Podcasts about Squid Game

For our next request during Patreon Month, we pull apart Battle Royale's cult status with fresh eyes—what still works, what hasn't aged well, and why its influence keeps echoing through movies and games. We weigh shock against substance, highlight standout characters, and debate whether minimal worldbuilding helps or hurts its punch.• Why Battle Royale's premise still provokes• Influence on Hunger Games, Squid Game, and battle royale games• Shock value versus satire and social critique• Standout characters, including Mitsuko and Kawada• Worldbuilding gaps in the film vs the book and manga• Violence, tone whiplash, and budget constraints• Emotional stakes and why attachment is hardLetterbox'd Synopsis: In the future, the Japanese government captures a class of ninth-grade students and forces them to kill each other under the revolutionary “Battle Royale” act.

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠Join Analytic Dreamz on Notorious Mass Effect for an in-depth reaction to Squid Game: The Challenge | Season 2 Official Teaser on Netflix. In this segment, Analytic Dreamz breaks down the teaser's intense visuals, gripping storyline, and what to expect from the high-stakes competition. Dive into the cultural impact, themes, and anticipation for Season 2 with Analytic Dreamz's signature insights. Perfect for fans of Squid Game and reality TV, this segment delivers engaging commentary and analysis. Subscribe for more reactions and gaming content with Analytic Dreamz! Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode the gang talks a lot about everything! They mainly focus on talking about The Bear, the second part of Squid Game season 2, and Ironheart. They also talk about the trailer for Wicked part 2. All this plus Nerd Grabs and our sweet sweet comedy. Please feel leave comments on our Facebook, Instagram, Twitter pages, or email us at b3ecomments@gmail.com!!! We'd love to hear your thoughts, comments, or questions!! ~Nick, Meghan, and Kevin~   BEST 3SOME ON FACEBOOK B3E on Instagram   Intro music: Strings and Blips by Adam Selzer, voiced over by Amanda Day Exit music: Little Clubthing by Pure Black Stabbers, voiced over by Amanda Day Best 3some Ever is produced, and copyrighted, by KALE WHINN PRODUCTIONS LLC  

The Dutch courts finally did something useful: they told Meta to quit force-feeding algorithmic slop to everyone, so Facebook and Instagram users might actually see posts from friends again—if they can remember who those are. Meanwhile, OpenAI's Sora 2 rollout is the kind of chaos that makes you wonder if the company replaced QA with a TikTok filter, as outrage videos flood the internet faster than you can say “deepfake meltdown.” Apple banned ICEBlock for being too effective while ICE now wants its own social media surveillance tool—one that OpenAI shut down when Chinese accounts tried to build it. California's hammering Tesla for its abysmal insurance claims handling, OpenAI is gobbling up chunks of AMD, and consultants got caught using ChatGPT to fake reports before proudly partnering with Anthropic, who just landed Deloitte as its latest “enterprise AI” victim. Elsewhere in this circus: a Florida teen asked ChatGPT how to kill his friend, Taylor Swift fans are furious her new promo video used AI slop (“too rich to be this cheap”), and Apple's “Find My” led cops to a mountain of smuggled iPhones.In Media Candy, Brian's stunned The Diplomat scored a third season, The Long Walk is being pitched as Stand By Me meets Squid Game, California finally bans loud streaming commercials, and Amazon censored Bond posters to remove guns because apparently irony is dead. AI “musicians” are signing record deals while Zelda Williams begs people to stop resurrecting her dad with deepfake garbage. In Apps & Doodads, Jony Ive's OpenAI gadget is delayed (good), Rivian insists we'll “appreciate” not having CarPlay (we won't), Spotify and ChatGPT are teaming up to read your soul through playlists, and Jason warns everyone that the Echo Show is basically an ad-spewing parasite. Apple's now facing a cybercrime probe in France for Siri's wiretapping habits, and if you're nostalgic for simpler times, ioquake3 will let you relive Quake III Arena glory on a modern rig. At the Library, Peter Cawdron's Dark Beauty: First Contact belly-flops as a Slaughterhouse-Five tribute, while Cory Doctorow's Enshittification nails exactly why everything sucks—even if his fixes are pure science fiction.Sponsors:CleanMyMac - clnmy.com/GrumpyOldGeeks - Use code OLDGEEKS for 20% off.Private Internet Access - Go to GOG.Show/vpn and sign up today. For a limited time only, you can get OUR favorite VPN for as little as $2.03 a month.SetApp - With a single monthly subscription you get 240+ apps for your Mac. Go to SetApp and get started today!!!1Password - Get a great deal on the only password manager recommended by Grumpy Old Geeks! gog.show/1passwordShow notes at https://gog.show/717FOLLOW UPDutch court orders Meta to change its Facebook and Instagram timelinesOpenAI's Sora 2 Already Melting Down Into Outrageous DramaIN THE NEWSApple removes ICEBlock from the App Store after Trump administration's demandICE is planning to create a surveillance team that hunts for leads on social mediaOpenAI has disrupted (more) Chinese accounts using ChatGPT to create social media surveillance toolsCalifornia regulators threaten to revoke Tesla's insurance license for mishandling claimsOpenAI Gobbles Up a Stake in AMD as Its Spending Spree Shows No Sign of StoppingConsultants Forced to Pay Money Back After Getting Caught Using AI for Expensive “Report”Anthropic lands its biggest enterprise deployment ever with Deloitte dealTeen Arrested After Asking ChatGPT How to Kill His Friend, Police SayTaylor Swift Fans Furious as She's Caught Using Sloppy AI in Video for New AlbumApple's ‘Find My' Leads Cops to Cache of Thousands of Smuggled iPhonesMEDIA CANDYThe DiplomatThe Long WalkCalifornia bans loud commercials on streaming platformsAmazon Pulls Censored Bond Posters After Pulling the Guns From ThemMore AI artists are starting to get record dealsRobin Williams' daughter pleads for people to stop sending AI videos of her dadAPPS & DOODADSOpenAI's first device with Jony Ive could be delayed due to 'technical issues'Rivian says ‘customers will appreciate' lack of CarPlay eventuallySpotify and ChatGPT Team Up for Personalized Music and Podcast RecommendationsDon't buy an Echo Show (you can have mine)Apple faces cybercrime investigation in France after Siri complaintioquake3AT THE LIBRARYDark Beauty: First Contact by Peter CawdronEnshittification: Why Everything Suddenly Got Worse and What to Do About It by Cory DoctorowSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Cast: Christian H, Alex Tuna & Tom CaswellPokémon: 501 - OshawotPodcast Game: Game or No GameOfftopic: The Naked Gun, Squid Game, The Lazarus Project, SurvivorGames: PS5, Goldeneye, Megabonk, Hades 2Next Challenge: Goldeneye 007 - Runway on Agent fastest time winsDiscordhttps://discord.gg/wkvu88KvTVQuestions, Comments, Complaints, Corrections!?Call: 805-738-8692Twitter: @UnrankedPodcast Hosted on Acast. See acast.com/privacy for more information.

