Podcasts about traders

In this episode of the Programmatic Digest, host Helene Parker sits down with Jana Meron, programmatic veteran and sell-side expert, for a deep dive into how the buy side and sell side can finally bridge the gap. This episode serves as a preview of their upcoming joint workshop — The Sell-Side Programmatic Foundation for Buyers — designed to help traders, buyers, and ad ops professionals better understand how publishers, SSPs, and ad tech integrations actually work. Jana shares her fascinating career journey, from early media buying days to leading programmatic and data operations at Business Insider and The Washington Post. She brings her insider perspective on what really happens behind the publisher ad stack, the complexity of SSP integrations, and how demand path optimization (DPO) mirrors the buy-side's supply path optimization (SPO). Together, Helene and Jana explore: The disconnect between buy-side traders and sell-side ops teams How publisher ad stacks function behind the scenes The real meaning of SPO vs. DPO What “wrappers,” “pre-bid,” and “open bidding” actually mean in practice Why traders should collaborate directly with publishers (not just SSPs) How building relationships with publishers strengthens campaign results Why understanding the sell side helps buyers optimize smarter Whether you're a buyer, trader, or publisher, this conversation will transform how you see the other side of the programmatic equation — and why it's time to build more collaboration, transparency, and trust across the ecosystem.   Sign up to this FREE workshop: https://programmaticdigest14822.ac-page.com/sell-side-workshop    About Us: We teach historically excluded individuals how to break into programmatic media buying and land their dream jobs. Through our Reach and Frequency® program, an engaged community, and expert coaching, we offer:   Programmatic Training & Coaching: Executive Membership: for the busy mid-level to senior or director-level programmatic ninja looking for a structured, high-impact way to stay ahead of evolving trends, sharpen your optimization skills, and connect with like-minded experts. Join Here: https://programmaticdigest14822.ac-page.com/executivemembership   Accelerator Program: A 6-week structured program with live coaching, hands-on DSP exercises, and real-time feedback. Sign Up: https://reachandfrequencycourse.thinkific.com/courses/program   Self-Paced Course: Learn at your own speed with full content access. Enroll Here: https://reachandfrequencycourse.thinkific.com/bundles/the-reach-frequency-full-course   Timestamps 00:00 – Welcome & Guest Intro 03:14 – Jana's Career Journey: From Media Buyer to Programmatic Leader 08:33 – How the Sell-Side Ad Stack Actually Works 13:22 – SPO vs. DPO: What's the Difference? 19:45 – What Buyers Need to Know About Publisher Integrations 25:08 – How Traders Can Communicate Directly with Publishers 30:41 – Building the Bridge Between Supply & Demand 36:28 – Why Collaboration and Education Are the Future of Ad Tech 40:55 – Workshop Preview: The Sell-Side Programmatic Foundation for Buyers 45:12 – Closing Thoughts & Sponsor Shoutout Meet Our Guest: Jana Meron – Programmatic & Data Consultant, Former VP at The Washington Post https://www.linkedin.com/in/janameron   Meet The Team: Hélène Parker - Chief Programmatic Coach https://www.heleneparker.com/  https://www.linkedin.com/in/helene-parker   Manuela Cortes - Co-Host  Programmatic Digest In Espanol:  https://www.linkedin.com/in/manuela-cortes-   Learn Programmatic As a TEAM: https://www.heleneparker.com/workshop/ As a Programmatic Ninja: https://www.heleneparker.com/course/ Programmatic Coaching Newsletter: https://www.heleneparker.com/newsletter/   Programmatic Digest https://www.linkedin.com/company/programmatic-digest-podcast https://www.youtube.com/channel/UCBGMMRsZkw0IIUbQIJmMBxw   Looking for programmatic training/coaching?  Sign up to our Accelerator Program: A 6-week structured program with live coaching, hands-on within DSP(s) exercises, and real-time feedback—perfect for those who thrive on accountability and community, and looking to grow their technical skillset https://reachandfrequencycourse.thinkific.com/courses/program   Self-Paced Course: Full access to course content anytime, allowing independent learners to study at their own speed with complete flexibility. https://reachandfrequencycourse.thinkific.com/bundles/the-reach-frequency-full-course   Sign up to this FREE workshop: https://programmaticdigest14822.ac-page.com/sell-side-workshop   

