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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

Today we are rehashing Season 3, Episode 6 of Younger: "Me, Myself, and O." Join us as we discuss Liza discovering the mysterious author behind the publishing industry's hottest new book, Radha becoming more observant of the spark between Liza and Charles, Maggie feeling left out when she meets Malkie's ex, and so much more!

 C-5: Build, Baby, Build! Guest: Radha Curpen, McMillan LLP By Stuart McNish   In an odd way, it's as though Prime Minister Mark Carney has borrowed a card from President Donald Trump when he pushed through Bill C-5. The Prime Minister announced the concept of the bill on June 6 and twenty days later, it passed in the House and Senate. That's lightyears faster than the U.S. President's passing of his “Big Beautiful Bill.”   Bill C-5 has been framed as a national plan to “remove federal barriers to interprovincial trade and improve labour mobility.” Radha Curpen of McMillan LLP says, “Bill C-5 also sends a signal that Canada is open for business. It is a bill designed to improve efficiencies in approval processes. The biggest question is, will it also respect indigenous rights?”   We invited Radha Curpen of McMillan LLP to join us for a Conversation That Matters about the upsides and the concerns about Bill C-5.   You can see the interview here https://www.conversationsthatmatter.ca/ Learn More about our guests career at careersthatmatter.ca

This week on Ask a Matchmaker, Maria sits down with fellow Matchmaker Radha Patel to explore the world of South Asian matchmaking. They dive into how cultural traditions, family expectations, and modern dating values intersect for singles from Indian, Pakistani, Bangladeshi, Sri Lankan, and West Indian backgrounds. Radha shares how her work balances heritage with today's dating challenges, from navigating parental involvement to helping clients define compatibility beyond caste or astrology. Together, Maria and Radha unpack what makes South Asian love unique while also tackling listener questions about sparks, expectations, and dating within friend groups. This insightful episode shines a light on how modern relationships are shaped by both cultural identity and personal values. Use the promo code: roundtable50 to join Maria's community or submit your own dating question!

(1) kṛṣṇa jinakā nāma hai, gokula jinakā dhāma hai aise śrī bhagavāna ko (mere) barāmbāra praṇāma hai (2) yaśodā jinakī maiyā hai, nanda jī bāpaiyā hai aise śrī gopāla ko (mere) bārambāra praṇāma hai (3) rādhā jinakī jāyā hai, adbhuta jinakī māyā hai aise śrī ghana-śyāma ko (mere) bārambāra praṇāma hai (4) lūṭa lūṭa dadhi mākhana khāyo, gvāla-bāla sańga dhenu carāyo aise līlā-dhāma ko (mere) bārambāra praṇāma hai (5) drupada sutā ko lāja bacāyo, grāha se gaja ko phanda chuḍāyo aise kṛpā-dhāma ko (mere) barāmbāra praṇāma hai (6) kuru pāṇḍava ko yuddha macāyo, arjuna ko upadeśa sunāyo aise dīna-nātha ko (mere) bārambāra praṇāma hai (final chant) bhaja re! bhaja govinda gopāla hare rādhe govinda, rādhe govinda, rādhe govinda rādhe gopala, rādhe gopala, rādhe gopala aise śrī bhagavāna ko (mere) bārambāra praṇāma hai TRANSLATION 1) He whose name is Krsna, and whose abode is Gokula – unto such a Supreme Personality of Godhead, I offer my most humble obeisances, again and again. 2) He whose mother is Yasoda, and whose father is Nandaji – unto such a cowherd boy named Gopala, I offer my most humble obeisances, again and again. 3) He whose Beloved if Radha, and whose illusory energy is very amazing – unto He whose splendorous complexion is the color of the fresh raincloud, I offer my most humble obeisances, again and again. 4) He who sneaks around to steal yogurt and butter, then hides to eat it, and who tends the cows in the company of His cowherd boyfriends – unto He who is the reservoir of playful pastimes, I offer my most humble obeisances, again and again. 5) He who prevented the dishonoring of the daughter of King Drupada, and who delivered the elephant Gajendra from the grasp of the alligator – unto He who is the abode of all compassion, I offer my most humble obeisances, again and again. 6) He who caused the great war between the Kurus and the Pandavas, and who spoke divine instructions to Arjuna on the battlefield – unto He who is the Lord of all helpless fallen souls, I offer my most humble obeisances, again and again.

Send us a textHoly shit, we've been waiting for 5 years to have this conversation! We first heard about The 40-Year-Old Version at Sundance 2020, and we knew that we would one day interview the writer/director/star Radha Blank. And it was worth the wait!The 40-Year Old Version follows a down-on-her-luck NY playwright who reinvents herself as a rapper in an attempt to breakthrough and find her true voice. Vidiots Foundation in Los Angeles was having a special screening of the film to celebrate its legacy and ongoing resonance. Radha joins us virtually from the event to share how she refuses to let age be a factor in her career, the struggle as an independent artist to maintain your integrity, her decision to shoot in black and white, and which famous director's career she'd like to emulate.Watch The 40-Year-Old Version on NetflixFollow director/writer/actor Radha Blank on IGFollow Vidiots Foundation on IG Support the showThanks for listening and for your support! We couldn't have won Best of the Bay Best Podcast in 2022 , 2023 , and 2024 without you! -- Fight fascism. Shop small. Use cash. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM

Recorded 19th July 2024visit: http://beautyofreallove.com/visit: https://sadhumaharaja.net/audio: https://tinyurl.com/BeautyOfRealLove#raganugabhakti #bhaktiyoga #radha

Recorded 17th July 2024visit: http://beautyofreallove.com/visit: https://sadhumaharaja.net/audio: https://tinyurl.com/BeautyOfRealLove#raganugabhakti #bhaktiyoga #radha