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

Thanks to Storyblocks for sponsoring this video! Get 2 extra months free with annual plans for a limited-time only: http://storyblocks.com/TheTake K-Dramas have been growing in popularity across the world for decades now, but they've seen a particularly huge growth in interest in the 2020s. While some might just chalk this up to the success of Netflix's Squid Game, it's actually a lot deeper and wider ranging than that. So what is it about K-Dramas that make them so beloved, and so addicting? The world of K-Dramas is vast and constantly expanding and evolving, so there's no way we could cover everything in one video – but we want to begin with this quick dive into K-Dramas and what we love about them! So whether you've been hearing about them for a while but still haven't taken the leap to begin watching or have been loving them for years, let's dive in! Learn more about your ad choices. Visit megaphone.fm/adchoices

Mr. Beast Biography Flash a weekly Biography.Over the past few days, Jimmy Donaldson, better known as MrBeast, has again proven he's impossible to ignore—either for his booming empire or his headline-making antics. According to Disney Dining and Inside the Magic, Beast Industries is gearing up for an ambitious new chapter, with MrBeast himself reportedly eyeing the launch of a Disney-rivaling theme park as part of his ongoing quest to build the world's next major entertainment conglomerate. After renting out Disneyland for a day last year—a move that generated one of his biggest viral hits—he's now flirting with the idea of building his own park from scratch, turning Beast Industries into what Bloomberg and company CEO Jeff Housenbold compare to the modern Disney, with MrBeast himself as its Mickey Mouse. The company is moving beyond YouTube stardom, expanding into food brands like Feastables and MrBeast Burger, and doubling down on scripted content and branded experiences—all while maintaining those eye-popping philanthropic giveaways, like planting 20 million trees and removing 30 million pounds of trash, that originally turned him into a global sensation.But this week, the bigger story is a firestorm—both literal and digital. On the evening of September 27, MrBeast dropped a video titled "Would You Risk Dying For $500,000?", where a professional stuntman, according to Tyla and The Economic Times, was subjected to a series of "death traps" including escaping a burning building, being fired out of a cannon into fire, and surviving explosions for the massive cash prize. The video immediately triggered backlash on social media, with critics drawing comparisons to "Squid Game" and "The Hunger Games" for its extreme, almost dystopian premise. Several X users and commentators, notably including a firefighter, called out the stunt for reckless endangerment. In response, MrBeast clarified that the entire setup was rigorously tested by professionals, the participant was a trained stuntman, and the crew had numerous safety measures, including fire suppression, ventilation, and a full emergency response team on standby. The video, nonetheless, racked up over 50 million views in days, cementing MrBeast's reputation for blending shock with spectacle—all while fueling debate about the ethics of influencer stunts.While this drama played out online, MrBeast's business machine kept rolling. His Amazon Prime series, Beast Games, was recently renewed for two more seasons, and according to Disney Dining, he's still pursuing a broader "cinematic universe" for his brand. There's even talk of future animation projects and video game platforms, as detailed in recent Bloomberg coverage. The only potential cloud on the horizon is legal: The Economic Times reminds us that MrBeast and Amazon are still facing lawsuits from contestants alleging unpaid wages, poor conditions, and even harassment during the filming of Beast Games—a lawsuit first filed in September 2024 that has yet to fully resolve.Looking back, the past 48 hours have shown MrBeast at both his most ambitious and controversial: a business visionary racing toward theme parks and empire-building, and a viral provocateur pushing the boundaries—sometimes dangerously—of what's acceptable for clicks.Thank you for tuning in to "Mr. Beast Biography Flash." If you don't want to miss a single stunt, deal, or headline from this ever-changing phenomenon, hit subscribe now, and for more great Biographies, search the term "Biography Flash."Get the best deals https://amzn.to/4mMClBvThis content was created in partnership and with the help of Artificial Intelligence AI