Are you looking to save time, make money, and start winning with less risk? Then head to https://www.ovtlyr.com.There's a smarter way to trade stocks that most investors never learn. Instead of buying shares outright, top traders use deep in the money call options to get the same upside with far less capital. In this video, we break down exactly how this works, why it's so effective, and how to use it the right way.➡️ Learn how deep in the money calls can multiply your returns➡️ Understand how to manage risk and time decay➡️ See how to pick the best strike prices for your tradesWe'll walk through real examples that show how traders can control 100 shares of stock for a fraction of the price while reducing overall exposure. You'll see how this creates more freedom, better flexibility, and far greater potential for profit.This approach is all about capital efficiency. By using deep in the money calls, you're putting your money to work where it matters most instead of tying up thousands of dollars in a single position. The difference can be huge. Traders can save up to 70 percent of their capital while still capturing the same move in the stock.You'll also learn why this strategy works better than chasing cheap, out of the money options that usually expire worthless. This isn't about gambling. It's about structuring your trades with precision. We'll cover how to calculate intrinsic and extrinsic value, determine your break-even point, and avoid holding options too close to expiration.Everything here connects back to one simple goal: making your money work harder without taking on unnecessary risk. Deep in the money calls let you stay in control, reduce volatility, and still enjoy the benefits of leverage. Once you understand how it works, it's easy to see why fund managers and advanced traders use this method all the time.You'll also see how this ties in with OVTLYR's data-driven signals. The platform helps traders spot high-probability entries, manage positions, and avoid emotional decision-making. When you combine OVTLYR's insights with a disciplined deep in the money call strategy, you get an edge that can change how you trade forever.Whether you're trading AMD, Cisco, or any other stock, this method can fit into your plan and help you grow faster. It's a powerful approach that turns theory into action and lets you trade with confidence instead of guessing.If you're serious about trading smarter, saving time, and building consistent results, this session is for you. Watch until the end to see exactly how to apply this step-by-step and start using OVTLYR to trade with clarity, consistency, and confidence.

Nassim Eddequiouaq is co-founder and CEO of Bastion, a pioneer in regulated stablecoin infrastructure and NYDFS-certified provider. Bastion is the stablecoin issuance platform for financial institutions and enterprises. Prior to founding Bastion, Nass was the Chief Information Security Officer at a16z Crypto, and held senior management roles across Security and Infrastructure at Facebook, Anchorage, Docker, and Apple. He received a M.S. in Computer Science from Ecole d'Ingénieurs en Informatique. In this conversation, we discuss:- What happened on the 10/10 crypto crash? - Winners and losers after the crypto crash  - Bridging traditional finance and digital assets through enterprise-ready solutions  - The diverse use cases of stablecoins  - Why stablecoins (especially USD-pegged) are poised for mass enterprise adoption  - The growing interest in branded stablecoins  - Bastion's NYDFS trust charter  - GENIUS Act and STABLE Act  - Why regulatory clarity is critical  - Privacy for stablecoin users  BastionX: @BastionPlatformWebsite: bastion.comLinkedIn: BastionNassim EddequiouaqX: @nassyweazyLinkedIn: Nassim Eddequiouaq---------------------------------------------------------------------------------This episode is brought to you by PrimeXBT.PrimeXBT offers a robust trading system for both beginners and professional traders that demand highly reliable market data and performance. Traders of all experience levels can easily design and customize layouts and widgets to best fit their trading style. PrimeXBT is always offering innovative products and professional trading conditions to all customers.  PrimeXBT is running an exclusive promotion for listeners of the podcast. After making your first deposit, 50% of that first deposit will be credited to your account as a bonus that can be used as additional collateral to open positions. Code: CRYPTONEWS50 This promotion is available for a month after activation. Click the link below: PrimeXBT x CRYPTONEWS50

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David Carvalho, Founder, CEO, and Chief Scientist of Naoris Protocol. He is one of the most seasoned voices at the intersection of cybersecurity and blockchain. He is the founder of Naoris Protocol, the world's first decentralized security solution powered by a post-quantum blockchain and distributed AI, backed by Tim Draper and the Former Chief of Intelligence of NATO.With over 20 years of experience as a Global Chief Information Security Officer and ethical hacker, David has operated at both technical and C-suite levels in multi-billion-dollar organizations across Europe and the UK, including as CISO of London City Airport and Global CISO of OCS Group. He has advised nation-states and critical infrastructure under NATO on cyber-warfare, cyber-terrorism, and cyber-espionage.A blockchain pioneer since 2013, David has also contributed to innovations in PoS/PoW mining and next-gen cybersecurity. His work emphasizes risk mitigation, ethical wealth creation, and value-driven advancements in crypto, automation, and distributed AI.In this conversation, we discuss:- 2028 is when all financial institutions need to be post-quantum resilient - How can we quantum-proof our assets?  - Highest risk sectors = healthcare, national security, electrical grids, telecom  - The SEC's Post-Quantum Financial Infrastructure Framework  - What percentage of your portfolio should be in quantum-safe investments?  - Post-quantum crypto  - The future of quantum computing  - Next steps for Naoris  - Naoris' growth  - Decentralized cybersecurity mesh  NaorisX: @NaorisProtocolWebsite: naorisprotocol.comLinkedIn: Naoris ProtocolDavid CarvalhoX: @katanationcyberLinkedIn: David Joao Vieira Carvalho---------------------------------------------------------------------------------This episode is brought to you by PrimeXBT.PrimeXBT offers a robust trading system for both beginners and professional traders that demand highly reliable market data and performance. Traders of all experience levels can easily design and customize layouts and widgets to best fit their trading style. PrimeXBT is always offering innovative products and professional trading conditions to all customers.  PrimeXBT is running an exclusive promotion for listeners of the podcast. After making your first deposit, 50% of that first deposit will be credited to your account as a bonus that can be used as additional collateral to open positions. Code: CRYPTONEWS50 This promotion is available for a month after activation. Click the link below: PrimeXBT x CRYPTONEWS50