2025.08.16 Goloka Dhama EN

2025.08.15 Goloka Dhama EN

Recorded 13th July 2024visit: http://beautyofreallove.com/visit: https://sadhumaharaja.net/audio: https://tinyurl.com/BeautyOfRealLove#raganugabhakti #bhaktiyoga #radha

Radhashtami 2025 Understanding Radha-tattva through Radha lila __ Chaitanya Charan by Exploring mindfulness, yoga and spirituality

You can view the complete story transcript here: https://pragmaticgita.com/radhashtami-radhas-appearance/ What is the true significance of Radhashtami? This episode is a deep dive into the essence of Radha's appearance and her supreme position in the philosophy of Bhakti. We explore the core principles of Vaishnavism and how Radha's selfless love for Krishna serves as the ultimate example for all devotees.If you're interested in the Bhagavad Gita's teachings on devotion, this episode will provide a new and profound perspective. We discuss:The story of Radha's appearance and her first meeting with Krishna.Why Radha's love is considered the highest form of Bhakti.The concept of 'Viraha Bhava' (love in separation) and its spiritual power.How to connect with Radha's divine energy in your own spiritual practice.Whether you're new to the path of Bhakti or a long-time practitioner, this episode will deepen your understanding and appreciation of Radha, Krishna, and the power of divine love.Keywords: Radhashtami, Radha, Krishna, Bhakti Yoga, Vaishnavism, Bhagavad Gita, Hindu Spirituality, Devotion, Nishkama Bhakti, Viraha Bhava, Paramatma, Jivatma.krsnadaasa(Servant of Krishna)

In this episode I have chanted Shri Radha Mantra without any distracting music... so, if you want to invite the blessings of Radha and Krishna, you too can chant the Radha Mantraif you want to get reading on your Vedic horoscope from me, you can always write to me on my Email:Email: cosmicbond7@gmail.com

Dr. Radha Wagle started in life herding goats in a Nepalese village. She tells her story, how she came from there to lead Nepal's delegation in international climate negotiations. Radha somehow manages to find humour in  the  challenges women face in leadership roles within environmental sectors.Sophia Harderfeldt talks about the need for feminist system change to ensure women's voices are heard and outlines some practical ways to achieve that.Guests:Dr Radha Wagle – Biodiversity and Climate Adaptation Specialist, Glen Eira City Council, Victoria; formerly Director General, Department of Plant Resources, Ministry of Forests and Environment, Nepal.·        Sophia Harderfeldt   – Policy and Research Manager, ActionAid Australia.Earth Matters #1518  was produced by Bec Horridge in collaboration with the Womens Climate Congress

Recorded 7th July 2024visit: http://beautyofreallove.com/visit: https://sadhumaharaja.net/audio: https://tinyurl.com/BeautyOfRealLove#raganugabhakti #bhaktiyoga #radha

Recorded 6th July 2024visit: http://beautyofreallove.com/visit: https://sadhumaharaja.net/audio: https://tinyurl.com/BeautyOfRealLove#raganugabhakti #bhaktiyoga #radha

Recorded 6th July 2024visit: http://beautyofreallove.com/visit: https://sadhumaharaja.net/audio: https://tinyurl.com/BeautyOfRealLove#raganugabhakti #bhaktiyoga #radha

Recorded 3rd July 2024visit: http://beautyofreallove.com/visit: https://sadhumaharaja.net/audio: https://tinyurl.com/BeautyOfRealLove#raganugabhakti #bhaktiyoga #radha

What happens when a computer science PhD specializing in AI pivots to blockchain technology? For Radha Dasari, Lead Technical Advocate at the Web3 Foundation, it was a journey fueled by a mission to combat digital misinformation and bring fairness to the internet.In this eye-opening episode of The Index, host Alex Kehaya sits down with Radha to explore how Polkadot has evolved since its early days of parachain auctions. He breaks down the move to Agile Coretime—a major innovation that dramatically lowers entry barriers for developers while keeping Polkadot's integrated security model intact. Unlike other multi-chain ecosystems where chain security varies, Polkadot's validator shuffling ensures uniform security across all parachains—a true differentiator in the blockchain space.The most fascinating part of our discussion emerges at the intersection of AI and blockchain. Drawing from his academic background in artificial intelligence, Radha explains how deepfakes and digital misinformation pushed him toward seeing blockchain as an “anchor for truth.” He shares exciting developments in content authenticity solutions built on blockchain technology and introduces us to Jam Protocol—a Gavin Wood project creating a decentralized supercomputer capable of running programs indefinitely.Radha's vision for Web3 goes far beyond financial applications—his passion lies in designing digital spaces rooted in fairness, authenticity, and trust.

Jun 04, 1999BadgerContinued from Part 1

All glories to Radha and Krsna and the divine forest of Vrndavana. All glories to the three presiding Deities of Vrndavana--Sri Govinda, Gopinatha, and Madana-mohana. (Translation 1, Jaya Rādhe, Jaya Kṛṣṇa, Jaya Vṛndāvan) ------------------------------------------------------------ To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/ ------------------------------------------------------------ Add to your wisdom literature collection: https://iskconsv.com/book-store/ https://www.bbtacademic.com/books/ https://thefourquestionsbook.com/ ------------------------------------------------------------ Join us live on Facebook: https://www.facebook.com/FanTheSpark/ Podcasts: https://podcasts.apple.com/us/podcast/sound-bhakti/id1132423868 For the latest videos, subscribe https://www.youtube.com/@FanTheSpark For the latest in SoundCloud: https://soundcloud.com/fan-the-spark ------------------------------------------------------------ #spiritualawakening #soul #spiritualexperience #spiritualpurposeoflife #spiritualgrowthlessons #secretsofspirituality #vaisesikaprabhu #vaisesikadasa #vaisesikaprabhulectures #spirituality #bhaktiyoga #krishna #spiritualpurposeoflife #krishnaspirituality #spiritualusachannel #whybhaktiisimportant #whyspiritualityisimportant #vaisesika #spiritualconnection #thepowerofspiritualstudy #selfrealization #spirituallectures #spiritualstudy #spiritualquestions #spiritualquestionsanswered #trendingspiritualtopics #fanthespark #spiritualpowerofmeditation #spiritualteachersonyoutube #spiritualhabits #spiritualclarity #bhagavadgita #srimadbhagavatam #spiritualbeings #kttvg #keepthetranscendentalvibrationgoing #spiritualpurpose