Recently Alex Shandrovsky had me as a guest on his show, the Investment Climate Podcast to talk about The Better Meat Co.'s recent funding round. When it came out, more than one Business for Good listener heard it and told me they thought it would make a good episode to release to our audience too, so this episode is simply the conversation Alex and I had for his podcast. If you've been following the alternative protein sector (and the broader biotech sector), you've likely seen the wave of challenges that fermentation, cultivated, and plant-based startups have faced over the past few years. As recent AgFunder News reporting confirms, ag and food tech investment is at a decade-long low. One active food tech VC even declared that foodtech investing is “maybe as bad as it's ever been.” Some days, building a startup in our sector can feel like being a player in Squid Game—with about the same odds of survival. While layoffs, bankruptcies, shutdowns, and cash-free acquisitions have been rampant in our sector lately, BMC has never conducted layoffs. Instead we've always been very frugal, and we tightened our belt even further in the past year, all while continuing to make important progress toward our aspirations of slashing humanity's footprint on the planet. This has been true in the midst of the three-year litigation we endured, the collapse of our bank and subsequent (temporary) loss of all funds, the painfully wintry investment climate for alt-protein, and other seemingly innumerable challenges. Our ethic of frugality will certainly continue in this new era of scaleup for our company.  This financing is hardly the end of our story. Receiving investor dollars isn't our goal; it's solely a means to the end of building a profitable business that will help put a dent in the number of animals raised for food. Raising a round is akin to having someone provide the clothes, tents, and food you'll need to climb Everest…but you still need to actually go climb the mountain—hardly a guaranteed outcome.  I've often said these days that we've shifted from what felt like a Sispyphean feat of fundraising to now merely a Herculean feat of scaling. Nearly all startups fail. The vast majority never see their seventh birthday, which BMC recently celebrated. Our company is still far from successful, but we now have a real chance to birth into the world a novel crop that can help feed humanity without frying the planet. We will judiciously use these new funds to work hard to finally let the Rhiza River flow.  Alex and I discuss the story of how this funding round came about, and where we may be going from here. 

Welcome To The Real Oshow,0:00 Intro1:00 Kai Cenat 1 Million Subs2:38 EA Sells For $55B4:40 Private Equity In College Sports7:15 CFB Coaches Fired Mid-Season9:10 New York Casino Backed By Nas13:00  A Kicker Won The NFL MVP17:00 First Ever AP Poll in CFB19:00 Closing Thoughts Welcome To The Real Oshow, This week on The Real Oshow, brothers Joshua and Zachary dive into one of the biggest culture stories in New York. A new casino is coming to Queens, backed by Nas and a surprising group of investors, just days after the city rejected Jay-Z and Roc Nation's Times Square bid. The brothers debate why the city blocked Jay-Z but greenlit Queens, and they pull back the curtain on who is really funding the deal.They also break down Kai Cenat's Mafiathon 3, which has already outpaced the first month of Squid Game and defeated the peak of Game of Thrones. Joshua and Zachary explain why this cements streaming as the new global stage for entertainment.The episode dives into college football's financial shake-up, where private equity and billion-dollar TV contracts are driving schools to fire coaches faster than ever. And finally, the brothers explore the $55 billion sale of Electronic Arts to Saudi's Public Wealth Fund, questioning what it means for the future of FIFA, Madden, and The Sims.It is culture, business, and sports colliding on this episode of The Real Oshow!All Love, Check out our YouTube channel at https://www.youtube.com/channel/UCoqz3s_B_VYHuQtuVIDxpiQFollow us on TikTok at https://www.tiktok.com/@therealoshow?is_from_webapp=1&sender_device=pcTweet @zacharyowings2 with your thoughts about the podcast or suggestions for future episodes.Music by Leno Tk - Greatness (available on all streaming platforms)

In questo episodio, Teo e Riki discutono della terza stagione di Alice in Borderland, analizzando i punti di forza e debolezza della serie, confrontandola con Squid Game e valutando il futuro della saga. La conversazione si concentra sui giochi, la trama e le aspettative per eventuali sviluppi futuri. Chapters00:00 Introduzione a Alice in Borderland02:56 Analisi della Terza Stagione05:44 Confronto con Squid Game08:49 Punti di Forza e Debolezza11:36 Giudizio Finale e Voti14:39 Possibili Sviluppi Futuri17:20 Spoiler e Conclusioni Finali

The UK workroom is alive again with the sound of camp cows, Soho girls, Irish girls, indoor divas, the occasionally unclear pun name, both a violin and a nose flute, and a Gregg's in a wig. The Pink Carpet sort-of challenge is essentially a version of Squid Game where you just hope to not get interviewed by Plane Jane, and the runway reminds us that this episode is just one big Meet the Queens. Despite some great music, the cow vote was kind of BS. Stay tuned for tangent on the trouble with UPS, plus some early lookalikes. Become a Matreon at the Sister Mary level to get full access to the rest of Season 7 of Drag Race UK, pluss brackets, movie reviews and past seasons of US Drag Race, UK, Canada, Down Under, Espana, Global All Stars, Philippines and more.Join us at our OnlyMary's level for our current recap of Season 4 of Drag Race plus even more movie reviews, brackets, and deep dives into our personal lives!Patreon: www.patreon.com/alrightmaryEmail: alrightmarypodcast@gmail.comInstagram: @alrightmarypodJohnny: @johnnyalso (Instagram)Colin: @colindrucker_ (Instagram)Web: www.alrightmary.com  

Šta vredi gledati, a šta preskočiti? U 65. epizodi Njuz Net podkasta donosimo detaljne recenzije najaktuelnijih serija: Peacemaker, Black Rabbit, finale Squid Game i druga sezona Wednesday. Pričamo i o filmovima, knjigama (Lana Bastašić, Superman: Red Son) i muzici (Jyimenik, Suede). Saznajte i sve o predstojećim događajima!

This week the bois are watching more Squid Game, but this time in the form of reality show, Squid Game The Challenge

Zaczęła się kolejna jesień, więc czas na porządki. Raz jeszcze zbieramy do kupy dużą liczbę naraz tematów, choć ostatecznie w tym odcinku prym wiedzie serial Obcy: Ziemia. Ale poza alienami i robotami, zajmujemy się także (w takiej samej kolejności): The Studio, drugim sezonem 1670, Próbą generalną, Strefą gangsterów (Mobland), Oponiarzami (Tires), Squid Game, The Pitt i Rozdzieleniem (Severance). Im dalej na liście, tym krótszy wątek. A na koniec gierki: Hell is Us, nowa Mafia (The Old Country), Clair Obscur i World of Goo 2. Bo dlaczego nie?