In this episode, Brian Montes discusses the recent dramatic sell-off in the stock market, analyzing the factors that led to the decline and emphasizing the importance of having a solid trading system.He examines market sentiment, geopolitical risks, and the importance of position sizing and stop-losses in swing trading. The conversation provides valuable insights for new traders on how to navigate volatility and maintain discipline in their trading strategies.Brian discusses:The recent sell-off was triggered by geopolitical risks and overbought conditions.Market sentiment can shift rapidly, resulting in significant volatility.Having a trading system is crucial for managing risk during market downturns.Position sizing should remain consistent regardless of market conditions.Stop losses are essential for protecting against large losses.Taking profits along the way can help ensure overall trade profitability.It's important to step away from trading after a significant loss to regain perspective.Market internals were weak prior to the sell-off, indicating underlying issues.Gold and cryptocurrencies also reacted negatively to the market sell-off.Traders should remain disciplined and adhere to their trading systems during volatile periods.Ready to join a community of other like-minded traders? Check out the Disciplined Traders Academy & Community - https://bit.ly/3Mm41N9Want access to our Free DTA A+ Trade Set-Up Checklist? Here you go! https://bit.ly/3Z0gWe9

JJ Kinahan, CEO of TastyTrade shares some tasty option strategies for 2025. JJ shares his journey from floor trader at the CBOE to CEO of TastyTrade under IG North America. He discusses the evolution of the brokerage industry—from the days of shouting in trading pits to today's retail-driven, commission-free environment—and how access to education has empowered individual investors. JJ emphasizes the importance of starting small, defining risk, and learning gradually when trading. We also talk why certain option types are miscategorized as “risky,” the influence of retail investors since the meme stock era, and how futures trading offers hedging and round-the-clock opportunities.  We discuss...  JJ Kinahan discusses his journey from being a floor trader on the CBOE to leading roles at ThinkorSwim and TD Ameritrade, and now serving as CEO of TastyTrade under IG North America. The real differentiator for traders now is education, not access, and that platforms like TastyTrade prioritize teaching users how markets actually work. The conversation highlights how TastyTrade continues that mission by combining content, community, and trading functionality in one ecosystem. JJ stresses the importance of understanding “defined risk” in options trading—knowing exactly how much you can lose before entering a trade. Calendar spreads can help traders take advantage of time decay and volatility differences between expiration cycles. JJ notes that the “meme stock” era of 2020–2021 changed market dynamics by bringing millions of new retail participants into the market. JJ warns that while accessibility is great, it can lead to overconfidence, so risk control and continuous learning are critical. JJ shares insights on how professional traders manage emotions and avoid letting losses dictate decision-making. Traders who survive long-term tend to manage downside risk far better than they chase upside potential. The conversation explores how automation and data analytics have reshaped trading, but that human intuition still matters in volatile environments. Building good habits—like journaling trades, reviewing setups, and setting stop levels—is key to developing consistency. He encourages investors to find strategies that fit their personality, risk tolerance, and time commitment rather than copying others. JJ leaves listeners with a simple message: focus on learning, define your risk, and don't let one trade define your trading journey. Today's Panelists: Kirk Chisholm | Innovative Wealth Barbara Friedberg | Barbara Friedberg Personal Finance Douglas Heagren | Mergent College Advisors Follow on Facebook: https://www.facebook.com/moneytreepodcast Follow LinkedIn: https://www.linkedin.com/showcase/money-tree-investing-podcast Follow on Twitter/X: https://x.com/MTIPodcast For more information, visit the show notes at https://moneytreepodcast.com/tasty-options-strategies-for-2025   

Kim Ann Curtin sits down with Edgewonk co-founders Rolf Schlotmann and Moritz Czubatinski to discuss the power of trading journals, the psychology of discipline, and the lessons learned from building the world's most comprehensive trading journal. From poker strategy to trading guardrails, this episode dives into why journaling is the foundation of consistent profitability. The post EP 109: Why 99% of Profitable Traders Use a Journal with Edgewonk appeared first on The Wall Street Coach.