Jun 04, 1999BadgerTo be continued in Part 2-

In this insightful and heartful episode, Swami Padmanabha welcomes Sri Radha Govinda Devi—Vaishnavi teacher, astrologer, author, and president of the Goa Academy. With experience spanning continents and disciplines, she brings a multidimensional approach to spiritual growth, guiding others through Vedic astrology, Anartha Nivritti, personality analysis, and bhakti-based relationship work. The conversation centers on the Enneagram as a tool for self-awareness within the path of Bhakti. Together, they explore how understanding our personality types can deepen compassion, enhance spiritual practice, and foster authentic connection with both ourselves and the Divine. Themes like spiritual bypassing, belonging vs. fitting in, and how ancient texts like the Mahabharata offer insights into human psychology are woven throughout. This episode is a dynamic exploration of identity, diversity, and the sacred work of showing up fully human on the path of devotion. https://www.youtube.com/watch?v=7Q_lEXxTkp4 ▶ CONTINUE THE CONVERSATION: Gaudiya Reform Forum on Facebook .~ Swami Padmanabha's Channels ▶ FACEBOOK ▶ YOUTUBE ▶ INSTAGRAM ▶ WEBSITE ▶ PURCHASE RADICAL PERSONALISM: Revival Manifesto for Proactive Devotion in hardcover, paperback, and/or Kindle formats on Amazon ▶ WRITE your REVIEW of RADICAL PERSONALISM ~ Tadatmya Sangha's Channels ▶ WEBSITE ▶ FACEBOOK ▶ INSTAGRAM ▶ YOUTUBE

Recorded 30th June 2024visit: http://beautyofreallove.com/visit: https://sadhumaharaja.net/audio: https://tinyurl.com/BeautyOfRealLove#raganugabhakti #bhaktiyoga #radha

Recorded 30th June 2024visit: http://beautyofreallove.com/visit: https://sadhumaharaja.net/audio: https://tinyurl.com/BeautyOfRealLove#raganugabhakti #bhaktiyoga #radha

(1) jaya rādhe, jaya kṛṣṇa, jaya vṛndāvan śrī govinda, gopīnātha, madana-mohan (2) śyama-kunḍa, rādhā-kuṇḍa, giri-govardhan kālindi jamunā jaya, jaya mahāvan (3) keśī-ghāṭa, baḿśi-baṭa, dwādaśa-kānan jāhā saba līlā koilo śrī-nanda-nandan (4) śrī-nanda-jaśodā jaya, jaya gopa-gaṇ śrīdāmādi jaya, jaya dhenu-vatsa-gaṇ (5) jaya bṛṣabhānu, jaya kīrtidā sundarī jaya paurṇamāsī, jaya ābhīra-nāgarī (6) jaya jaya gopīśwara vṛndāvana-mājh jaya jaya kṛṣṇa-sakhā baṭu dwija-rāj (7) jaya rāma-ghāta, jaya rohiṇī-nandan jaya jaya vṛndāvana-bāsī jata jan (8) jaya dwija-patnī, jaya nāga-kanyā-gaṇ bhaktite jāhārā pāilo govinda-caraṇ (9) śrī-rasa-maṇḍala jaya, jaya rādhā-śyām jaya jaya rasa-līlā sarva-manoram (10) jaya jayojjwala-rasa sarva-rasa-sār parakīyā-bhāve jāhā brajete pracār (11) śrī-jāhnavā-pāda-padma koriyā smaraṇ dīna kṛṣṇa-dāsa kohe nāma-sańkīrtan TRANSLATION 1) All glories to Radha and Krsna and the divine forest of Vrndavana. All glories to the three presiding Deities of Vrndavana--Sri Govinda, Gopinatha, and Madana-mohana. 2) All glories to Syama-kunda, Radha-kunda, Govardhana Hill, and the Yamuna River (Kalindi). All glories to the great forest known as Mahavana, where Krsna and Balarama displayed all of Their childhood pastimes. 3) All glories to Kesi-ghata, where Krsna killed the Kesi demon. All glories to the Vamsi-vata tree, where Krsna attracted all the gopis to come by playing His flute. Glories to all of the twelve forests of Vraja. At these places the son of Nanda, Sri Krsna, performed all of His pastimes. 4) All glories to Krsna's divine father and mother Nanda and Yasoda. All glories to the cowherd boys, headed by Sridama, the older brother of Srimati Radharani and Ananga Manjari. All glories to the cows and calves of Vraja. 5) All glories to Radha's divine father and mother, Vrsabhanu and the beautiful Kirtida. All glories to Paurnamasi, the mother of Sandipani Muni, grandmother of Madhumangala and Nandimukhi, and beloved disciple of Devarsi Narada. All glories lo the young cowherd maidens of Vraja. 6) All glories, all glories to Gopisvara Siva, who resides in Vrndavana in order to protect the holy dhama. All glories, all glories to Krsna's funny Brahmana friend, Madhumangala. 7) All glories to Rama-ghata, where Lord Balarama performed His rasa dance. All glories to Lord Balarama, the son of Rohini. All glories, all glories to all of the residents of Vrndavana. 8) All glories to the wives of the proud Vedic brahmanas. All glories to the wives of the Kaliya serpent. Through pure devotion they all obtained the lotus feet of Lord Govinda. 9) All glories to the place where the rasa dance of Sri Krsna was performed. All glories to Radha and Syama. All glories, all glories to the divine rasa dance, which is the most beautiful of all Lord Krsna's pastimes. 10) All glories, all glories to the mellow of conjugal love, which is the most excellent of all rasas and is propagated in Vraja by Sri Krsna in the form of the divine parakiya-bhava [paramour love]. 11) Remembering the lotus feet of Lord Nityananda's consort, Sri Jahnava Devi, this very fallen and lowly servant of Krsna sings the sankirtana of the holy name.