Trey, Jake and Katie (with guest-producer Timon) trade parenting horror stories and scroll-culture hot takes — from toddler haircuts and millennial Instagram slideshows to panhandling/pizza stories, whether iPhones should cost more, and a riff on MrBeast-style viral stunts. Whatever challenges you're facing, Grow Therapy is here to help. Sessions average about $21 with insurance and some pay as little as $0, depending on their plan. Visit http://GrowTherapy.com/CORRECTOPINIONS today to get started.  Function is a near-360 view to see what's happening in your body, and my first 1000 listeners get a $100 credit toward their membership. Visit http://www.functionhealth.com/TREY or use gift code TREY100 at sign-up to own your health.
 00:00 – Intro & Derek's kid haircut joke 01:14 – Guest producer Timon + Derek's hospital update 02:21 – Instagram “photo with music = millennial” rant 04:28 – What music belongs behind family pics? 05:09 – Forrest Frank / kid-friendly song talk 07:23 – Cranky photo & grass-driving story 09:27 – “Correct Opinions”: visual vs. auditory learners 11:53 – Homeless pizza refusal story 14:26 – Pickleball shoot + Caitlin Clark mention 18:28 – Ad: Function Health 19:02 – iPhone should cost more (Trey's hot take) 24:00 – Phone priorities & culture chat 29:23 – Ad: Grow Therapy 30:24 – Tour talk: kids on the bus & Cali shows 57:42 – Reality TV riffs 58:03 – MrBeast & “Squid-Game” vibes 01:00:34 – “Summer I Turned Pretty” & TV talk 01:01:05 – Wrap-up & sign off Subscribe to the channel: https://www.youtube.com/channel/UCL3ESPT9yf1T8x6L0P4d39w?sub_confirmation=1   Subscribe to Correct Opinions on Apple: http://bit.ly/COPodcast

Season 4 of Doug was weird because they did the Martin Lawrence arc and half of it was about Didi getting bred and his name was Caillou but they made him look like Eddie Murphy in a fat suit. Jay-Z clearly never saw Squid Game or Get Out in 2010 or he would have mentioned Young Hee   https://www.patreon.com/posts/139589436

Send us a textSquid Game Season 3 on Netflix brings the brutal saga to a close with a sharp edge and emotional gravity. This final chapter sees Seong Gi-hun return not as a player, but as a man with a mission—to dismantle the twisted machinery behind the games. Across six tightly wound episodes, the show doubles down on moral ambiguity, betrayal, and the human cost of survival. Familiar faces resurface, past wounds are torn open, and justice becomes a blood-stained pursuit. It's not just about who survives anymore—it's about who can live with what they've done. The ending doesn't just tie up loose ends; it leaves scars—on characters and viewers alike.But Squid Game was always bigger than its plot. It reshaped global entertainment, proving that a Korean-language series could dominate the world's screens and spark global conversations about inequality, desperation, and the price of choice. Its legacy is etched not just in ratings or awards, but in culture—those green tracksuits, the haunting music, the symbolism of every game. Season 3 may mark the end of the story, but Squid Game's impact will echo for years. It didn't just go out with a bang—it signed off in blood and ink, sealing its place as one of the most daring and influential shows of our time.Remember to click on the link in the show for your 30 Day Free Audible Trial and help support DMR in the process! Support the showThe audio clips used in this podcast, including excerpts from movie/series/documentary trailers, are used under the principles of fair use and fair dealing for the purpose of criticism, commentary, and review. All rights to the original trailer content & music belong to the respective copyright holders. DMR (Dewey's Movie Reviews) is an independent production and is not affiliated with or endorsed by any film studios or distributors.

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠In this segment of Notorious Mass Effect, Analytic Dreamz explores KPop Demon Hunters (2025), Netflix's most-watched film ever, premiering June 20 with 291.5M views by Sept. 9, outpacing Squid Game and Red Notice. Directed by Maggie Kang and Chris Appelhans, this $100M K-pop fantasy blend topped Netflix in 93 countries and grossed $18–20M in a sing-along run. Its soundtrack, led by HUNTR/X's “Golden” (#1 Hot 100) and featuring TWICE, hit #1 Billboard 200 with 128K units and 3B+ global streams. Analytic Dreamz unpacks its 95–97% Rotten Tomatoes scores, 400% merch surge, and HUNTR/X's rise as a top K-pop act, marking a cultural milestone. Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

apologies for the delay this was recorded a while ago and just did not get a chance to upload it Big T returns for this one hope you enjoy it

Ryan and Dylan recap a fantastic year of television and give their predictions for the winners of the 2025 Emmy Awards.

In peaceful Nova Scotia, elites will take refuge in a cold war-era bunker to escape the end times. Not a bad way to go! K-Pop Demon Hunters takes down Squid Game.The double date is popular again. Chinese EVs are hard to get but Mark Carney is signaling he might make it easier. Gavin Crawford makes games out of the news with Eric Peterson, Andrew Phung and Carley Thorne.

Veckans podd bjuder på en salig blandning av skräck, koreanskt, animerat, brittiskt och pusselspel! Den starka trion Jonas, Niklas och Tove snackar denna vecka bland annat om den nya Street Fighter-filmen med Jason Momoa, den kommande Tomb Raider tv-serien, David F Sandberg skräckfilmer och dåliga Austen-adaptioner. Apropå Austen har Tove sett den nya BBC-miniserien Miss Austen, och så blir det också en Koreakoll: Tove har sett den animerade Netflix-succén Kpop Demon Hunters och den tredje och sista säsongen av Squid Game. Niklas har å sin sida sett Zach Creggers skräckrulle Weapons, och Jonas har spelat indiepusselspelet The Case of the Golden Idol. Tack & Förlåt! Puss Hej!

Kontrovers rezipierter Gesang ist nicht Alles, was uns die KPop Demon Hunters diese Woche bescheren, sondern auch noch ein Feuerwerk aus buntem Fantasy-Dämonen-Geschnetzel und eine gute Prise Coming of Age. Schon etwas erwachsener, wenn auch lateral versetzt, hat uns der Mallorca-Werbe-Erotik-Thriller Fall for Me unterhalten, der hoffentlich niemanden auf die Idee bringt, eine Nachfolgestaffel zu Squid Game 3 auf der Baleareninsel zu drehen. Christoph ist unterdessen von Rhodos zurück und hat nicht nur einige Eindrücke davon dabei, sondern mit Igorrr eine Musikempfehlung, die heißer ist als die Strände der Ägäis.

