customer reactions, and strategically communicate the change to maintain client loyalty and keep your business profitable.TakeawaysThe National Plaster Council Conference is a must-attend event for pool pros.Microorganisms in pools aren't just a nuisance—they impact plaster integrity and water quality.Cyanuric acid: a blessing and a curse in pool chemistry.Algae isn't just ugly—it's destructive (and Rudy has the science to prove it).Expired DPD2 reagents = faulty chlorine readings—don't trust bad data!Raising your pool service prices? The right approach makes all the difference.Timing is everything—adjust your pricing before peak season.Your best customers deserve a personal call when announcing a price increase.Don't let invoices deliver the bad news—own your worth!Trade shows are invaluable for networking and staying ahead of industry trends.The truth about chlorine testing: Manganese oxidation and expired reagents can throw off results.Evaporation affects chemical concentrations, which can mislead pool pros on water balance.Sound Bites"We made it to another Friday.""We're going to do a deep dive.""Raise your pool service prices—the right way!""Microbial acid secretion—it's real, and it's coming for your plaster.""If the drop has a purple hue, it has expired.""The ideal pH range is 7.4 to 7.6.""High levels of metal can affect test results."Chapters00:00 – Introduction to Pool Talk and Industry Events04:36 – Upcoming National Plaster Council Conference10:01 – Deep Dive into Algae and Microorganisms17:23 – Cyanuric Acid: Friend or Foe?20:53 – Advertising Truths in the Pool Industry23:09 – Understanding Chlorine Testing and Measurement26:39 – Raise Your Pool Service Prices the Smart Way28:10 – The Importance of pH Levels32:22 – Chlorine Levels and Their Impact35:28 – Total Alkalinity Testing Explained38:18 – Calcium Hardness and Leak Detection42:45 – Managing Metal Contamination in Pool Water46:22 – Strategies for pH Control in Saltwater Pool Support the showThank you so much for listening! You can find us on social media: Facebook Instagram Tik Tok Email us: talkingpools@gmail.com

This episode of "Between Two White Coats" is a throwback from Dr. Plaster and NP Amber in 2022 as they discuss the importance for people of all ages to be active. It may not mean you need to have a strenuous exercise routine, but it is vital that you have consistent times of activity to stay your best self! Hosted on Acast. See acast.com/privacy for more information.

I had Tony Bevilacqua on to discuss the 1986 movie 'The Fly'. Hell yeah.

This week's episode of Between Two White Coats is an "oldie but a goodie" as they say! In 2021, Dr. Plaster and N.P. Amber discussed how to stay healthy during the holiday season. The content may be a few years old, but the advice is timeless! With Christmas only 2 days away, we hope this week's episode will serve you well during all of your holiday celebrations to stay your healthiest, best self! Hosted on Acast. See acast.com/privacy for more information.

D&P Highlight: Is it legal to plaster your holiday spirit all over your car?! full 303 Tue, 10 Dec 2024 19:55:02 +0000 FNg9no8DZIsEHBvI3oSXZnhO8V1GewlQ news The Dana & Parks Podcast news D&P Highlight: Is it legal to plaster your holiday spirit all over your car?! You wanted it... Now here it is! Listen to each hour of the Dana & Parks Show whenever and wherever you want! 2024 © 2021 Audacy, Inc. News False https://player.

Text Rudy Now!In this episode of the Flockit Friday podcast, Rudy Stankowitz discusses the challenges faced in the pool service industry, emphasizing the importance of recognizing toxic customers and the need for resilience. He shares insights on pool discoloration, the science behind filtration, and personal challenges he has faced. The conversation also covers effective team building strategies, highlighting the significance of hiring, onboarding, and creating a positive company culture.takeawaysRecognize your achievements and progress, no matter how small.It's essential to fire toxic customers for your mental health.Understanding the root causes of pool discoloration can prevent misdiagnosis.Personal challenges can impact your work, but resilience is key.The science of pool filtration involves complex chemical interactions.Hiring should be a thoughtful process, not a desperate one.Onboarding is crucial for new hires to feel welcomed and supported.A strong company culture fosters employee loyalty and retention.Purpose in work keeps employees engaged and motivated.Humor and connection within a team can lead to greater success.titlesFiring Toxic Customers for Your SanityThe Science Behind Pool DiscolorationSound Bites"You're kicking ass. You're crushing it.""Fire that fucker like it's a legal drama.""A team that laughs together wins together."Chapters00:00Introduction and Reflection on Progress09:14Understanding Pool Plaster Discoloration13:51Navigating Personal Challenges25:12Building and Retaining a Winning Team Support the showThank you so much for listening! You can find us on social media: Facebook Instagram Tik Tok Email us: talkingpools@gmail.com

David Szalay reads “Plaster,” from the December 9, 2024, issue of the magazine. Szalay is the author of six books of fiction, including “All That Man Is,” which won the Plimpton Prize for Fiction and was shortlisted for the Man Booker Prize in 2016, “Turbulence,” and “Flesh,” which will be published in April of 2025.

November 27, 1938 - Football with coach Flash Benny. Jack has a cold Phill rips off his mustrd paster (along with his chest hair). Then they do a football play like the they did last year called "Hold That Line". References include the songs "Flat Fleet Floogie with a Floy Floy", and "Lambeth Walk", movies "The Devil is a Sissy" and "Angels with Dirty Faces", and PT Barnum was right, there's a sucker born every minute.