As technology advances, the ability of authors and artists to prevent their works from being pirated or misused has become urgent. In this episode, Jacke talks to copyright expert Mira T. Sundara Rajan (The Moral Rights of Authors and Artists: From the Birth of Copyright to the Age of Artificial Intelligence) about the history of copyright law, the concept of "moral rights," and how new legal developments might best protect the human dignity of authors and artists in the twenty-first century. PLUS mystery novelist Radha Vatsal (No. 10 Doyers Street) stops by to discuss her choice for the last book she will ever read. Special Announcement: The History of Literature Podcast Tour is happening in May 2026! Act now to join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠John Shors Travel⁠. Find out more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠historyofliterature.com⁠. Or visit the ⁠History of Literature Podcast Tour itinerary⁠ at ⁠John Shors Travel⁠. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠gabrielruizbernal.com. Help support the show at ⁠patreon.com/literature ⁠or ⁠historyofliterature.com/donate ⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Song Name: Bhaja Re Bhaja Re Amar Author: Bhaktivinoda Thakura Book Name: Gitavali Language: Bengali (1) bhaja re bhaja re āmār mana ati manda (bhajan vinā gati nāi re) (bhaja) braja-bane rādhā-kṛṣṇa-caraṇāravinda (jñāna-karma parihari' re) (bhaja) (braja-bane rādhā-kṛṣṇa) (2) (bhaja) gaura-gadādharādwaita guru-nityānanda (gaura-kṛṣṇae abheda jene' re) (guru kṛṣṇa-preṣṭha jene' re) (smara) śrīnivās, haridās, murāri, mukunda (gaura-preme smara, smara re) (smara) (śrīnivās haridāse) (3) (smara) rūpa-sanātana-jīva-raghunātha-dvandva (kṛṣṇa-bhajan jadi korbe re) (rūpa-sanātane smara) (smara) rāghava-gopāla-bhaṭṭa swarūpa-rāmānanda (kṛṣṇa-prema jadi cāo re) (swarūpa-rāmānande smara) (4) (smara) goṣṭhi-saha karṇapūra, sena śivānanda (ajasra smara, smara re) (goṣṭhi-saha karnapūre) (smara) rūpānuga sādhu-jana bhajana-ānanda (braje bās jadi cāo re) (rūpānuga sādhu smara) TRANSLATION 1) My dear mind, how foolish you are! Oh just worship, oh just worship the lotus feet of Radha and Krsna in the forests of Vraja! (Oh, without such worship there is no means of spiritual advancement!) Just worship the lotus feet of Radha and Krsna in the forests of Vraja! (Oh, giving up all speculative knowledge and materialistic activities!) 2) Just worship Gaura, Gadadhara, Advaita, and Lord Nityananda, the original spiritual master! (Oh, knowing Lord Gaura and Lord Krsna to be the same!) (Oh, knowing the spiritual master to be very dear to Krsna!) Just remember the dear associates of Lord Caitanya, namely Srivasa Thakura, Haridasa Thakura, Murari Gupta, and Mukunda Datta! (Oh, in deep love for Lord Gaura, you should remember, just remember!) (Just remember the two great personalities Srivasa Thakura and Haridasa Thakura!) 3) Just remember Sri Rupa Goswami, Sanatana, Jiva, and the two Raghunathas! (Oh, if you are engaged in worshiping Lord Krsna!) (Just remember the two great souls Sri Rupa Goswami and Sanatana Goswami!) Just remember Raghava Pandita, Gopal Bhatta Goswami, Svarupa Damodara Goswami, and Ramananda Raya! (Oh, if you really seek love of Krsna!) (Just remember Svarupa Damodara Goswami and Ramananda Raya!) 4) Just remember Srila Kavi Karnapura and all his family members, especially his father, Sivananda Sena! (Oh, always remember, always remember!) (Sri Kavi Karnapura and his family!) Just remember all the sadhus who follow the path of Sri Rupa Goswami and who are absorbed in the ecstasy of bhajan! (Oh, if you actually want residence in the land of Vraja!) (Just remember the sadhus who are followers of Srila Rupa Goswami!) ------------------------------------------------------------ To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/ ------------------------------------------------------------ Add to your wisdom literature collection: https://iskconsv.com/book-store/ https://www.bbtacademic.com/books/ https://thefourquestionsbook.com/ ------------------------------------------------------------ Join us live on Facebook: https://www.facebook.com/FanTheSpark/ Podcasts: https://podcasts.apple.com/us/podcast/sound-bhakti/id1132423868 For the latest videos, subscribe https://www.youtube.com/@FanTheSpark For the latest in SoundCloud: https://soundcloud.com/fan-the-spark ------------------------------------------------------------ #spiritualsongs #spiritualawakening #soul #spiritualexperience #spiritualpurposeoflife #spiritualgrowthlessons #secretsofspirituality #vaisesikaprabhu #vaisesikadasa #vaisesikaprabhulectures #spirituality #bhaktiyoga #krishna #spiritualpurposeoflife #krishnaspirituality #spiritualusachannel #whybhaktiisimportant #whyspiritualityisimportant #vaisesika #spiritualconnection #thepowerofspiritualstudy #selfrealization #spirituallectures #spiritualstudy #spiritualquestions