Episodio donde Wisto da su reseña sobre Weapons, la duda de cuándo ver Alien: Earth, opiniones sobre Life of Chuck, trailer de la secuela de 28 Years Later llamada The Bone Temple, atrasan estreno de Mortal Kombat II y crean un "combate mortal" para blockbusters en verano 2026, Pari afina su historia sobre secuela de RoboCop, trailer de secuela directa de Return of the Living Dead, Zack Snyder y su gran remake de Dawn of the Dead a inicios de los 2000s, vendrá B-movie sobre Red Sonja antes de que salga una nueva de Conan, pocos actores salen antes siendo Mr. Olympia, La Montaña como Conan, y terminamos con la reseña final de Squid Game! Escúchanos: Spotify / Apple Podcasts / YouTube Apóyanos: patreon.com/holamsupernova Síguenos: Instagram/ Twitter/ TikTok @holamsupernova Merch: holamsupernova.myshopify.com

This week, Wiedo and Diego reunite after a five-week Scandinavia road trip—complete with charging stops, supermarket pit-stops, and tales of Finland's early school starts as summer fades fast. With sore thumbs from too much messaging, Wiedo dives into control hacks (Quake jump on the mouse, keyboard over D-pads) to keep gaming pain-free.On the games front, Wiedo brings along a free Squid Game demake on the Gameboy, while Diego spotlights Yandex comp standouts Cubix and Kubanoid for the ZX Spectrum—a clever, dice-driven, Columns-style puzzler that squeezes surprising depth out of tiny memory.We also gush over the C64 Mini Black, packed with 25 modern homebrew hits like Sam's Journey, before signing off with Andy still away on holiday.

You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!South Korea. 1979. Forty days to an assassination. We dive into Woo Min-ho's icy political thriller The Man Standing Next — a gripping, true-events drama about KCIA director Kim Gyu-pyeong (played by Squid Game's Front Man, Lee Byung-hun) as he weighs loyalty, country, and a bullet.What the film's aboutAfter years in President Park Chung-hee's inner circle, Kim watches the regime harden: political purges, wiretaps, street crackdowns, and a rival enforcer (Chief Kwak) pushing for blood. When a former KCIA boss defects to the U.S. and threatens to publish a tell-all, the fuse is lit. The film tracks the 40 tense days that culminate in one of South Korea's most consequential nights.What we get into on the podPower, paranoia, and proximity: what it costs to be “the man standing next” to a dictator.The Washington angle: congressional testimony, ambassadors pulling strings, and how U.S. pressure shapes the endgame.That dinner sequence: whisky, insults, and a single decision that changes a nation.History vs. thriller: how the movie compresses real events without losing the knot-in-the-stomach tension.Performances & craft: Lee Byung-hun's controlled implosion, swaggering Kwak, crisp night photography (you can actually see it!), and the score's slow dread.The big themes: loyalty vs. survival, “order” vs. democracy, and why authoritarian systems eventually eat their own.Plus, our usual chaosA delightfully deranged Top 5 mash-up: Cowboys and Waiting Rooms (yes, really).A lightning-round quiz: “Korea or Career?” (parasites, broadcasters, pig-based corporate malfeasance — you had to be there).Should you watch the film first?We do reveal key plot points (including the ending), so if you want the full cinematic punch, watch first. If you're here for big ideas, sharp takes, and a few belly laughs, jump straight in.Why hit playIf you loved Parasite, A Taxi Driver, or political thrillers with teeth (Z, Zero Dark Thirty), this episode is squarely in your lane — part history lesson, part moral knot, all energy.

Come revisit some of the top moments from Matt and Brian's recent episode about Squid Game Seasons 2 and 3If you like what you hear, make sure to check out the full episode in context!

We're back!This week Jun and Daniel finally tackle the highly anticipated media review of "K-Pop Demon Hunters" (or "케데헌" in Korea). After discussing the massive global success of the Netflix animated film—which became the number one Netflix original movie of all time—they dive deep into various aspects of the production. From analyzing what defines authentic K-pop versus generic pop music, to exploring the typical K-pop group format and how the film made Korean culture accessible to non-Korean audiences, our hosts examine everything from the nostalgic snack spread featuring classic treats like 새우깡 to the film's blend of traditional and modern Korean cultural elements. They also grapple with complex questions about cultural authenticity, discussing director Maggie Kong's Korean Canadian background and whether Korean Americans can represent "authentic" Korean culture, while exploring the natural evolution of cultural export from origin countries to diaspora communities.If you're interested in understanding the cultural significance of K-pop group roles (visual, rapper, leader, maknae), learning about the differences between how Korean Americans and Korean Koreans preserve traditional culture, exploring questions of cultural appropriation versus cultural evolution in the context of Korean content, or hearing Daniel and Jun's personal reactions to a film that has captivated audiences worldwide, tune in to hear them discuss all this and more! This episode also touches on the broader K-wave phenomenon, comparisons to other Korean cultural exports like Squid Game, and the emotional impact the film's soundtrack has had on families.Support the showAs a reminder, we record one episode a week in-person from Seoul, South Korea. We hope you enjoy listening to our conversation, and we're so excited to have you following us on this journey!Support us on Patreon:https://patreon.com/user?u=99211862Follow us on socials: https://www.instagram.com/koreanamericanpodcast/https://twitter.com/korampodcasthttps://www.tiktok.com/@koreanamericanpodcastQuestions/Comments/Feedback? Email us at: koreanamericanpodcast@gmail.com

Join Clkytta & Drama Geek as they conclude their review of Squid Games final season.Access this Patreon VIP episode HEREYou can also find us on Twitter, BlueSky, and Facebook.Click HERE for our show notes. Hosted on Acast. See acast.com/privacy for more information.