US equity futures are slightly higher. Asian equities advanced broadly, and European markets opened mostly softer. Market sentiment remained positive following a rebound in the AI sector, with Nvidia leading large-cap tech gains and continued momentum from recent M&A headlines. September FOMC minutes confirmed most policymakers favored holding rates steady, aligning with Chair Powell's recent hawkish tone. Traders continued to price in the Fed's risk-management stance amid mixed signals on inflation and labor market risks. Meanwhile, the 10-year Treasury auction tailed slightly, reflecting softer foreign demand.Companies Mentioned: NVIDIA, Blackstone, Civitas Resources, SM Energy

Will Reeves co-founded Fold in 2019 and has served as Chief Executive Officer of Fold and as a Director since its inception. Over the past eight years, Mr. Reeves has held product leadership positions at Thesis, Inc., A3Ventures, LLC and BYND, leading digital transformation and the development of innovation projects for Google and other Fortune 500 technology companies. Prior to founding Fold, Mr. Reeves was the Head of Payments at Thesis, Inc. from May 2018 to September 2019, where he led the development and strategic direction of the Bitcoin venture studio's innovative payment and financial technologies. Mr. Reeves also has extensive experience in consumer finance. Prior to joining Thesis, Inc., Mr. Reeves played a key role at A3 Ventures, advancing mobility and commerce through the corporate innovation and investment arm of American Automobile Association. Mr. Reeves holds a B.A. in Rhetoric and Political Science from the University of California, Berkeley. We believe Mr. Reeves is well qualified to serve on the New Fold Board because of his background in product development, consumer finance and bitcoin and his operational and historical expertise gained from serving as Fold's Chief Executive Officer since August 2019. In this conversation, we discuss:- Why Big Tech Wallets Didn't Change the Economics of Spending - Fold's Approach: Redefining the Economics - Bitcoin rewards without "buy-in" - Building a “Bitcoin-first” financial product stack - Challenges of building with Bitcoin - Crypto/Bitcoin maturity & infrastructure improving - Building Bitcoin payments + Bitcoin custody into the app - BTC All-time high - Current outlook on BTC - Bitcoin giftcards FoldX: @fold_appWebsite: foldapp.comLinkedIn: FoldWill ReevesX: @wlrvsLinkedIn: Will Reeves---------------------------------------------------------------------------------This episode is brought to you by PrimeXBT.PrimeXBT offers a robust trading system for both beginners and professional traders that demand highly reliable market data and performance. Traders of all experience levels can easily design and customize layouts and widgets to best fit their trading style. PrimeXBT is always offering innovative products and professional trading conditions to all customers.  PrimeXBT is running an exclusive promotion for listeners of the podcast. After making your first deposit, 50% of that first deposit will be credited to your account as a bonus that can be used as additional collateral to open positions. Code: CRYPTONEWS50 This promotion is available for a month after activation. Click the link below: PrimeXBT x CRYPTONEWS50

In this episode of the Programmatic Digest, host Ellen Parker welcomes two of LinkedIn's most active programmatic voices: Gary Guarnaccia and Ryan Verklin. Together, they dive into the realities of in-housing, retail media, DSP strategy, and the ongoing shifts in supply path optimization (SPO). Ryan shares his journey from agency life to in-house at Bayer, where he helped lead the transition to hands-on programmatic buying before moving into retail media. Gary reflects on his role supporting Bayer's in-house teams through ad tech partnerships, ensuring programmatic and retail investments drive real business outcomes. We dig into hot-button industry debates, including: In-house vs. agency vs. retail media networks – how traders' roles are evolving. DSP strategy – why more DSPs don't automatically mean more reach. Retail media networks – the difference between on-site and off-site, and how CPG brands leverage retailer data for incremental reach. Amazon DSP – is it really positioned to replace other omni-channel platforms? Traders' perspective – why user-friendly DSPs, efficient reporting, and reduced friction are critical to long-term success. SPO and transparency – reacting to Index Exchange's announcement and The Trade Desk's move to categorize SSPs as resellers. The conversation highlights a recurring theme: programmatic traders need more love. Empowering the hands-on-keyboard teams with better tools, education, and collaboration leads to stronger business results—and less burnout. If you're a programmatic trader, strategist, or leader navigating the complexities of DSPs, SSPs, and retail media, this episode is packed with insights and candid perspectives you won't want to miss. Additional resource: Gary LinkedIn post    About Us: We teach historically excluded individuals how to break into programmatic media buying and land their dream jobs. Through our Reach and Frequency® program, an engaged community, and expert coaching, we offer:   Programmatic Training & Coaching: Executive Membership: for the busy mid-level to senior or director-level programmatic ninja looking for a structured, high-impact way to stay ahead of evolving trends, sharpen your optimization skills, and connect with like-minded experts. Join Here: https://programmaticdigest14822.ac-page.com/executivemembership   Accelerator Program: A 6-week structured program with live coaching, hands-on DSP exercises, and real-time feedback. Sign Up: https://reachandfrequencycourse.thinkific.com/courses/program   Self-Paced Course: Learn at your own speed with full content access. Enroll Here: https://reachandfrequencycourse.thinkific.com/bundles/the-reach-frequency-full-course   Timestamps 00:00 – Welcome & Guest Introductions 03:11 – From Agency to In-House: Ryan & Gary's Journeys 08:35 – The Rise of Retail Media at Bayer 14:20 – DSP Strategy: Why More Doesn't Always Mean Better Reach 20:02 – Retail Media Networks: On-Site vs. Off-Site Explained 26:41 – Amazon DSP: Threat or Opportunity? 33:17 – Why Traders Deserve More Love in Ad Tech 40:05 – Reporting, AI, and Reducing Friction for Traders 46:28 – SPO Debate: Resellers, Transparency & Control 53:19 – Final Thoughts & Industry Takeaways   Meet Our Guest: Gary Guarnaccia – Ad Tech Partnerships, Bayer https://www.linkedin.com/in/gary-g-16328640/   Ryan Verklin – Retail Media Lead, Bayer https://www.linkedin.com/in/verklin/ https://www.instagram.com/verklin/ https://x.com/verklin   Meet The Team: Hélène Parker - Chief Programmatic Coach https://www.heleneparker.com/  https://www.linkedin.com/in/helene-parker   Manuela Cortes - Co-Host  Programmatic Digest In Espanol:  https://www.linkedin.com/in/manuela-cortes-   Learn Programmatic As a TEAM: https://www.heleneparker.com/workshop/ As a Programmatic Ninja: https://www.heleneparker.com/course/ Programmatic Coaching Newsletter:https://www.heleneparker.com/newsletter/   Programmatic Digest https://www.linkedin.com/company/programmatic-digest-podcast https://www.youtube.com/channel/UCBGMMRsZkw0IIUbQIJmMBxw   Looking for programmatic training/coaching?  Sign up to our Accelerator Program: A 6-week structured program with live coaching, hands-on within DSP(s) exercises, and real-time feedback—perfect for those who thrive on accountability and community, and looking to grow their technical skillset https://reachandfrequencycourse.thinkific.com/courses/program   Self-Paced Course: Full access to course content anytime, allowing independent learners to study at their own speed with complete flexibility. https://reachandfrequencycourse.thinkific.com/bundles/the-reach-frequency-full-course   Join our next workshop by signing up to our waitlist below:  https://www.heleneparker.com/waitlist/  