Today, Raha meets Radha. Radha Patel helps entrepreneurs stop overthinking and start showing up online in a way that grows their business and income. She knows what it's like to hold back, overthink, and stay stuck, when deep down, you know you're meant for more. So her goal is to help people stop hiding, simplify their message, and turn their presence into profit.Radha speaks about the essence of quality of life, the importance of family support, and the journey of personal growth. She shares her insights on finding one's voice and the evolving nature of purpose throughout life. The conversation emphasises the importance of vulnerability, mindset, and the courage to embrace change.Takeaways: Quality of life is about freedom and peace.Family plays a crucial role in personal development.Entrepreneurs inspire others through their journeys.Daily routines can include meditation and exercise.Self-care practices are essential for mental health.Vulnerability can enhance business connections.Life transitions can lead to self-discovery.Challenges can redefine one's purpose.Public speaking is a skill that can be learned.Starting small can help overcome fears of visibility.Produced by Pineapple Audio Production Hosted on Acast. See acast.com/privacy for more information.

Send us a textRegister your free place for the live online meditation and Q&A with Babaji: https://www.shivarudrabalayogi.org/en/online-satsang Krishna and His teachings | In Quest of Truth - Q&A with Babaji, No.230Recorded on 16th December 2023 with worldwide participants0:00 Intro0:13 A short description of Krishna's life9:56 Do we all know that the correct action is for the greater good instinctively or do we need training to know that?11:17 The thing that stops us following that greater good is simply ego?11:45 What Swamiji said of Krishna17:50 Krishna seems to describe a technique close to Jangama Dhyana in the Bhagavad Gita19:56 Krishna describing importance of devotion and the story of Arjuna asking about Bhima's devotion25:10 "Before death shall claim thee, go to the knowers of Truth"29:37 "You have the right to perform action but you don't have any right to the result of that action."33:49 "I've now told you all the secrets of the universe, but in the end you will behave according to your inherent nature."41:05 Where does fear and anxiety arise from and how do we overcome it?43:15 What is the concept of Radha and why do people say Radha Krishna?48:15 Where does the knowledge and wisdom of a Self Realised Master come from?51:34 Krishna's quote, "You will achieve peace only when you have sacrificed"52:36 What should be the goal when you perform actions?54:57 Would any feelings be there in pure consciousness?56:07 When we come out of meditation how can we stay in pure consciousness?57:07 Why 1 hour meditation is prescribed58:02 Astronomical interpretations from the Bhagavad Gita___Website: http://www.srby.orgFacebook: https://www.facebook.com/shivarudrabalayogiTwitter: https://twitter.com/SRBYmissionInstagram: https://www.instagram.com/shivarudrabalayogi/Register your free place for the live online meditation and Q&A with Babaji: https://www.shivarudrabalayogi.org/en/online-satsang Website: http://www.srby.orgFacebook: https://www.facebook.com/shivarudrabalayogiTwitter: https://twitter.com/SRBYmissionInstagram: https://www.instagram.com/shivarudrabalayogi/

Send us a textIn today's episode, I interview Radha Mehta, who co-directed the short film "Witness" with Saif Jaan. The film tells the story of an Imam of a small town mosque who is faced with choosing between upholding the values of his mosque or protecting the safety and spiritual belonging of a trans man congregant.Listen to hear about the story's basis in Saif Jaan's real experience, how difficult it was to find a working mosque willing to allow a story about a trans character to be filmed inside, and what it's like to land your ideal casting for an important role in a film.Books mentioned in this episode include:Six Days in Bombay by Alka JoshiFilms and TV shows mentioned in this episode include:"Witness" directed by Radha Mehta and Saif JaanAn Act of Worship directed by Nausheen DadabhoyIron Man directed by Jon FavreauAbout Elly directed by Asghar FarhadiA Separation directed by Asghar FarhadiSalaam Bombay! directed by Mira NairClose directed by Lukas DhontVision Quest (upcoming series)A Real Pain directed by Jesse EisenbergOne of a Kind (Wakhri) directed by Iram Parveen Bilal"Dosh" directed by Radha MehtaFollow Radha on Instagram @radhamehta and the film @witness.shortfilmbe sure to check out the film at the 2025 Raindance Film Festival in London this June.Support the show

(1) gaurāńgera duṭi pada, jār dhana sampada, se jāne bhakati-rasa-sār gaurāńgera madhura-līlā, jār karṇe praveśilā, hṛdoya nirmala bhelo tār (2) je gaurāńgera nāma loy, tāra hoy premodoy, tāre mui jāi bolihāri gaurāńga-guṇete jhure, nitya-līlā tāre sphure, se jana bhakati-adhikārī (3) gaurāńgera sańgi-gaṇe, nitya-siddha kori' māne, se jāy brajendra-suta-pāś śrī-gauḍa-maṇḍala-bhūmi, jebā jāne cintāmaṇi, tāra hoy braja-bhūme bās (4) gaura-prema-rasārṇave, śe tarańge jebā ḍube, se rādhā-mādhava-antarańga gṛhe bā vanete thāke, 'hā gaurāńga' bo'le ḍāke, narottama māge tāra sańga TRANSLATION 1) Anyone who has accepted the two lotus feet of Lord Caitanya can understand the true essence of devotional service. If one is captivated by the pleasing pastimes of Lord Caitanya, the dirty things in his heart will all become cleansed. 2) One who simply takes the holy name of Gaura-sundara, Sri Krsna Caitanya, will immediately develop love of God. To such a person I say: Bravo! Very nice! Excellent! If one appreciates the merciful pastimes of Lord Caitanya and feels ecstasy and sometimes cries, this process will immediately help him to understand the eternal pastimes of Radha-Krsna. 3) Simply by understanding that the associates of Lord Gauranga are eternally free from material contamination, one can immediately be promoted to the transcendental abode of Lord Krsna. If one simply understands that the land of Navadvipa is not different from Vrndavana, then he actually lives in Vrndavana. 4) If one says: "Let me dive deep into the waves of the nectarean ocean of the transcendental loving movement introduced by Lord Caitanya", he immediately becomes one of the confidential devotees of Radha and Krsna. It does not matter whether one is a householder living at home or a vanaprastha or sannyasi living in the forest, if he chants "O Gauranga, and becomes a devotee of Lord Caitanya, then Narottama dasa begs to have his association. To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/ ------------------------------------------------------------ Add to your wisdom literature collection: https://iskconsv.com/book-store/ https://www.bbtacademic.com/books/ https://thefourquestionsbook.com/ ------------------------------------------------------------ Join us live on Facebook: https://www.facebook.com/FanTheSpark/ Podcasts: https://podcasts.apple.com/us/podcast/sound-bhakti/id1132423868 For the latest videos, subscribe https://www.youtube.com/@FanTheSpark For the latest in SoundCloud: https://soundcloud.com/fan-the-spark ------------------------------------------------------------ #caitanyamahaprabhu #vaisesikaprabhukirtans #kirtan #vaisesikaprabhu #vaisesikadasa #vaisesikaprabhulectures #spirituality #bhaktiyoga #krishna #spiritualpurposeoflife #krishnaspirituality #spiritualusachannel #whybhaktiisimportant #whyspiritualityisimportant #vaisesika #spiritualconnection #thepowerofspiritualstudy #selfrealization #spirituallectures #spiritualstudy #spiritualexperience #spiritualpurposeoflife #spiritualquestions #spiritualquestionsanswered #trendingspiritualtopics #fanthespark #spiritualpowerofmeditation #spiritualgrowthlessons #secretsofspirituality #spiritualteachersonyoutube #spiritualhabits #spiritualclarity #bhagavadgita #srimadbhagavatam #spiritualbeings #kttvg #keepthetranscendentalvibrationgoing #spiritualpurpose

On today's episode, we're delving into the growing epidemic of loneliness, examining its root causes, far-reaching impacts, and what it will take to rebuild our social fabric. For this important and timely conversation, we were thrilled to be joined by Radha Agrawal, author of the bestselling book Belong: Find Your People, Create Community & Live a More Connected Life. Radha is also the Co-founder, CEO, and Chief Community Architect of Daybreaker, a global wellness movement that brings nearly half a million people together globally through early-morning, sober dance parties. In addition, Radha leads the Belong Institute and the Belong Center, two groundbreaking initiatives dedicated to addressing loneliness through community-building and laying the foundation for a wider culture of belonging.Throughout this conversation, we explore the essential human need for connection, the dangers of hyper-individualism, and how modern life, including our increasing disconnection from nature, has contributed to widespread feelings of alienation. Radha shares powerful insights on how rebuilding community and reestablishing our relationship with the natural world can help us reclaim joy, purpose, and a true sense of belonging. This is a conversation filled with practical tools and deep inspiration for anyone seeking to reconnect: with others, with nature, and with themselves.ShownotesBelong: Find Your People, Create Community & Live a More Connected Life by Radha AgrawalRadha Agrawal WebsiteDaybreaker | Wake Up & DanceBelong CenterBelong InstituteDr. Julianne Holt-LunstadThe Power of Belonging: How Ending Loneliness Will Save Our Planet (SXSW)Biophilic Solutions WebsiteBiophilic Solutions on InstagramKeywords: loneliness, loneliness epidemic, community, connection, community building, Radha Agrawal, nature, biophilia, biophilic, disconnection, climate, climate change, Daybreaker, belongingBiophilic Solutions is available wherever you get podcasts. Please listen, follow, and give us a five-star review. Follow us on Instagram and LinkedIn and learn more on our website. #NatureHasTheAnswers

2025.03.01 Govardhana Retreat Center EN

Every life holds a hidden epic. In this stirring episode, Raghunath and Kaustubha unlock the timeless teachings of the Ramayana and the Śrīmad Bhāgavatam to reveal how Lord Ram's divine story is far more than mythology—it's a living guide for our own transformation. Alongside the insights of Joseph Campbell's hero's journey, the sages explore what it truly means to conquer inner demons and rise to the occasion of your own sacred adventure. But this episode goes deeper than just inspiration. It offers a bold clarification of what līlā truly is—and what it's not. It's a common spiritual misstep to view the pain, confusion, and trauma of material life as brahman engaged in “divine play,” mistaking our suffering for the līlā of the Supreme. Raghunath and Kaustubha draw a clear line: true līlā is not the fractured experience of conditioned life, but the ecstatic, conscious, and love-saturated interactions of Krishna with His eternal energies—Ram and Sita, Radha and Krishna, Lakshman, Hanuman, and the gopīs, etc. To conflate the two is to miss the sweetness of bhakti, to remain trapped in illusion, and to miss the opportunity to enter into eternal līlā—the highest potential of the self. Key Highlights: * Why the Ramayana is more than story—it's a training ground for the soul * The crucial difference between true līlā and conditioned suffering * Why Lord Ram left without resentment—and how we can too * How to starve the inner Ravana and awaken your inner Hanuman * What it really means to return from the forest with “boons” for the world Join us and rediscover your highest potential—not by pretending to be the hero, but by walking the sacred path of one who's learning how to love.