Welcome to Super Game Brothers, a family-friendly video game podcast. This week, we talk about our most anticipated games releasing this fall. Thanks for listening and laughing with us!Make sure to check us out on Patreon for exclusive episodes, early access, and other perks.Patreon - https://www.patreon.com/SuperGameBrothersTimestamps:00:00:00 - Intro, energy drink flavors, and the heat, Squid Game 3, beats headphones00:14:14 - Show Start, Patreon, & Giveaway00:15:14 - Hollow Knight: Silksong updates00:20:38 - Gamescom announcements00:23:10 - Clash Royale gameplay and breakdown with Devin00:42:00 - Devin beat CupHead00:47:16 - Top 12 metroidvanias since Hollow Knight01:00:10 - OutroJoin our giveaway at https://www.supergamebrothers.com.The links below help support our show, without costing you any more:Games we talked about:Hollow Knight: SilksongThanks so much for stopping by! Your support is what makes our show possible.

In this week's episode, Brandon and Gabby finish up Squid Game season 3. They break down the last 2 episodes, they talk about how brutal the violence was in the last game, the emotions they felt, how much they struggled to remember a lot of names, how they still hated the CGI baby, and talked way too long about the ending and what it might mean

Prodigy is out this week. We welcome P back to the podcast! This week we talk about the Annunciation Catholic School Shooting, South Park, financial crisis, Black Panther, Ironheart, Raja Jackson assault, mystical black women, Alien Earth, Squid Game, K Pop Demon Hunters, body pillows, and more! Come follow us: http://www.beenhadproductions.squarespace.com/bthanbti SoundCloud: https://soundcloud.com/bthanbtiI Facebook: https://www.facebook.com/BthanBTI/ Twitch: https://www.twitch.tv/bthanbti Twitter: @BthanBTI iTunes: https://itun.es/i6SJ6Pw YouTube: https://www.youtube.com/c/BlackerThanBlackTimesInfinity Rescue + Residence https://www.rescueresidence.org/ Donate: https://www.givebutter.com/R_R_Champions

Well, the Korean Squid Game is done and over with. Now, with an American version greenlit, Matt and Brian revisit Netflix's runaway hit, joined by perennial guest host Alex Beaulieu.What were the best games? Who were the dynamic characters? And why did we waste 2 seasons following a detective whose story had zero emotional payoff?Tune in and find out!

Episode 227 de Super Ciné Battle, le podcast où nous établissons le classement ultime du cinéma. Nous prenons vos listes que vous nous adressez pour les classer, du meilleur au pire afin d'obtenir LA liste ultime. Le cycle 2010 continue alors que, vous l'entendrez sans doute, l'épisode a été enregistré fin juillet et ça s'entend, notamment dans nos recos mais aussi dans notre quiétude concernant le gouvernement. Ceci étant dit, dans cet épisode, nous évoquons Tarantino et peut-être un des films d'horreur les plus influents de la décennie. Pour nous envoyer des listes, c'est évidemment à envoyer à supercinebattle (at) gmail (point) com. N'hésitez pas à nous renvoyer vos anciennes listes remises à jour ou d'autres encore. Soyez originaux, soyez bons et bonne écoute à vous ! Les recommandations (vers 1h51) Stéphane : le film en boucle (en salle en ce moment) et il parle un peu de Squid Game. Daniel : le film Eddington Montage : DA

Squid Game season or The Final Season if you prefer has come and gone. And while we didn't get to it when we would have liked were here now and with a special guest host! Gi-Hun or Player 456, if you prefer, returns after the wild events of season 2. He seeks to conclude his quest to see those that created the games brought to justice. At the same time we have many intersecting stories coming to a close! From The Frontman's Brother, the Detective Jun-ho, The VIPs and Pink Guard 11. Definitely some controversy among fans of the Korean sensation. Tonight though you'll get the JAFN take! So find your green track suit, pink jumpsuit or perhaps a gilded animal mask and join us for the discussion! 

What were your favorite moments in entertainment from this past summer? On this episode of The Hollywood Outsider podcast, we are taking a look back at the past few months and presenting our Summer Entertainment Awards for 2025 and each category is for EITHER movies or TV! What was the best of all of it? F1, Jurassic World: Rebirth, Chief of War, Ballerina, The Life of Chuck, The Twisted Tale of Amanda Knox, Thunderbolts*, Superman, Weapons, Dexter: Resurrection, The Studio, Squid Game, Untamed, Poker Face, MobLand, and so many more. So, what's it going to be?? It's our pick for the BEST in entertainment for the categories from May 1st through Labor Day weekend. The winners can be from any TV series (regardless of season) or movie, but had to be a new movie or aired new episodes between those dates. What did YOU love in movies and TV this Summer? Discussed on this episode The Best in Movies & TV for Summer 2025 Find NoReruns.net  Click here for more info on our 2026 Alaskan Cruise! Listen to our true crime podcast, Inspired By A True Story, now available in your favorite podcast feed! Please support The Hollywood Outsider and gain immediate access to bonus content, including Patreon exclusive podcast content like our Bad Movie Night by visiting Patreon.com/ TheHollywoodOutsider Be sure to join our Facebook Group Join us on Discord Follow us on X @BuyPopcorn Subscribe on Apple Subscribe on Spotify Subscribe via RSS

Way back on episodes 47 and 48 of the BTB Podcast the fellas took a trip "across the pond" as they say to jolly old South Korea as they covered the explosive Netflix hit Squid Game. Well it's been a hot minute and after the release of the second season (and apparenlty the third) Spencer decided now was the time to revisit hte old pals!Last we saw, our plucky hero Gi-Hun had died his hair a nice shade of bright pink and was preparing to make his way to America. After all he had a whole bunch of squid money and just wanted to fix his relationship with his estranged daughter. But upon seeing the notorious and mysterious "recruiter," he decided instead to go on a John Wick path of vengeance. He's so vengeful!The guys talk the first episode of Season 2: Bread and Lottery, and along the way discuss whether or not there really even needed to be a season 2 of this show. They also talk the new characters, motivations, and give out plenty of squid facts