Traders pushed Cattle futures higher Wednesday, supported by increasing odds that wholesale beef values are near their seasonal bottom and eyes apparently fixed on tightening supplies. Toward the close, Live Cattle futures were an average of $1.82 higher. Feeder Cattle futures were an average of $5.40 higher. Negotiated cash fed cattle trade was inactive [...]

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

Joe's Premium Subscription: www.standardgrain.comGrain Markets and Other Stuff Links-Apple PodcastsSpotifyTikTokYouTubeFutures and options trading involves risk of loss and is not suitable for everyone.0:00 Farm Bankruptcies2:14 Bessent, Trade Talks, Farm Bailout5:16 "Debasement Trade"8:39 Brazil Update9:47 Shutdown, Rollins Interview

New trade policies annoy the Dutch, and new English companies attempt to force their way into West African markets. New Amsterdam becomes New York. The Second Anglo-Dutch War begins. Jonathan Healey, The Blazing World, 2023. Anna Keay, The Restless Republic, 2022. Rebecca Rideal, 1666: Plague, War, and Hellfire, 2016. Charles Wilson, England's Apprenticeship: 1603-1763, 1975. David Veevers, The Origins of the British Empire in Asia, 1600-1750, 2020. John Childs, General Percy Kirke and the Later Stuart Army, 2014. Philip Stern, The Company-State: Corporate Sovereignty and the Early Modern Foundations of the British Empire in India, 2011. Edwin Burrows, Mike Wallace, Gotham: A History of New York City to 1898, 1999. Julie Svalastog, Mastering the Worst of Trades: England's Early Africa Companies and their Traders, 1618–1672, 2021. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hantao Yuan is Co-Founder of Moku, and serves as Moku's marketing growth chief and community strategist. He has been acquiring creators and users for over a decade for game publishers and gaming brands. He has also sold his own esports team through M&A to Overtime sports, and advised 2 other teams through M&A.Moku is backed by a world-class team of AI experts from MIT, IBM, and Johns Hopkins. The company has already built Web3's largest distribution engine, driving over 8 million daily active users across partner launches and more than $7 billion in cumulative fully diluted value (FDV). With this foundation, Moku is uniquely positioned to expand Grand Arena beyond Web3 and into mainstream fantasy sports and interactive wagering markets. Grand Arena is converging the $27B fantasy sports market, the $40B prediction market, and the $50B+ AI gaming sector.In this conversation, we discuss:- Letting users speculate on gaming- AI content is getting out of control - Speculation + daily fantasy + AI - Betting on live matches - Current state of Web3 Gaming - Bridging Web2 & Web3 audiences - Speculation is the future of entertainment - Why Prediction Markets will work - Hantao selling his own esports to Overtime sports - The history of Moku Moku X: @Moku_HQDiscord: discord.gg/mokuYouTube: @MokuHQHantao YuanX: @HantaoLinkedIn: Hantao Yuan---------------------------------------------------------------------------------This episode is brought to you by PrimeXBT.PrimeXBT offers a robust trading system for both beginners and professional traders that demand highly reliable market data and performance. Traders of all experience levels can easily design and customize layouts and widgets to best fit their trading style. PrimeXBT is always offering innovative products and professional trading conditions to all customers.  PrimeXBT is running an exclusive promotion for listeners of the podcast. After making your first deposit, 50% of that first deposit will be credited to your account as a bonus that can be used as additional collateral to open positions. Code: CRYPTONEWS50 This promotion is available for a month after activation. Click the link below: PrimeXBT x CRYPTONEWS50

Can bitcoin cross $120K in this run? Bitcoin climbed higher on the back of a government shutdown and weaker-than-expected U.S. labor data. The largest crypto by market cap is flirting with the $120,000 level for the first time since mid August. This comes as the CME FedWatch predicts a 98.9% chance that the Fed will cut rates by 25 bps later this month. Will another cut boost BTC to a new high? CoinDesk's Jennifer Sanasie hosts “CoinDesk Daily.” - Break the cycle of exploitation. Break down the barriers to truth. Break into the next generation of privacy. Break Free. Free to scroll without being monetized. Free from censorship. Freedom without fear. We deserve more when it comes to privacy. Experience the next generation of blockchain that is private and inclusive by design. Break free with Midnight, visit midnight.network/break-free - Bridge simplifies global money movement. As the leading stablecoin issuance and orchestration platform, Bridge abstracts away blockchain complexity so businesses can seamlessly move between fiat and stablecoins. From payroll providers and remittance companies to neobanks and treasury teams, Bridge powers payments, savings, and stablecoin issuance for thousands – like Shopify, Metamask, Remitly, and more. URL: ⁠https://hubs.ly/Q03KGbRK0⁠ - This episode was hosted by Jennifer Sanasie. “CoinDesk Daily” is produced by Jennifer Sanasie and edited by Victor Chen.

The U.S. government shutdown is here—but what does it mean for traders? In this episode, Akil Stokes explains what a shutdown is, why it happens, and how it impacts the markets. From the U.S. Dollar, Gold, and JPY to the upcoming FOMC decision, learn why this time might be different and what traders should watch for.Please leave me a rating & review if you haven't done so already.Your Trading Coach - Akil

Noel Archard says ETFs have had a robust year, with over $900 billion in inflows so far, potentially rivaling 2024's $1 trillion. Traders still want to participate in the equity market, he says, highlighting the continued ascendance of actively managed ETFs. He's also seeing interest in international markets and fixed income. Noel also explains the tax benefits of ETFs.======== Schwab Network ========Empowering every investor and trader, every market day.Subscribe to the Market Minute newsletter - https://schwabnetwork.com/subscribeDownload the iOS app - https://apps.apple.com/us/app/schwab-network/id1460719185Download the Amazon Fire Tv App - https://www.amazon.com/TD-Ameritrade-Network/dp/B07KRD76C7Watch on Sling - https://watch.sling.com/1/asset/191928615bd8d47686f94682aefaa007/watchWatch on Vizio - https://www.vizio.com/en/watchfreeplus-exploreWatch on DistroTV - https://www.distro.tv/live/schwab-network/Follow us on X – / schwabnetwork Follow us on Facebook – / schwabnetwork Follow us on LinkedIn - / schwab-network About Schwab Network - https://schwabnetwork.com/about

Sam McIngvale is the Head of Product at OP Labs, a core development team supporting Optimism's OP Stack. Prior to joining OP Labs, he co-founded wallet infrastructure provider Turnkey and was Head of Product for Coinbase Custody. Sam studied Computer Science at Northwestern University. In this conversation, we discuss:- Optimism's OP Stack - Moving parts of your business onchain - Fortune 500 companies will run their own blockchains - The growth of Coinbase Custody - Flashblocks - Why exchanges and fintechs are coming to Optimism - L1s vs L2s - Coinbase shareholders vs BASE token … what happens? - Providing infrastructure for stablecoins, payments - What is Superchain Optimism Website: optimism.ioX: @OptimismLinkedIn: Optimism FoundationSam McIngvale X: @sammcingvaleLinkedIn: Sam M.---------------------------------------------------------------------------------This episode is brought to you by PrimeXBT.PrimeXBT offers a robust trading system for both beginners and professional traders that demand highly reliable market data and performance. Traders of all experience levels can easily design and customize layouts and widgets to best fit their trading style. PrimeXBT is always offering innovative products and professional trading conditions to all customers.  PrimeXBT is running an exclusive promotion for listeners of the podcast. After making your first deposit, 50% of that first deposit will be credited to your account as a bonus that can be used as additional collateral to open positions. Code: CRYPTONEWS50 This promotion is available for a month after activation. Click the link below: PrimeXBT x CRYPTONEWS50

FOMO makes traders overtrade, but JOMO—the Joy of Missing Out—can be just as dangerous. In this episode, Akil Stokes explains why avoiding trades can hurt your growth, the 3 reasons traders hit losing streaks, and practical solutions to push through tough market conditions.Your Trading Coach - Akil

Joe's Premium Subscription: www.standardgrain.comGrain Markets and Other Stuff Links-Apple PodcastsSpotifyTikTokYouTubeFutures and options trading involves risk of loss and is not suitable for everyone.0:00 What Will Taiwan Buy?3:20 Grain Stocks Report Today4:33 Harvest Update8:24 Soybean Shipment Problem10:25 Better Demand for Russian Wheat11:40 Flash Sales

Winter is coming, and Europe's gas market is bracing for impact. In this episode, host Eklavya Gupte sits down with Matt Hoisch, senior gas and LNG news reporter, and Roudy Dirani, managing editor for European natural gas pricing, to explore what could be a volatile few months as Europe faces its first winter without pipeline Russian gas supplies. With EU storage levels slightly below recent historical averages, the discussion examines key factors driving supply-demand fundamentals, including geopolitical tensions, new LNG capacity additions, and evolving trade relationships. Links: Dutch TTF Eur/MWh Month Ahead GTFTM01 Dutch TTF Eur/MWh Day Ahead GTFTX00 LNG Japan/Korea DES Spot Cargo AAOVQ00 INFOGRAPHIC: LNG and gas markets navigate a world in transition

Joe's Premium Subscription: www.standardgrain.comGrain Markets and Other Stuff Links-Apple PodcastsSpotifyTikTokYouTubeFutures and options trading involves risk of loss and is not suitable for everyone.0:00 Mainstream Media and Soybeans2:52 India Ethanol Possibilities4:52 China Soy Imports8:16 The Funds Hate Soybeans9:12 Grain Stocks Report10:37 Fast Brazil Soy Planting

This week Ken welcomes showrunner (Bones), author (The Driver, The Seminarian) and all around amazing human Hart Hanson. Ken and Hart discuss Canadian advertisements of dogs who want milk, milk bags, thinking you were Canadian your whole life until you find out you were actually secretly American, Dave Thomas, not being one of those show business living guys in show biz, always wanting to be a novelist, having TV as your fall back, the Canadian 80s TV landscape, Toronto TV vs. Vancouver, interning at the CBC, The Beachcombers, Buffy, faxing your way to fun and profit, The Outer Limits, Poltergeist: The Legacy, Road to Avaonlea, The Kids in the Hall, winning Canadian Emmys, Traders, Sarah Polley, reasons Hart was intimidated to be on the show, Matt Nix, The Kings, Cupid, being told you are too old, general meetings, Rob Thomas, Bones, how to survive in show biz, being assigned work, the late 90s -10s, how studios don't even know what they own, finance and ratings, crazy decisions, streaming hammock shows where nobody watches the middle four, Fringe, telling long form stories without knowing how long you have to tell them, hating serial killers, crime dramas, P.I.s, always having a sense of humor in your work, The Royle Family, how stand ups are used in the UK, panel shows, Taskmaster, Ken's fury at when stand ups always need to be holding a mic when they appear on television, owing the network, back when we had seasons, feeling bad about shows that didn't go, not making CSI, learning the lesson of Moonlighting, working on very dark, serious shows, gallows humor, the way humor helps people cope, Joan of Arcadia, Barbara Hall, Judging Amy, bonding with Dave Thomas, writing for people you want to meet, Billy Gibbons, Cyndi Lauper, ZZ Top, being a bad guitar player, Michael B Jordan, casting people before they were stars, bringing back teen idols, Manhunter, the writers' strike, The Finder, being the victim of executive arguments, feeling like you let Rainn Wilson down, and how we're the FBI, idiot. 

In this episode of the Trading Coach Podcast, Akil Stokes dives into one of the biggest challenges independent traders face—staying accountable without a built-in community.You'll discover:⭐ Why accountability is a game-changer for trading success⭐ How I held myself accountable when he first started out⭐ Practical steps you can take to create accountability, even if you're trading completely on your ownWhether you're struggling with self-sabotage, consistency, or just staying on track, this episode will give you the tools and perspective you need to keep moving forward.Your Trading Coach - Akil

Today we're going to be talking about three types of traders.   Over the past 15+ years we've trained a lot of traders through our courses, and more recently our memberships and mentorship programs.   And throughout that process we've noticed that at the end of the day you can reduce all the various trading styles and personalities into three main groups or types of traders.   My hope is by sharing these with you, it will help you identify which group you're in, and how to advance forward in light of that.  