Every life holds a hidden epic. In this stirring episode, Raghunath and Kaustubha unlock the timeless teachings of the Ramayana and the Śrīmad Bhāgavatam to reveal how Lord Ram's divine story is far more than mythology—it's a living guide for our own transformation. Alongside the insights of Joseph Campbell's hero's journey, the sages explore what it truly means to conquer inner demons and rise to the occasion of your own sacred adventure. But this episode goes deeper than just inspiration. It offers a bold clarification of what līlā truly is—and what it's not. It's a common spiritual misstep to view the pain, confusion, and trauma of material life as brahman engaged in “divine play,” mistaking our suffering for the līlā of the Supreme. Raghunath and Kaustubha draw a clear line: true līlā is not the fractured experience of conditioned life, but the ecstatic, conscious, and love-saturated interactions of Krishna with His eternal energies—Ram and Sita, Radha and Krishna, Lakshman, Hanuman, and the gopīs, etc. To conflate the two is to miss the sweetness of bhakti, to remain trapped in illusion, and to miss the opportunity to enter into eternal līlā—the highest potential of the self. Key Highlights: * Why the Ramayana is more than story—it's a training ground for the soul * The crucial difference between true līlā and conditioned suffering * Why Lord Ram left without resentment—and how we can too * How to starve the inner Ravana and awaken your inner Hanuman * What it really means to return from the forest with “boons” for the world Join us and rediscover your highest potential—not by pretending to be the hero, but by walking the sacred path of one who's learning how to love.

It's a two-for-one special! First, Jacke talks to novelist Radha Vatsal about her new book, No. 10 Doyers Street, which tells the gripping story of an Indian woman journalist investigating a bloody shooting in New York's Chinatown circa 1907. Then podcaster Tali Rosenblatt-Cohen stops by to discuss her experience hosting The Five Books, which asks Jewish writers to list the five books that have influenced them. Enjoy! Additional listening: 40 Radha Vatsal, Author of "A Front Page Affair" 90 History and Mystery (with Radha Vatsal) 512 Hannah Arendt (with Samantha Rose Hill) The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com. Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we're talking to Boulder writer Radha Marcum about her new writing process, the inspiration she gets from nature and her newest poetry collection, Pine Soot Tendon Bone, which was published in 2024 and won the esteemed Washington Prize a year priorSee omnystudio.com/listener for privacy information.

Punjab Sounds (Routledge, 2024) nuances our understanding of the region's imbrications with sound. It argues that rather than being territorially bounded, the region only emerges in 'regioning', i.e., in words, gestures, objects, and techniques that do the region. Regioning sound reveals the relationship between sound and the region in three interlinked ways: in doing, knowing, and feeling the region through sound. The volume covers several musical genres of the Punjab region, including within its geographical remit the Punjabi diaspora and east and west Punjab. It also provides new understandings of the role that ephemeral cultural expressions, especially music and sound, play in the formulation of Punjabi identity. Featuring contributions from scholars across North America, South Asia, Europe, and the UK, it brings together diverse perspectives. The chapters use a range of different methods, ranging from computational analysis and ethnography to close textual analysis, demonstrating some of the ways in which research on music and sound can be carried out. The chapters will be relevant for anyone working on Punjab's music, including the Punjabi diaspora, music, and sound in the Global South. Moreover, it will be useful for undergraduate and postgraduate students in the following areas: ethnomusicology, cultural studies, film studies, music studies, South Asian studies, Punjab studies, history, and sound studies, among others. Radha Kapuria is Assistant Professor of South Asian History at Durham University, UK, and the author of Music in Colonial Punjab: Courtesans, Bards, and Connoisseurs, 1800–1947. Vebhuti Duggal is Assistant Professor in Film Studies at the School of Culture and Creative Expressions, Ambedkar University Delhi, and Associate Editor of the journal BioScope: South Asian Screen Studies. Khadeeja Amenda is PhD candidate in the Cultural Studies in Asia programme at the Department of Communication and New Media, National University of Singapore, Singapore. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This is the story of perhaps one the greatest lovers of God who ever lived, in whom was manifest both Krishna and Radha and the intense love them bound them together!We gave this lecture in San Francisco last year during Gauranga Purnima (Holi), exactly a year now to the day as part of a three part series of Sri Chaitanya's life, philosophy and practice. This is the first of three! I'm about to let loose a slew of Tantrik Vaishnava content to celebrate this very auspicious full moon commemorating this ecstatic lover of God in whom was both Krishna and Rādhā! I'll put them all in this playlist called Tantrik Vaishnavism: https://www.patreon.com/collection/1384235Here is our playlist on all things Tantrik Vaishnavism! Lectures happen live every Monday at 7pm PST and Friday 10am PST and again Friday at 6pm PST.Use this link and I will see you there:https://www.zoom.us/j/7028380815For more videos, guided meditations and instruction and for access to our lecture library, visit me at:https://www.patreon.com/yogawithnishTo get in on the discussion and access various spiritual materials, join our Discord here: https://discord.gg/U8zKP8yMrMSupport the show