Breaking down and discussing season three of Squid Game. | Original Airdate: 9th August 2025 | Watch it here: https://youtu.be/1z4ipaUiKwI

In residency, we all have the opportunity to present things to others, but how do we go about articulating what we want to say logically and coherently? Joining us today is Dr. Michael Miloro, Professor and Chairman of the Department of Oral and Maxillofacial Surgery at the University of Illinois Chicago. He is here to share some power tips for presenting in lectures, starting with the importance of presentations for a resident's development, before explaining why the way you present is just as important as what you're presenting. Then, we examine the importance of detailed preparation, the role of passion in captivating presentations, how to hold the audience's attention, how to lean on humor, and the best practices for preparing presentation slides. We also unpack the power of storytelling and how to start telling impactful stories, how to prepare for a presentation on the day, how to approach Q&A sessions, how to keep the audience engaged, and how to improve your overall presentation skills. To end, Dr. Miloro carefully explains the rules around privacy and patient information in presentations, and he shares the books and TV shows that currently hold his attention.   Key Points From This Episode:Dr. Michael Miloro's initial thoughts on presenting and its importance for residents. Why a presentation is more than the information you deliver, but also how you deliver it. The importance of preparation, where passion fits in, and holding an audience's attention. How to add humor to your presentations: Let your personality shine through. The best practices for preparing presentation slides. Advice for overcoming nervousness, fear, and imposter syndrome. Why teaching is also a learning platform. The power of storytelling and how to tell impactful stories. How to prepare the venue, your body, and your mind. The best approach to Q&A sessions and how to keep the audience engaged. How residents can improve their presentations and presentation skills.  Online resources, hand gestures, pauses, and mobility versus standing still. Unpacking effective privacy protocols and the rules around patient information.  A Massacre in Mexico, Squid Game, Seinfeld, The White Lotus, and The Sopranos.Links Mentioned in Today's Episode:Dr. Michael Miloro on LinkedIn — https://www.linkedin.com/in/michaelmiloro/ University of Illinois Chicago | College of Dentistry — https://dentistry.uic.edu/  Northwestern Memorial Hospital — https://www.nm.org/  A Massacre in Mexico — https://www.amazon.com/Massacre-Mexico-Missing-Forty-Three-Students/dp/1788731484  Squid Game — https://www.imdb.com/title/tt10919420/ The White Lotus — https://www.imdb.com/title/tt13406094/ Seinfeld — https://www.imdb.com/title/tt0098904/ The Sopranos — https://www.imdb.com/title/tt0098904/ F1: The Movie — https://www.imdb.com/title/tt16311594/ Superman — https://www.imdb.com/title/tt5950044/ Everyday Oral Surgery Website — https://www.everyda

'Art is labour'. This is a statement from composer Jung Jae-il, the man behind the iconic scores to Bong Joon-ho's Parasite, Okja, and Mickey 17, the Netflix smash hit Squid Game, and Hirokazu Kore-eda's Broker, amongst other works. For Jung Jae-il, the art of composing a score is work.For Jung Jae-il, artists like Roxette, Metallica and Björk are notable influences on his work, with Pina Bausch's dancing leaving a lingering mark on his mind. It's these kinds of artists who influenced Jung Jae-il on his solo album, Listen, released in 2023.For Jung Jae-il, there is a clear delineation between art for the self and art for a job, and it's with his work on Parasite that the distinction is felt, while his passion for his album Listen shows an artist in harmony with his craft.These are just some of the things discussed in the above interview with Jung Jae-il, recorded ahead of his performance of the live score for Parasite at the 2025 Melbourne International Film Festival.Jung Jae-il participates in a conversation with Caitlin Yeo on 23 August at MIFF, with the composer performing a live score for Parasite on 23 August over two sessions at MIFF. Tickets are available here.Follow us on Instagram, Facebook, and Bluesky @thecurbau. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month. If you are unable to financially support us, then please consider sharing this interview with your podcast loving friends.We'd also love it if you could rate and review us on the podcast player of your choice. Every review helps amplify the interviews and stories to a wider audience. New interviews drop every Thursday, with bonus chats appearing on Tuesdays. Hosted on Acast. See acast.com/privacy for more information.

Salut les amis :"Comme chaque été, l'équipe du Coin du Crime prend un petit mois de pause pour recharger les batteries et vous préparer une rentrée encore plus riche en histoires captivantes.On part en vacances juste après l'épisode de ce dimanche, et on se retrouve le 1er septembre.Mais… pas de panique ! Pendant ce mois d'août, vous pourrez découvrir nos épisodes les plus marquants, les plus écoutés, les plus aimés… Bref, de quoi patienter sans trop sentir le temps passer."Avant la fiction, il y a eu la réalité. Dans cet épisode, on vous raconte l'histoire glaçante de Brothers Home, un camp de rééducation sud-coréen où des milliers de personnes ont été enfermées, torturées et exploitées dans les années 1980. Une affaire longtemps étouffée, qui a inspiré certaines des œuvres les plus sombres de la culture populaire. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

James Gunn has officially announced the story for the next Superman film, kicking off what he's calling The Superman Saga! On today's episode of The Kristian Harloff Show, Kristian Harloff and Steph Sabraw break down what Gunn revealed, how it sets the tone for DC's future, and what fans can expect from this highly anticipated project. But that's not all—there's a ton of other big movie news to cover. Paramount is moving forward with Top Gun 3, new Star Trek and World War Z plans. We'll also dig into the latest James Bond casting rumors that have caused plenty of confusion. Plus, Cate Blanchett says she's open to working with David Fincher on a Squid Game project, and Universal has officially secured the Bourne rights in perpetuity.