Stocks take a breather after a huge run. Economist talking out of both sides of their mouths. Circular finance and vendor financing – all the rage. Andrew Wilkenson, Director of Trading Education at Interactive Brokers.  NEW! DOWNLOAD THIS EPISODE'S AI GENERATED SHOW NOTES (Guest Segment) Andrew Wilkenson, Director of Trading Education at Interactive Brokers. Andrew joined Interactive Brokers in 2007 with a background in interest rate and derivative trading in the city of London during the 1990s. Andrew joined IBKR to create market commentary about stocks, options, forex and bonds for the website before helping create the IBKR Campus, which covers Traders' Insight, Traders' Academy, webinars, podcasts and a variety of other financial training for investors of all levels. Andrew has an MBA from Rollins College FL. Learn More at http://www.ibkr.com/funds Follow @andrewhorowitz Looking for style diversification? More information on the TDI Managed Growth Strategy - https://thedisciplinedinvestor.com/blog/tdi-strategy/ eNVESTOLOGY Info - https://envestology.com/ Stocks mentioned in this episode: (CRCL), (KSS), (FIOG), (WMT), ROST), (NVDA), (TSLA)

Episode 242 is about putting ploughs into the ground, how the rural areas of much of the country was experiencing something of an agricultural revolution. It's rather a fascinating tale, because there are tremendous contradictions in what we're going to talk about this episode. As usual, there we will need to combine a global story with our local story —without doing so would be to stunt our awareness of the strands and tendrils that spread and connect. By the 1850s, Great Britain was manipulating trade and military as well as political power as reciprocating elements. This is a technique adopted by pretty much every empire since before Carthage. Political influence was used so as to extend and secure free exchange, in Britain's case commerce and anglicisation, spread political influence and welded alliances. As Lord Palmerston so aptly pointed out “…It is the business of Government to open and secure the roads for the Merchant…” Antiquated regimes were its enemy and foreign tariffs were its enemy, as anyone knows, the greatest enemy of free trade are tariffs. Empires were broken, the gouty and outdated Chinese, the religion-strangled Turkey, innumerable sheikdoms, sultanates and chieftancies were drawn into the invisible British empire of informal sway. When merchants manage affairs instead of men with guns, it's harder to pin down the essence of power — and also the dangers. The results of this grand vision were not encouraging by the 1870s and the Victorians were less sure of their panacea for both Asia and Africa. Among the ancient and invincibly conservative Confucian and Islamic rulers, no effective westernising collaborators had been found. The Tai'ping rebellion in China and the growing chaos in Muslim states appeared never ending. It was the United States that was gobbling up immigrants — most of Britain's emigrants went there, and the Victorians bought and sold more there than in any other single country. It had dawned on the British political elite that their commerical experience impressed a single portentous fact — that their most successful trading associations with the exception of the Indian Empire, were with Europeans transplanted abroad. They accounted for around 70 percent of all her investment overseas. The white communities in the temperate zones had the outlook and the institutions favourable to progress which the Asiatics and Africans seemed to lack. They offered customers with European tastes and money to spend. Mutual self-interest with whites of their empire meant private business of Great Britain commingled freely with that of Greater Britain and the once-colonial societies of the New World — the Americans and many in South America too. At the same time, the colonists were growing more bitter about Downing Street control and self-government appeared one solution. The aim was to avert the loss of more colonies and more American Wars of independence. So by the 1870s, confederated Canada, responsibly governed Australia and the Cape were regarded as constitutional embodiments of collaboration between British and colonial interests — all working at their best. The number of trading stores in the Transkei quadrupled to a few hundred, and all of this meant that there was a major qualitative shift in the cumsumption patterns of Africans. New permanent wants replaced needs, metal was now preferred to traditionally crafted pots and baskets, the cow-hide kaross was replaced by the Witney blanket, ploughs and all manner of tools flooded into these developing farms. Around South Africa, energy seemed to be surging. Take the highveld for example. The sour veld of the Harrismith district to be precise. Largely used for summer grazing, the farmers here often moved their herds into Natal every autumn. Below the Berg as they put, OnderBerg. Underberg.

Get 3 Free Months of Trading Software, 100 Days Of FREE Commissions & 33% off commissions FOR LIFE with My Preferred Broker!  FREE Trading Journal (stop paying for online journal) In this video, I've put together some of the greatest segments from the show for Traders who work a 9-5. Though full-time trading may get all the spotlight on social media, part-time trading is the ideal option for many people. So pull out a pen and paper, and enjoy this episode. Don Juan Dawson Brandon

Joe's Premium Subscription: https://standardgrain.com/Apple Podcasts https://podcasts.apple.com/us/podcast/grain-markets-and-other-stuff/id1494161095Spotify https://open.spotify.com/show/4NJ9AZcSQBrLXFLCcPrGGGFutures and options trading involves risk of loss and is not suitable for everyone.