Tomorrow is a very special day: we are celebrating the full moon commemorating the birthday of one the world's most ecstatic lover's of God, Chaitanya Mahaprabhu who is considered to be an incarnation of Krishna and Radha in one single body. The celebration of Holi where we pelt each other with bright, colored powders naturally signifies the fervor and celebration of devotion and the rich and diverse hues of God and the Life Divine! In this video, we say a few things about Holi and about Chaitanya, I let you in a little on our plans for celebrating tomorrow together on zoom and then I introduce you a very interesting Shaiva take on Holi which is especially celebrating in Kashi, the City of Shiva: "Masan Holy", cremation ground Holi where we use ash from the funeral pyre instead of colored powder!Jai Gaur Nitai! Lectures happen live every Monday at 7pm PST and Friday 10am PST and again Friday at 6pm PST.Use this link and I will see you there:https://www.zoom.us/j/7028380815For more videos, guided meditations and instruction and for access to our lecture library, visit me at:https://www.patreon.com/yogawithnishTo get in on the discussion and access various spiritual materials, join our Discord here: https://discord.gg/U8zKP8yMrMSupport the show

Venerable Radha guides a meditation for about 30 minutes. Support us on https://ko-fi.com/thebuddhistsocietyofwa BSWA teachings are available: BSWA Teachings BSWA Podcast Channel BSWA DeeperDhamma Podbean Channel BSWA YouTube

Venerable Radha explains that the way you perceive others shapes how you communicate with them and determines the nature of your relationship. Support us on https://ko-fi.com/thebuddhistsocietyofwa BSWA teachings are available: BSWA Teachings BSWA Podcast Channel BSWA DeeperDhamma Podbean Channel BSWA YouTube

Venerable Radha conducts an intermediate/ advanced meditation class for approximately one hour. Venerable Radha continues the theme from Friday night about fostering good relationships, guiding a meditation in which we consider the breath as a good friend, noticing how it feels and caring for it, and so creating a comforting, safe space in the here and now. Venerable Radha then guides us to soothe and comfort the emotions of our heart. Support us on https://ko-fi.com/thebuddhistsocietyofwa BSWA teachings are available: BSWA Teachings BSWA Podcast Channel BSWA DeeperDhamma Podbean Channel BSWA YouTube

Hearing that his father was dead was very nearly the last straw for Radha Manickam. In two years he'd lost almost his entire family under the brutal regime of Cambodia's Khmer Rouge. It seemed that God had abandoned him, and one night while lying on an anthill in the middle of a rice paddy, he decided to end it all. But then hope arrived–in a most unlikely place, and a most unexpected way.This series is based on my recent interviews with Radha, along with my 2016 book about his experiences. The book, audiobook, and this series are titled Intended for Evil by Les Sillars.Support WORLD News Group at wng.org/donateIntended for Evil available as a paperback and audio book at Amazon.com

After the communist Khmer Rouge took over Cambodia on April 17, 1975, they herded everybody out of the cities and into socialist “cooperatives.” Radha Manickam and family were sent to the country's northwest, where they and 1.8 million others were dumped out of trains and told to start building villages.It was Year Zero, supposedly the start of the agrarian utopia promised by their Marxist masters.Instead, Radha watched the Khmer Rouge turn Cambodia into the realm of the dead.This series tells a hard and brutal story, but it's also a story of hope and, ultimately, redemption. It's based on my recent interviews with Radha, along with my 2016 book about his experiences. The book and this series are titled “Intended for Evil.”Support WORLD News Group at wng.org/donate

How do Shakespeare's timeless themes translate to the South Asian diaspora? Could the man from Stratford himself be reimagined as a meddling auntie? Novelist Nisha Sharma's If Shakespeare Were an Auntie trilogy takes on this challenge, taking inspiration from The Taming of the Shrew, Much Ado About Nothing, and Twelfth Night to create contemporary romance novels set in the vibrant, close-knit world of the South Asian community. Sharma's books explore love, identity, and social norms through characters navigating family expectations and community dynamics. These playful and poignant adaptations highlight Shakespeare's enduring relevance while addressing modern issues like gender expectations and cultural identity. This episode explores Sharma's creative process, her lifelong love for Shakespeare, and her approach to blending the playwright's timeless themes with modern romance. From chaotic weddings to sharp banter, her novels reflect the humor and humanity of Shakespeare's work while offering fresh perspectives for today's readers. Nisha Sharma is the critically acclaimed author of YA and adult contemporary romances including My So-Called Bollywood Life, Radha and Jai's Recipe for Romance, The Singh Family Trilogy, and the If Shakespeare was an Auntie series. Her books have been included in best-of lists by the New York Times, the Washington Post, Cosmopolitan, Entertainment Weekly, and more. She lives in Pennsylvania with her Alaskan husband, her cat Lizzie Bennett, and her dogs Nancey Drew and Madeline. From the Shakespeare Unlimited podcast. Published January 28, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the Executive Producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

The communist Khmer Rouge marched into Phnom Penh, the capital of Cambodia, on April 17, 1975. Radha Manickam, a new Christian, watched them arrive from the balcony of his parents' apartment. It was Radha's first exposure to the Khmer Rouge. The leader of the Khmer Rouge was Pol Pot, led the most violent and brutal government in modern history. In its doomed attempt to create an agrarian utopia, between 1975 and 1979 Pol Pot's regime murdered over 1.7 million people. Many were beaten to death or executed. Others starved to death or died of fatigue or some wretched disease. Mao and Stalin's Communist regimes killed far more people. But no other government has destroyed nearly a quarter of its own citizens.Today Pol Pot is largely forgotten. But he and the Khmer Rouge are well worth remembering. Because the ideas that formed the Khmer Rouge are still with us today. Also worth remembering are the stories of those who survived. People like Radha Manickam. We'll be telling his story over the next three episodes. It is in many ways a brutal story. One of loss and grief and terror. But it's also a story of hope and grace. And ultimately, redemption.This series is based on my recent interviews with Radha, along with my 2016 book about his experiences. The book and this series are titled “Intended for Evil” by Les Sillars.Audio from:The Associated PressNBC NewsABC NewsSupport WORLD News Group at wng.org/donate