Podcasts about traitor

Tamra, Dolores and Wells are sitting down with Bergie Bergersen, aka Bergalicious, to talk about his game-changing move in Season 2. He tells us what it was like to enter the castle at just 23-years-old, fresh off of Love Island. Would he play the game again? Would he want to rejoin as a Traitor? See omnystudio.com/listener for privacy information.

Welcome to Faithful to The Traitors, the ultimate companion podcast for fans of The Celebrity Traitors and The Traitors! Join your hosts, Ben and Alex, as we delve into the thrilling twists and turns of each episode, highlighting the strategies, alliances, and betrayals that make this reality series a must-watch - We break down the key moments and analyse contestant choices around the Roundtable!Whether you're a loyal Faithful or a Traitor, Faithful to The Traitors promises engaging discussions, tongue-in-cheek commentary, and exciting predictions! Don't miss out on our community of dedicated fans and new addicts – subscribe and join us in unraveling the drama!If you want to support the show, you can find all our links here: http://linktr.ee/faithfulto

Welcome to Faithful to The Traitors, the ultimate companion podcast for fans of The Celebrity Traitors and The Traitors! Join your hosts, Ben and Alex, as we delve into the thrilling twists and turns of each episode, highlighting the strategies, alliances, and betrayals that make this reality series a must-watch - We break down the key moments and analyse contestant choices around the Roundtable!Whether you're a loyal Faithful or a Traitor, Faithful to The Traitors promises engaging discussions, tongue-in-cheek commentary, and exciting predictions! Don't miss out on our community of dedicated fans and new addicts – subscribe and join us in unraveling the drama!If you want to support the show, you can find all our links here: http://linktr.ee/faithfulto

There has never been a literary family quite like the Brontës. In our autumn podcast Ann Dinsdale, Principal Curator of the Brontë Parsonage Museum at Haworth in Yorkshire, joined the Slightly Foxed team to discuss the story of the family's life there. The Brontës moved to Haworth in 1820 when Patrick Brontë became curate, and the parsonage was established as a museum in 1928 when it was acquired by the Brontë Society. Mrs Brontë and the oldest two daughters, Maria and Elizabeth, died there from tuberculosis, leaving Charlotte, Emily, Anne and their brother Branwell to be educated at home by their widowed father.  Ann talks about her work at the Parsonage Museum, a treasure trove of Brontë memorabilia, containing 9,000 items including clothes, letters, first editions and the sisters' own writing boxes. The Brontës were a close-knit family, sharing their games and creating a rich imaginary world which formed the basis of their later writing. Patrick Brontë was a loving and in many ways an unconventional father, who encouraged the girls' education and allowed them to read freely. He was a lover of the natural world, and on their daily walks in the wild moorland country around Haworth the sisters absorbed the atmosphere that would permeate their novels.  Recognition came in 1847 when each published a novel, though initially they hid behind the pseudonyms of Currer, Ellis and Acton Bell. Charlotte's Jane Eyre was the first, an overnight sensation which was the talk of literary London, causing endless speculation about the identity of its author. Three months later came Emily's Wuthering Heights, which shocked readers with its story of passion, violence and revenge, and finally Anne's Agnes Grey. The scene could have been set for brilliant literary careers, but within two years both Emily and Anne were dead from tuberculosis, Emily at 30 and Anne at 29. Charlotte married her father's curate, lived on to write Shirley and Villette, based on her time as a teacher in a school in Brussels, and died at 38. Branwell, who never fulfilled his family's high expectations, died addicted to alcohol and opium when he was 31. Even before Charlotte's death Haworth had become a place of pilgrimage for Brontë fans, and Mrs Gaskell's 1857 biography of her helped to establish the family's lasting fame. Today the Parsonage Museum is hugely popular with visitors. It is also a centre for research and runs an annual festival of women's writing. Ann's deep knowledge of the Brontës and her experience of running the museum made for a fascinating discussion, leaving us to wonder, had the sisters lived longer, what their eventual literary legacy might have been. Autumn book recommendations were Blythe Spirit, Ian Collins's biography of Ronald Blythe, The Brothers York by Thomas Penn, Plainsong, an American novel by Kent Haruf, Traitor's Legacy by S. J. Parris, and The Land in Winter by Andrew Miller. For episode show notes, please see the Slightly Foxed website. Opening music: Preludio from Violin Partita No. 3 in E Major by Bach Hosted by Rosie Goldsmith Produced by Philippa Goodrich

The Traitors has returned to UK screens with its biggest viewing figures ever as 19 celebrities compete to be crowned the winner. The game depends on being able to accurately spot a liar, but are any deception detection methods actually backed up by science? Madeleine Finlay speaks to Timothy Luke, a senior lecturer in the department of applied psychology at the University of Gothenburg, to find out whether sweating, nervous ticks and reduced eye contact really can alert us to deception, and if not, what can?. Help support our independent journalism at theguardian.com/sciencepod

The story revolves around the adventures of the Green Hornet, a daring publisher named Britt Reid who investigates corruption and crime. The narrative unfolds as Reid and his team uncover a significant story involving a corrupt land deal and a potential sabotage plot. The Green Hornet takes action to confront the villains and protect the public interest, leading to a thrilling resolution.In a world where public enemies threaten the very fabric of society, one masked vigilante stands firm against corruption. The Green Hornet, alongside his trusted ally Britt Reid, embarks on a thrilling adventure to expose the deceit lurking within the corridors of power.The Unyielding Publisher: Britt Reid, the daring young publisher of the Daily Sentinel, is more than just a playboy in the eyes of his staff. His fearless pursuit of truth and justice mirrors the legacy of his father, as he takes on racketeers and saboteurs with unwavering resolve. Reid's editorial policy is clear: the truth must prevail, no matter the cost.A Web of Deceit: The city council's recent approval of a 400-acre tract for a new municipal airport raises eyebrows. The exorbitant price paid for swamp land, recommended by none other than J. D. Stanley, a politically influential figure, hints at a deeper conspiracy. Reid assigns his top reporter, Ed Lowry, to uncover the truth behind this questionable transaction.The Green Hornet's Intervention: As Lowry delves deeper into the investigation, he discovers a tangled web of political intrigue and financial manipulation. The Green Hornet, with his sleek, super-powered car, Black Beauty, and his trusty gas gun, takes matters into his own hands. His mission: to expose the corruption and bring the culprits to justice.A Race Against Time: With the clock ticking, the Green Hornet confronts Stanley and his accomplices, uncovering a plot that could have dire consequences for the city. As the tension mounts, the Green Hornet's relentless pursuit of justice becomes a beacon of hope in a world plagued by deceit.The Green Hornet's unwavering commitment to truth and justice serves as a reminder that even in the darkest of times, there are those who will stand up against corruption. As the adventure unfolds, the Green Hornet's legacy continues to inspire, challenging us all to fight for a better tomorrow.Subscribe Now: Stay tuned for more thrilling adventures of the Green Hornet as he battles the forces of evil and champions the cause of justice. Subscribe now to never miss an episode!TakeawaysThe Green Hornet is a symbol of justice and truth.Britt Reid is portrayed as a fearless and determined publisher.The investigation reveals deep-rooted corruption in local government.The importance of journalism in uncovering the truth is emphasized.The narrative showcases the battle between good and evil.The characters exhibit loyalty and bravery in their pursuits.The story highlights the consequences of greed and corruption.The Green Hornet's methods are unconventional but effective.The climax involves a confrontation with dangerous adversaries.The resolution reinforces the theme of justice prevailing.Green Hornet, Britt Reid, corruption, investigation, crime, adventure, radio drama, public enemies, journalism

She was executed on Henry VIII's orders alongside Catherine Howard, and was sister-in-law to Anne Boleyn and the King. She lived in the heart of the Tudor court, and almost made it out alive.It was a time of huge danger, and such high stakes. But who was Jane Boleyn? Traitor, spy, a woman trying to surive?In today's episode Kate's joined by the fantastic historian and author Philippa Gregory, author of Boleyn Traitor, to help us get to know this fascinating woman.This episode was edited by Tim Arstall and produced by Stuart Beckwith. The senior producer was Charlotte Long.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.  You can take part in our listener survey here.All music from Epidemic Sounds.Betwixt the Sheets: History of Sex, Scandal & Society is a History Hit podcast. Hosted on Acast. See acast.com/privacy for more information.

The Tudor court was dangerous and high stakes at the best of times, where survival could often mean betraying others.Enter: Jane Boleyn, thrust into the Tudor limelight when her sister-in-law, Anne Boleyn, marries Henry VIII.Did she really contribute to the axe falling on Anne Boleyn's neck? Was she a spy for Thomas Cromwell? Was all of this just what it took to survive as a woman in this world?Joining Anthony and Maddy today is the fantastic Philippa Gregory, historian and author of Boleyn Traitor.This episode was edited by Tom Delargy, and produced by Stuart Beckwith. The senior producer is Charlotte Long.You can now watch After Dark on Youtube! www.youtube.com/@afterdarkhistoryhitSign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.  You can take part in our listener survey here.All music from Epidemic Sounds.After Dark: Myths, Misdeeds & the Paranormal is a History Hit podcast. Hosted on Acast. See acast.com/privacy for more information.

The DRUK 7 queens are in their feelings and it's only Episode 2! Alaska and Willam chat about the Traitor's themed mini challenge that makes Viola's blood boil, and the 'trash turned to treasure' design challenge prompt for the runway. These queens get to show off their sewing skills (or lack there of) for Mother as they strut the mainstage in a decorated corset, a green velvet jumpsuit, a high fashion picnic outfit, and of course…The Spider Woman! And no more Lucky Cows here…Ru starts sending the girls home this week!Listen to Race Chaser Ad-Free on MOM PlusFollow us on IG at @racechaserpod and click the link in bio for a list of organizations you can donate to in support of Black Lives MatterFOLLOW ALASKAhttps://twitter.com/Alaska5000https://www.instagram.com/theonlyalaska5000https://www.facebook.com/AlaskaThunderhttps://www.youtube.com/channel/UC9vnKqhNky1BcWqXbDs0NAQFOLLOW WILLAMhttps://twitter.com/willamhttps://www.instagram.com/willamhttps://www.facebook.com/willamhttps://www.youtube.com/channel/UCrO9hj5VqGJufBlVJy-8D1gRACE CHASER IS A FOREVER DOG PODCASTSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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

Brooke and Tyler swap speculative theories about everyone's favorite Herdazian escape artist, re-live the horror in creating the Crystal Inquisitor, and munch on pancakes with an Awakener and an Edgedancer. The Interludes involving The Mink, Moash, Vasher & Lift seem like perfect fodder to be setting up significant characters in the back half of the Stormlight Archive. #AllSpoilers Support this podcast by becoming a Patron on Patreon (https://www.patreon.com/CosmereConversations) Original music by David Gruwier (https://twitter.com/DGruwier). "Radiant" (https://www.youtube.com/watch?v=A5CFAZUv4C0) by David Gruwier.

This episode features the welcome return of Barney Dicker from Loco Ludus, who talks about Luke Gearing's Swyvers, Guards of Traitor's Toll from Grey For Now Games and Cyberpunk Red: Combat Zone from Monster Fight Club, some great feedback from Joe Richter of Hindsightless. I share my thoughts on Kpop Demon Hunters directed by Maggie Kang and Chris Appelhans. Also featuring… Bite the Bullet by Jason Hobbs https://hobbs665.itch.io/bite-the-bullet Listen to Jason talking about the game here https://open.spotify.com/episode/5SeWLJEzZhDR7WX050KgOc?si=o_kTOr9TTbeoYKH1tK40KQ Find Emiel Boven's DURF Expanded Kickstarter here https://www.kickstarter.com/projects/emielboven/durf?ref=profile_created&category_id=34 Watch the Appx. N Jam Awards hosted by Lex Mandrake at Jorphdan Jocular Junction https://www.youtube.com/watch?v=L8M8k-UZ8w0&t Find all the submissions here https://itch.io/jam/appx-n-jam Gavin Norman's Dolmenwood from Necrotic Gnome The Movie Monday Letterboxd list https://letterboxd.com/the39thman/list/movie-monday-1/ The movie for September is Richard Donner's 1978 film, Superman, and its 1980 sequel. The episode will air on September 29th, so please send your submissions by the 27th if you'd like to be included in the show. “It's August” and “Warning” by Lieren of Updates From the Middle of Nowhere Leave me an audio message via ⁠https://www.speakpipe.com/KeepOffTheBorderlands You can email me at ⁠spencer.freethrall@gmail.com⁠ Follow me on BlueSky @freethrall.bsky.social or look me up on Discord by searching for freethrall You can find me in a bunch of other places here ⁠https://freethrall.carrd.co ⁠You can also hear me in actual plays on Grizzly Peaks Radio This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit freethrall.substack.com

In our fourth episode of the season of Numbers, we go over the Balaam Tales, which are a funny fable about Jeremiah, who worked for the Babylonians to doom the Hebrews Join our tribe on Patreon! Check out these cool pages on the podcast's website:Home PageWho wrote the Bible: Timeline and authorsAncient maps: easy to follow maps to see which empire ruled what and whenClick here to see Exodus divided into "sources" according to the Documentary Hypothesis The podcast is written, edited and produced by Gil Kidron

Sunday Service | A teaching on John 13:18-30 in the series The Gospel of John with Pastor Josh BlackVictory Calvary Chapel is a church in Menifee, California. We gather for Jesus, to worship Him, to follow Him, and represent Him wherever we go. To learn more, visit us at www.victorycc.com.

For transcriptions and more detailed shownotes, please go to: https://swordschool.shop/blogs/podcast/episode-203-writing-great-sword-fights-with-sebastien-de-castell It's a welcome return for a previous guest, the brilliant writer Sebastien de Castell. His first published novel was Traitor's Blade in 2014. Since then he has published the Greatcoats Quartet, the Spellslinger YA fantasy series, The Malevolent Seven and his latest Play of Shadows. He also has eight more books under contract, so there are plenty more to come! Sebastien has written some of my favourite sword fights in all of literature, so when I decided to update my book, Swordfighting for Writers, Game Designers and Martial Artists, it was a no-brainer to talk to Sebastien about how he approaches writing action scenes in his books. We talk about more than just sword fights, and this conversation will be fascinating to any writer or anyone thinking about writing their first novel. It's not just a chat for novellists. As you'd expect on The Sword Guy Podcast, we do talk about weapons, like a pistol within a rapier, and other strange and unusual weapons that never quite caught on. To find out more about Sebastien's books, visit https://decastell.com/ and to listen to his previous appearance on the podcast, check out episode 69: Swashbuckling with Sebastien de Castell.

Sam Leith's guest on this week's Book Club podcast is the historical novelist Philippa Gregory. In her gripping new book Boleyn Traitor, Philippa seeks to rescue Jane Boleyn from the vast condescension of history. She tells Sam how fiction allows her to make plausible speculations about the gaps in the record, how she works to make the Tudors speak to us in language we can recognise, where Henry VIII went wrong — and what the Tudor court's descent into tyranny has to say to us about our own age.Produced by James Lewis.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcastsContact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.

In this week's episode of Going Back to Smallville, we're taking a detour from Kansas and heading to Metropolis for a deep dive into Superman Returns (2006). From Brandon Routh's quiet strength to Lex's land-grab of doom, we're revisiting the film that tried to carry the legacy of Christopher Reeve into a new era. Did it work? Was the world ready for Superman's return… or had it already moved on? Join us as we unpack the emotional weight, the iconic plane rescue, and that piano scene — and ask the ultimate question: Was it actually good?GET YOUR 30 DAY FREE TRIAL OF AMAZON PRIME HERE

In the heart of the Cold War, student Ana Montes is angered by US meddling in Central America. So when a mysterious Cuban offers her a chance to do more than protest, she's pulled into a dangerous new world.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

[00:30] Another Weekend of Bloodshed (35 minutes) Members of the domestic terrorist group Antifa attacked ICE officials trying to uphold the law in Oregon this weekend. On Saturday, a gunman in North Carolina opened fire in a restaurant killing three people. And on Sunday, a military veteran drove his car into a Michigan church and began indiscriminately shooting people before lighting the building on fire. Why is there so much violence in America? [35:00] James Comey Is a Traitor (20 minutes) Prior to his indictment, former FBI Director James Comey taunted that Trump would never be able to “get” him. Comey finally faced a small bit of accountability last week when he was indicted for lying, but he and most of the other 2016 coup-plotters have gotten away with their crimes.

Could the last moments of The Traitors season one may be the best ending in reality competition history? The Traitors won an Emmy, and we’ll tell you why it’s well deserved. Cirie made a brutal decision at the end of the game that’s caused a lot of controversy… Would we have done the same? Do we think she deserved to win?See omnystudio.com/listener for privacy information.

In this week's episode of Going Back to Smallville, we're diving into one of the most baffling hours of the entire series. From weird plot choices to character decisions that made us yell at the screen, this one had it all — and not in a good way. But somewhere under the chaos, there's still heart, Kryptonian drama, and that unmistakable early-2000s CW charm. Let's unpack what went wrong, what still works, and why Kara Zor-El deserved way more than this.GET YOUR 30 DAY FREE TRIAL OF AMAZON PRIME HERE

Khalessi + Khal Drogo fanfiction? Perhaps. Is it amazing and will it bring you out of your reading slump? Absolutely.https://www.goodreads.com/book/show/218333744-traitor-sonSimilar BooksReign and Ruin by J.D. Evanshttps://www.goodreads.com/book/show/50607309-reign-ruinA Game of Thrones by George R. R. Martinhttps://www.goodreads.com/book/show/13496.A_Game_of_ThronesThe Winner's Curse by Marie Rutkoskihttps://www.goodreads.com/book/show/16069030-the-winner-s-curseSubscribe on Youtube! https://www.youtube.com/@notanotherheroineJoin us on Patreon! https://patreon.com/notanotherheroine

Donncha O'Callaghan told Oliver about his new book 'Disaster Dad Fun Day Fiasco' plus why he thinks he'd make a terrible Traitor!

Villain or maligned? In this interview, historical novelist Wendy Johnson—a founding member of Philippa Langley's “Looking for Richard” project—joins me to discuss her debut novel, The Traitor's Son, which traces Richard III's formative decade (1461–1471). We explore: What being close to the 2012 discovery in Leicester changed for her as a writer and Ricardian Why start with boyhood—and what newcomers should unlearn about Richard Fact vs fiction: where the record ends and imagination begins Favourite sources for Edward, George, and Richard Places that shaped the story: Ludlow, Middleham, London Teasers for Books 2 & 3 in the trilogy Plus: Wendy's top Ricardian must-visit sites, the scene she'd film first, and one non-fiction pick to read next. I'm Claire Ridgway. Thanks for watching. Please like, subscribe, and share your thoughts below! #RichardIII #WarsOfTheRoses #HistoricalFiction #LookingForRichard #Plantagenets #MedievalHistory

Make sure to watch Jordan's new Netflix special "Take Me With You", streaming now! SPONSORS: Sign up for your $1 per month trial and start selling today at https://shopify.com/momshouse Head to https://BlueChew.com to get your first month FREE. Just use promo code YMH at checkout and pay five bucks for shipping. New Customers Bet $5 Get $200 Instantly in Bonus Bets. Sign up using https://dkng.co/mom or through my promo code MOM Go to http://helixsleep.com/YMH for 25% Off Sitewide. Welcome back to Your Mom's House with Tom Segura and Christina P! This week Tim and Kristin are joined by comedian Jordan Jensen (Netflix: Take Me With You, Being Ian with Jordan).The mommies kick things off with some cat updates, code switching, and a heated debate about napkin pants. Then Jordan sits down to talk about growing up with two moms and a cowboy dad, why female comics all have “dyke energy,” and the elite nightmare of dating apps like Raya.We get into cold plunges, “gender traitors,” road rage in New York City, fart legends like King Ass Ripper, and Jordan's on-again-off-again relationships. Plus: the infamous “N-Ain't Shit” lady, breakdancing protestors, and why sharts aren't what you think they are.It's a packed episode full of laughs, chaos, and classic YMH insanity. Your Mom's House Ep. 828 https://tomsegura.com/tourhttps://christinap.com/https://store.ymhstudios.comhttps://www.reddit.com/r/yourmomshousepodcast GAMBLING PROBLEM? CALL 1-800-GAMBLER, (800) 327-5050 or visit http://gamblinghelplinema.org (MA). Call 877-8-HOPENY/text HOPENY (467369) (NY). Please Gamble Responsibly. 888-789-7777/visit http://ccpg.org (CT) or visit http://www.mdgamblinghelp.org (MD). 21+ and present in most states. (18+ DC/KY/NH/WY). Void in ONT/OR/NH. Eligibility restrictions apply. On behalf of Boot Hill Casino & Resort (KS). 1 per new customer. $5+ first-time bet req. Max. $200 issued as non-withdrawable Bonus Bets that expire in 7 days (168 hours). Stake removed from payout. Terms: http://sportsbook.draftkings.com/promos . Ends 9/29/25 at 11:59 PM ET. Sponsored by DK. Chapters 00:00:00 - Intro 00:01:48 - Christina's Art & Cat Breath 00:04:10 - Code Switching For Elite Whites 00:15:57 - Opening Clip: Demons In My Womb 00:18:39 - Clip: Fart On Me Freakout 00:23:28 - Double Pipe Collab 00:25:56 - Do You Have A Husband? 00:30:48 - Clip: Presidential Candidate 00:32:36 - Full Figured Woman 00:36:38 - Napkin Pants 00:38:49 - Jordan Jensen Isn't Gay 00:44:27 - Masculine Comedy Energy 00:50:24 - Gender Traitor 01:40:45 - Closing Song: "Six Butts (More To Love)" By DJ Fat Hog Jeans Learn more about your ad choices. Visit megaphone.fm/adchoices

MLVC welcomes back comedian and star of Traitor's Canada, Tranna Wintour! We deep dive on Madonna's MUSIC album in honor of its 25th anniversary, discuss our hopes for M's forthcoming Confessions sequel and so much more! Stick around at the end for a bonus And Just Like That discussion. Follow MLVC on all social channels: @mlvcpodcast Subscribe to MLVC's YouTube channel Donate to the podcast on Venmo: mlvcpodcast Listen to more episodes on Spotify/Apple/Amazon/Google Play or here: https://mlvc.podbean.com/ #mlvcpodcast #madonnaforever #madonna #madonnapodcast

The Matts are joined by author and journalist Jonathan Freedland to discuss his remarkable new book, The Traitor's Circle. It's a forensically-researched historical story of resistance against the Nazis from inside Germany. Written in the style of a classic whodunnit, Freedland has created a thriller that not only sheds new light on the actions of at least some Germans during the war - but also sounds a warning about the state of the world today and the indications that fascism is once more gaining ground. It's a brilliant, engrossing conversation about a brilliant, engrossing book. Enjoy!Buy The Traitor's Circle: https://www.waterstones.com/book/the-traitors-circle/jonathan-freedland/9781399813679OFFER: Get The New World for just £1 for the first month. Head to https://www.thenewworld.co.uk/2matts Hosted on Acast. See acast.com/privacy for more information.

We love to wax lyrical about the heroes of our beloved Cymru here on the pod but what about the dirty and rotten scoundrels of the olden days? Hit play and listen to a tale about a lowly lord with high ambitions and a penchant for stabbing his best Welsh buds in the back.Join us on the Patreon for more history and more mindless drunk riffs.

Welcome to The Times of Israel's Daily Briefing, your 20-minute audio update on what's happening in Israel, the Middle East and the Jewish world. US bureau chief Jacob Magid joins host Jessica Steinberg for today's episode. US President Donald Trump is more optimistic about a hostage deal that will offer the immediate release of all living hostages, says Magid, discussing the President's Sunday tweet. He discusses the current plan offered by Trump and US special envoy Steve Witkoff, passed through unofficial Trump adviser Bishara Bahbah and Israeli activist Gershon Baskin. Magid also talks about another hostage deal proposed by Israel several weeks ago, which veers from the principles that Prime Minister Benjamin Netanyahu has repeatedly insisted upon for several weeks. It calls for the release of all living hostages within 48 hours of a ceasefire, the disarmament of Hamas in a second phase, and a third phase of Israel's withdrawal from Gaza. Magid, currently in Israel, discusses the Saturday night protest for the hostages in Jerusalem, based on the idea of social cohesion as Israelis show up to support the hostages' families and the strongly held value that no one should ever be left behind. Check out The Times of Israel's ongoing liveblog for more updates. For further reading: After Trump issues ‘last warning’ to Hamas, terror group says it’s ready to restart talks Israel submitted hostage deal offer that strays from PM’s public conditions for ending war ‘Traitor’: Mass Jerusalem crowd pans PM as hostage’s mom calls him worst foe of Jewish nation Subscribe to The Times of Israel Daily Briefing on Apple Podcasts, Spotify, YouTube, or wherever you get your podcasts. This episode was produced by Podwaves. IMAGE: Anat and Haggai Angrest, parents of hostage Matan Angrest, protesting outside the residence of Prime Minister Benjamin Netanyahu on Azza Street in Jerusalem on September 6, 2025 (Credit Yael Gadot/Israeli Pro-Democracy Protest Movement)See omnystudio.com/listener for privacy information.

The Traitors Ireland was back with a bang last night. Dr Linda joined Oliver as the latest faithful to be banished from Slane Castle.

Another day in the resistance against Republican fascism. Author, editor, and independent journalist Ellie Leonard joins to discuss the madness. Follow Ellie and support her important work: https://substack.com/@redpencilscript Hey - where are those Epstein files? Hidden camera catches DOJ aide lured by dating app and more! We discuss the madness __________________________________________________ Check out "The Tara Show" with Tara Devlin and Tara Dublin every Thursday 2PM EST on the Political Voices Network! www.youtube.com/@PoliticalVoicesNetwork Head on with Robyn Kincaid is on 5 nights a week! headon.live/ Tarabuster is among the independent media voices at APSRadioNews.com BECOME A "TARABUSTER" PATRON: www.patreon.com/taradevlin Subscribe to the Political Voices Substack: https://www.politicalvoicesnetwork.com/ Join the Tarabuster community on Discord too!! discord.gg/PRYDBx8 Buy some Resistance Merch and help support our progressive work! tarabustermerch.com/ Contact Tarabuster: tarabustershow@maskedfort.com Keep the REAL liberal media going and growing! Support Tarabuster: www.paypal.com/paypalme/taradacktyl

This week, a judge refunds a January 6th defendant.The DOJ refuses to settle with the Proud Boys.The Air Force is providing funeral honors to Ashli Babbitt.Alan Dershowitz has lost his appeal in his CNN defamation case. Kash Patel's girlfriend is suing Kyle Seraphin– the guy who claims to be responsible for the firing of multiple high level FBI officials including Brian Driscoll– for defamation.Thank you, Mint MobileGet this new customer offer and your 3-month Unlimited wireless plan for just $15 a month at  MINTMOBILE.com/CLEANUPThank you, CB DistilleryUse promo code CLEANUP at CBDistillery.com for 25% off your purchase.Specific product availability depends on individual state regulations. Allison Gillhttps://muellershewrote.substack.com/https://bsky.app/profile/muellershewrote.comHarry DunnHarry Dunn | Substack@libradunn1.bsky.social on BlueskyWant to support this podcast and get it ad-free and early?Go to: https://www.patreon.com/aisle45podTell us about yourself and what you like about the show - http://survey.podtrac.com/start-survey.aspx?pubid=BffJOlI7qQcF&ver=short

Today we have a very special guest on the podcast, M.T. Anderson who is the New York Times best-selling author of Feed, a National Book Award finalist and winner of the Los Angeles Times Book Prize; The Astonishing Life of Octavian Nothing, Traitor to the Nation, winner of the 2006 National Book Award; and Symphony for the City of the Dead: Dmitri Shostakovich and the Siege of Leningrad, a Boston Globe–Horn Book Prize winner, among many other books for children and young adults. We are going to be talking about his latest novel, Nicked, which follows the story of a medieval heist for a saint's body. Thank you for listening to Medieval Murder! If you have any listener questions, comments, or topic suggestions please feel free to reach out via our instagram account @MedievalMurder or via email at info.medievalmurder@gmail.com. Also, check out our merch available on our website medievalmurder.org.

'I'm working my way through The Derry Girls'.Siobhán chats to Dave about her role as the host of The Traitors Ireland.

By Vijayalaxmi Samal, from Issue #439 of Beneath Ceaseless Skies Online MagazineNarrated by Dominick Rabrun.There is nowhere else he could go. He will go where the letter takes him.More info »

On 22 August 1485 Henry Tudor met Richard III at Bosworth Field. In a strange battle, Henry's smaller force eventually overcame Richard's army. The Wars of the Roses were all but over after thirty years of murder, warfare and political machinations. In this final episode of our 6 part special, Derek Birks, author of The Guide to the  Wars of the Roses and David Pilling author of Kingbreaker, join to discuss the battle, the factions involved, Henry Tudor and Richard III. Links A Guide to the Wars of the Roses, by Derek Birks Kingbreaker: Rebel and Traitor, by David Pilling Kingmaker Board Game Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Tower of London has a long and notorious history of murderous political intrigue, dungeons, and famous beheadings. And for more than 300 years, the tower has also been home to a set of royally maintained ravens. Since the time of Charles II, at least six ravens have — by royal decree — made their home in the tower. They are given ample food, comfy quarters, and private burials in the moat near Traitor's Gate.Support for BirdNote is provided by Charlie and Carrie Kahle and generous listeners around the world.More info and transcript at BirdNote.org.Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.  

The first season consists of civilians and celebrities… Do we prefer this dynamic to an all celeb cast? Plus, are Tam and Dolores butt hurt that Bravo players are always targeted?! What does Wells think? And, there’s a certain player that’s getting on our nerves. Will the traitors turn on each other immediately?See omnystudio.com/listener for privacy information.

The ‘gateway to The United States”. Democrats fear speaking out against the party. Traitor to the party of communism. Brandon Darby breaks down why Mexico giving up high ranking cartel members it may not be what it seems. Is Mexico protecting all these cartel leaders? Follow The Jesse Kelly Show on YouTube: https://www.youtube.com/@TheJesseKellyShowSee omnystudio.com/listener for privacy information.

In this episode of Spybrary, host Shane Whaley interviews author Alex Gerlis about his latest novel, The Second Traitor, book 2 in the spy series which is set against the backdrop of World War II and the early Cold War. They discuss the complexities of writing historical fiction, the importance of research, and the intricate character dynamics within the story. Gerlis shares insights into the historical events that inspired his work, including Operation Sea Lion, the Invasion Warning, Sub-Committee and the role of German intelligence (Abwehr). The conversation also touches on the balance between action and intrigue in spy fiction, as well as the challenges of writing sensitive topics and sex scenes. Highlights of our conversation with author Alex Gerlis. The Second Traitor is the second book in a four-part series. Readers can jump into the second book without reading the first. Historical accuracy is crucial in writing spy fiction. Operation Sea Lion was a significant but ultimately failed Nazi plan. Were the Abwehr sending second-rate spies to Britain? Character development is key to engaging storytelling. Gerlis prefers to allude to intimate scenes rather than describe them in detail. Researching real locations adds authenticity to the narrative. The Invasion Warning Subcommittee was a real organization during WWII. Gerlis's writing process is flexible and not overly planned.   If you enjoyed this episode, please consider leaving us a rating and review. Your support helps more spy fiction fans discover the show. Don't forget to follow, share, and stay tuned for more tales from the world of espionage. Join us for this enthralling conversation and then connect with your fellow espionage aficionados in our online community to share your thoughts on Alex Gerlis's spy novels

Watch The X22 Report On Video No videos found (function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:17532056201798502,size:[0, 0],id:"ld-9437-3289"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="https://cdn2.decide.dev/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs");pt> Click On Picture To See Larger Picture China is panicking, Trump is now shifting everything the US and soon China will not have any leverage. Inflation is holding steady and fuel pricing are coming down which is countering the inflation. Trump calls out Powell to lower the rates and he says he might sue them. Trump lets the world know that gold will not be tariffed. The [DS] is now being exposed the world, step by step more of the [DS] players are being exposed and investigated. Adam Schiff is now being investigated in regards to Russia gate. [AS] is a C_A agent and now the truth is coming our. Trump is now preparing the country for the riots. He is creating the Domestic Civil Disturbance Quick Force to be ready at a moments notice. National Guard is now on standby.   Economy https://twitter.com/grok/status/1955139797162606798   follows Trump's deal allowing H20 sales to China with 15% revenue shared to the US, which Beijing views as unwanted and not part of any agreement. (function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:18510697282300316,size:[0, 0],id:"ld-8599-9832"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="https://cdn2.decide.dev/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs"); https://twitter.com/greg_price11/status/1955265159888359474 July Core Inflation Numbers Show Tariff Impact on Consumer Prices Here's what happened in July: The Good News: Headline inflation remained at 2.7 percent despite expectations it would jump to 2.8 percent. Energy costs provided relief, with gasoline prices dropping 2.2 percent and overall energy declining 1.1 percent. For families struggling with Biden's inflation legacy, cheaper gas is real relief.   Core inflation accelerated to 0.3 percent monthly—the first time in six months it failed to undershoot economist estimates. Services inflation drove much of the increase, with medical care services up 0.6 percent and shelter costs contributing 4.8 percent annually.   Services led the core inflation increase, with several categories showing significant monthly gains: Medical care services: +0.6% monthly Personal care services: +0.5% monthly Recreation services: +0.4% monthly Shelter costs: +0.3% monthly, contributing 4.8% annually Categories exposed to tariffs showed notable price increases: Computers and electronics: Rose 1.4 percent for the third consecutive month Sporting goods: +1.4% monthly Household furnishings: +0.8% monthly Apparel: +0.4% monthly Source: redstate.com   Trump Extends China Tariff Deadline by 90 Days  The Stockholm Negotiations The extension follows three rounds of high-level trade talks since May, with the most recent negotiations taking place in Stockholm, Sweden in late July. Treasury Secretary Scott Bessent and U.S. Trade Representative Jamieson Greer met with Chinese Vice Premier He Lifeng and other Chinese officials for what both sides described as "constructive" discussions. However, the talks ended without a formal agreement. Chinese negotiators suggested a consensus had been reached for an extension, but U.S. officials made clear that nothing would be final without Trump's explicit approval. "Nothing is agreed until we speak with President Trump," Bessent told reporters after the Stockholm meetings. The extension provides time to address several thorny issues beyond basic tariff levels: Fentanyl-Related Tariffs: The U.S.

Jaymie Icke joins Stew to discuss the full and complete erasure of free speech - how Big Tech is joining forces with Government and police agencies to criminalize thoughts and speech to the point of non-existence   Kacee Allen, Host of the Kacee Allen podcast joins Stew to discuss Trump withholding disaster relief aid from cities who need it — if they don't bow down to Israel!   Western civilization has been infected by a parasitic invasion of foreign ideals and values that have been introduced into our culture by strange and morally degenerate people whose goal is world domination. We have been OCCUPIED. Watch the film NOW! https://stewpeters.com/occupied/

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Donate (no account necessary) | Subscribe (account required) Join Bryan Dean Wright, former CIA Operations Officer, as he dives into today's top stories shaping America and the world. In today's episode, we cover Trump Accuses Obama of Treason Explosive new claims from President Trump allege sedition by Barack Obama over the Trump-Russia hoax, with newly declassified documents fueling the fire. Democrats Turn on Hunter Biden Obama-era aides slam Hunter Biden's corruption and hypocrisy, echoing years of GOP criticisms. Major Breakthroughs in Trade Wars The U.S. secures favorable tariff deals with Japan, the Philippines, and Indonesia, boosting American exports and reshoring jobs. AI and Stablecoin Backlash Bryan responds to listener concerns about AI data centers, crypto confusion, and how stablecoins are reshaping the digital economy with a helpful carnival analogy. "And you shall know the truth, and the truth shall make you free." - John 8:32

Trump posts video showing Obama getting arrested after intel community accuses him of treason, Adam Schiff faces calls for prosecution over mortgage fraud, General Michael Flynn, Mike Davis, Julie Kelly and David Schoen join the show Check Out Our Partners: BUNKR: Go to https://bunkr.life/BENNY and use code “BENNY” to get your 25% off your family plan Advantage Gold: Get your FREE wealth protection kit https://www.abjv1trk.com/F6XL22/4MQCFX/?sub1=Youtube Blackout Coffee: http://www.blackoutcoffee.com/benny and use coupon code BENNY for 20% OFF your first order Learn more about your ad choices. Visit podcastchoices.com/adchoices

The queen of Survivor. The Black Widow. The Traitor from Traitors. Parvati Shallow is a legendary winner of Surivor and a reality show expert. She's survived Survivor, a childhood in a cult, and the chaos of life.  BRAND NEW SUMMER MERCH https://shop.celebritymemoirbookclub.biz/collections/all If you want to host a CMBC meetup here's a meetup 101 packet to help you plan! Keep up with all the latest:  https://celebritymemoirbookclub.biz/ Join our Geneva Community to chat with the other worms!!!!  Join the Patreon for new episodes every Thursday! https://www.patreon.com/celebritymemoirbookclub  Follow us on Twitter @cmbc_podcast and Instagram @celebritymemoirbookclub  Art by @adrianne_manpearl and theme song by @ashleesimpsonross Learn more about your ad choices. Visit podcastchoices.com/adchoices