We grill up some hot dogs and sit down to review Zach Cregger's Weapons. Plus, we also talk Together and the latest adaptation of War of the Worlds. Follow the show on Twitter: @thecinemaspeak Follow the show on Instagram: cinemaspeakpodcast Subscribe on Youtube: Cinema Speak Intro: 0:00 - 14:41 Review - Weapons: 14:41 - 40:17 Movie Roulette: 40:17 - 45:11 Micro-Reviews - Together, War of the Worlds (2025), Squid Game season 3: 45:11 - 1:11:38 This week in new releases/Outro: 1:11:38 - 1:18:07 Spoiler Discussion - Weapons: 1:18:07 - 1:54:10

Ever watched Squid Game and thought, “This feels a little too familiar?” In this episode of Sarah’s Thoughts, Sarah Grynberg dives into why the hit show isn’t just dark fiction it’s a disturbing reflection of our modern reality, where struggle, sacrifice, and survival play out in quiet, everyday ways. You’ll learn:*Why the most terrifying part of Squid Game isn’t the violence, it’s the relatability.*How the system keeps so many of us running, climbing, and quietly crumbling.*What choosing kindness in a cutthroat world says about who we are and who we still have the power to be. This isn’t an episode about television. It’s about what we’re willing to give up just to stay afloat and how we reclaim our humanity before the game takes it from us. Purchase Sarah's book: Living A Life Of Greatness here. To purchase Living A Life of Greatness outside Australia here or here. Watch A Life of Greatness Episodes On Youtube here. Sign up for Sarah’s newsletter (Greatness Guide) here. Purchase Sarah's Meditations here. Instagram: @sarahgrynberg Website: https://sarahgrynberg.com/ Facebook: facebook.com/sarahgrynberg Twitter: twitter.com/sarahgrynbergSee omnystudio.com/listener for privacy information.

Join Lia Riley and her guest Un as they reflect on their summer journeys through Korea, sharing the quiet moments and unexpected discoveries that made their trips memorable. From BTS concerts, to witnessing a Squid Game parade in Seoul to wandering through Jeonju's peaceful hanok villages, they talk about the experiences that lingered long after they returned home. Along the way, they'll share their most useful travel tips—the practical advice that comes from actually being there, making wrong turns, and finding those perfect hidden spots. Whether it's navigating Seoul's neighborhoods, connecting with locals, or enjoying happenstance moments, hopefully listeners will glean some insight on their own future travelsReady to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for "thinky, thirsty and over thirty" takes on Bangtan life. ★ Support this podcast on Patreon ★

In this episode, Joe Betance and Nathan Patrick Brown celebrate the 10-year anniversary of their RuPaul's Drag Race recap podcast. They discuss the challenges of podcasting in the current climate, including changes to their Patreon model and personal struggles. The conversation shifts to a recent incident involving a Real Housewife at an airport, followed by a detailed recap of the season premiere of Drag Race, which featured a Squid Game-inspired challenge. The hosts share their thoughts on the performances and the overall direction of the show, reflecting on the evolution of reality TV and its impact on their lives. In this episode, Nathan and Joe delve into the latest season of Drag Race, discussing the humor and absurdity of reality TV, the contestants' entrances, and their initial impressions. They analyze the cultural references and aesthetics presented by the queens, particularly in relation to the talent show dynamics. The conversation also touches on Katy Perry's guest appearance and the contestants' reactions to her presence. As they explore the performances and backstories of the queens, they provide cultural commentary on community spending and the impact of fireworks in their neighborhoods. In this episode, Joe and Nathan discuss the dangers of fireworks and personal responsibility, celebrity recognition in fan culture, their opinions on Katy Perry and cringe culture, and critique the performances from the latest talent show on RuPaul's Drag Race. They explore the implications of personal choices, the nature of celebrity interactions, and the expectations of performance art in the drag community. Patreon: patreon.com/afterthoughtmedia Voicemail: speakpipe.com/afterthoughtmedia Email: dragracerecap@afterthought.media Learn more about your ad choices. Visit podcastchoices.com/adchoices

Reposted from Squid Game ‘Cast, which you can find and subscribe to at: podcastica.com/podcast/squid-game-cast  — Here it is, our take on the final episode of this incredible series. It wasn't as triumphant of an ending as we might've hoped, but there are some silver linings in there. Join Veronica, David, and Jason as we talk it out. Thanks so much to all of you who listened along with us. We appreciate it!  If you're looking for something to watch (and a podcast to go along with it), we hope you'll check out the upcoming Alien series, Alien: Earth, premiering on FX on August 12, and then listen to Jason and friends covering it in-depth on the Wax Episodic podcast. You can find that anywhere you get podcasts, or at waxepisodic.com. Cheers! Squid Game: The Challenge season 2 premieres in November, and we may be back to cover that, or any spinoffs, sequels, or Squid Game reboots. Let us know if you guys want more coverage. Show support and get ad-free episodes and a bunch of other cool stuff: patreon.com/jasoncabassi  Or go to buymeacoffee.com/cabassi for a one-time donation. Huge thanks to Kirk Manley for illustrating and designing our amazing podcast art. We highly recommend checking out Kirk's art at studiokm.com.  If it's something in pop-culture that you love, there's a good chance he's drawn it. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this edition of Trendrey Epstein: The Snyder Cut, Jack and Miles discuss Squid Game's baffling VIP ADR, Charlie Kirk's very racist Texas flood "theory", the FTC's 'click to cancel' rule getting blocked, an update on the 'ICE Block' app and much more!See omnystudio.com/listener for privacy information.

Netflix's Korean drama Squid Game became a worldwide phenomenon, winning six Emmys and inspiring countless Halloween costumes. The series has now reached its bloody finale. As the current game concludes, more people die and we find out whether Gi-hun (Lee Jung-jae) and others can finally end the games for good.To access bonus episodes and sponsor-free listening for Pop Culture Happy Hour, subscribe to Pop Culture Happy Hour+ at plus.npr.org/happy.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy