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How lip-syncing to AI let Forced Entertainment ‘play the game of theatre’
Today we have a fascinating piece by long-time Forced Entertainment fan Ben Kulvichit, speaking to Tim Etchells about their latest show Cold Sweat, how they are integrating lip-sync and AI voices into their work, the question of ‘authenticity’ on stage, and how lip-sync has even opened the door for them to make “something a little bit like drama”. This piece is a paid partnership with the Southbank Centre, where you can see Cold Sweat next month – we’re very grateful to the Southbank Centre for their ongoing support for Exeunt. Holly Williams ‘It was immediately interesting and uncanny’ **By Ben Kulvichit** “Is the microphone on?” So goes one of the opening lines of Signal to Noise, delivered by a human performer lip-syncing to an AI-generated voice. The voice is American, cheery but sluggish, slowed down into a gelatinous drawl. It repeats ad infinitum in a farce of stuckness; an answer never materialises. I find myself asking the same question as I hop on a Google Meet call with Tim Etchells, the artistic director of Forced Entertainment. We spend five or ten minutes frowning at each other, muting and unmuting, me gesticulating in semaphore into my webcam, checking if I am coming through now, restarting the laptop. To Etchells, I appear exaggeratedly mouthing words, my voice missing. In this gloopy purgatory of broken communication, life imitates art imitates life imitates art. We try a Zoom instead. Forced Entertainment, the pioneering British theatre company who have been at the avant-garde of performance since the 1980s, turned an interesting artistic corner with Signal to Noise, created on the occasion of their 40th anniversary. The whole performance employed this lip-sync technique to AI voices; on the face of it a left-field move from a company whose identity has long been grounded in the earthy, immediate presences of its performers and its unassuming, low-tech approach to theatricality. The technique, however, turned out to provide the company with a “rich new seam” of artistic enquiry, and has now spawned a trilogy of works. The second instalment, Cold Sweat, plays at Sheffield Theatres, Southbank Centre, and Lancaster Arts in October, while the third part, Everything Must Go, has been touring in Europe and is slated to come to the UK in 2027. As is often the case with Forced Entertainment shows, the main conceit for this work didn’t arrive until quite late. They were “four or five weeks into rehearsals for Signal to Noise,” Etchells recalls, and getting nowhere. Away from rehearsals, he had been playing around with feeding “weird texts” to AI voices to see how they would cope with them – “basically for my own amusement” – and was compelled by the uniformly “serviceable, benign, good-natured” tone they would read in, no matter how poetic, fractured or experimental the writing. On a hunch, he brought some examples into rehearsals and the performers gave lip-syncing a go. “It was immediately interesting and uncanny,” he recalls, with the performers having to deal in the moment with the problem of mapping themselves onto another artificial ‘performer,’ which itself was dealing with the problem of a very human text. “Almost all the writing for these projects would be useless to us unless it was done in this way,” says Etchells. “We wouldn’t know what to do with it. It’s too poetic. It’s too fictional. It’s too tangled.” But exploring lip-syncing along to the text has opened “an enormous reservoir of ways of thinking about writing and performing.” Subscribe to Exeunt, and get two in-depth pieces on theatre a week, direct to your inbox Subscribe Forced Entertainment have long been sifting through the detritus of popular culture, from daytime TV to end-of-the-pier vaudeville, magic acts and clown shows, to find frameworks for their own unusual entertainments. Lip-syncing, then, makes sense for them to experiment with. As a mode of performance, it’s wired into popular consciousness through pop stars trying to convince stadium audiences of their liveness, or those same voices as channeled through the made-up lips of contestants on RuPaul’s Drag Race, or movie dialogue spreading virally through the host bodies of TikTok users. For Etchells, lip-syncing is often about “approaching real voices and trying to take on their aura,” subsuming that original human presence into yours. “There’s a very basic, elemental sort of theatre magic to it, produced in this very easy way.” This broad approach resonates with instances of lip-syncing within contemporary performance, too. In works like Re-Member Me and Showmanism, performance artist Dickie Beau acts as a kind of spirit medium for archival recordings (this process of re-membering – as in, giving corporeal form to voices – relies on his masterfully precise actor’s technique), while Frankie Thompson is similarly possessed by a host of characters ranging from a nine-year-old Jacob Rees-Mogg to Cliff Richards, all of whom she finds compellingly nauseating, in the exorcism ritual that is her latest show, Horrible Things. What’s different about Forced Entertainment’s use of lip-syncing is that here, there is no original presence to be channeled. The performers are instead taking on what Etchells describes as “the voices of nobody,” or rather the “phantasmic, aggregated echoes” of the many many voices on whose data the AI has been trained, and which are now conjuring into existence words they never actually said. There is a sort of mournful, empty quality to these voices, having “washed up” far away from the people they originally belonged to, to find themselves in stranger’s mouths listing objects, wondering if anyone can hear them and glitching in interminable loops. There is a cold, sad anonymity to it all. Etchells remarks that occasionally the software company he used has notified him that particular people are withdrawing their voices from the platform, instructing him to cease use of those voices. Using these technologies in performance certainly brings up ethical questions around digital rights, consent, identity and ownership, although in the grand scheme of things, Etchells is fairly blasé about it: of all the purposes someone’s voice might be put to without their knowledge, “an avant-garde performance is probably the least of their worries.” [ ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) [ Frankie Thompson: How I manage my own ‘horrible things’ at the Edinburgh Fringe ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) Exeunt · Aug 25 [ Read full story ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) For the performers, though, lip-syncing to these strange, artificial voices is an odd task, requiring them to bend their live, human presence into the shapes produced by machines. Politically, it mirrors processes that are already at play in the continued computational automation of human life. Etchells brings up James Bridle’s writings on new technologies as a reference point: one example Bridle gives is of “chaotic storage”, a logistics technique employed by Amazon fulfilment centres whereby items are stored not according to traditional methods of categorisation or alphabetisation, but in a way that an algorithm determines to produce the most efficient routes for ‘picking’ based on customer purchase patterns. This appears completely random and incomprehensible to humans, with paddling pools sitting next to USB sticks sitting next to blowtorches, and so for the warehouse workers, the process of picking items becomes completely reliant on technology which tells them where to go. Our world is increasingly being designed not with humans in mind, but rather machines. As Etchells puts it, “technology malforms the space, and then you end up having to live in it.” Initially, Forced Entertainment tried their best to live in the world of machines: “I was in the it’s-got-to-be-perfect school of lip-sync,” says Etchells. But with their aesthetic being so tied to the failing act, the slipping mask, the shoddy costume, “it’s no surprise really that that didn’t last.” Instead, the performers got to enjoy being late for a line, or playing games with each other, “stealing” each other’s voices. Etchells compares it to the principles of ventriloquism, in which a free-floating voice unattached to a body is fundamentally discomforting and “sort of traumatic”. That discomfort is equally as alluring to Forced Entertainment as the satisfaction of precision, the pretence of authenticity only interesting if shown to be a pretence. Lip-sync has also opened up new avenues for the company. Having been allergic all their lives to Plays-with-a-capital-P, with Cold Sweat Forced Entertainment find themselves approaching something a little bit like drama. Rather than the presentational arena of Signal to Noise’s open white stage, Cold Sweat places us more decisively in a “fictional locale”: what appears to be “the aftermath of some disastrous party or backyard drinking binge” where three figures – family members, or neighbours, perhaps – are the last ones standing. “It’s all quite acrimonious and accusatory, everyone’s talking over each other.” For Etchells, this more fictional mode is “a door that we’ve never been able to open. We’ve just never really gone there.” Perhaps it is the technique of lip-syncing, an extra buffer of mediation, that allows them to venture away from the here-and-now without feeling that they have to commit to the “psychological claptrap” that comes along with acting; to be able to “play the game of theatre, without getting one’s hands too dirty.” As I wonder how else the impulses behind Forced Entertainment’s work have changed over time, it occurs to me that over the last ten years of new creations, with the exception of If All Else Fails, the company’s performers haven’t ever spoken on stage: there were two shows without any language at all, Out of Order and Under Bright Light, and then this trilogy of lip-sync works. Etchells agrees it’s a shift away from earlier productions, that were so often about “the actual voices of the performers and their actual presences. We had a lot of money, in some ways, on an authentic approach to what it might mean to speak on the stage.” But this sense of authentic presence itself had a fakeness to it; these days, Etchells can’t stand that mode of being onstage where performers “are here to be cheeky and witty versions of themselves. I don’t want to be charmed.” Pulling back into a more anonymous space has resulted in works that feel slightly sharper-edged, more brutal in a way. “All of these shows are post-Brexit, post-Trump, post-truth, post-everything,” Etchells notes. Speech, charisma, authenticity – these things feel politically loaded, and perhaps warmth and openness just don’t feel like the right tools to reflect the world we’re living in. “It feels like the space is closing down, and we’re trying to deal with the fact that the system, the structure that you’re in, is more oppressive and more powerful. It probably always was, but I think we’re just more tuned to it now.” Yet even without their voices, the performers’ distinctive presences – ones that many audiences have followed around for years, if not decades – still, inevitably, shine through as they physically navigate whatever unending task the system of the piece has set for them. They’re still trying to keep up with the onslaught of text, still running about, changing costumes, moving stuff around. The human is always stuck in the teeth of the machine, jamming the smooth, frictionless cheeriness of the not-real, gesticulating silently, trying desperately to communicate. Cold Sweat is at Sheffield Theatres, 2 to 3 October; Southbank Centre, London, 9 to 10 October; Lancaster Arts, 14 October [ ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) [ Exeunt recommends... the best autumn theatre ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) Exeunt · Sep 16 [ Read full story ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) This piece was paid for by the Southbank Centre. Such support helps Exeunt to keep publishing the most interesting writing, about the most exciting theatre. Interested in partnering with Exeunt? Visit our Advertise with Exeunt page, where you can get more information, download an advertising pack, and find our contact details.
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Whether you like it or not, celebrities have an impact on politics
The global groundswell of support for Macklemore’s pro-Palestinian advocacy serves to remind us that maybe celebrity activism really is that deep after all, writes Cheek’s Varsha Yajman. Subscribe In the last week, publications, podcasts, and influencers that have either rarely or never spoken about Israel’s genocide in Palestine have flooded my social feed. And it was all because singer Ed Sheeran and his team dropped Macklemore as his opener for saying “Free Palestine” on stage. Millions raised, millions speaking up in support of Palestine - all of this confirming my view that, whether I like it or not, celebrities do have an impact on political outcomes. And this is interesting when much of the time celebrity activism can induce an eye roll - I love to see Charli XCX pointing out a Palestinian flag in the crowd, but it’s hardly the bold symbol of allyship that some fans would make it out to be. But there’s a line between healthy scepticism and outright dismissal - and I’d argue that the latter lets the rich and powerful off far too easily. For instance, actress Jennifer Lawrence, once outspoken about her political views, last year told The Times she no longer believes celebrities have a role to play: “Celebrities do not make a difference whatsoever on who people vote for. So then what am I doing? I’m just sharing my opinion on something that’s going to add fuel to a fire that’s ripping the country apart.” While it’s a narrative she might find comfort in, it simply is not true. Grassroots movements often garner worldwide attention when celebrities and other high-profile spokespeople bring a mainstream platform to their causes. And this frustrates me. We have had three years of a live-streamed genocide. Macklemore himself has been calling for a Free Palestine long before he booked the Sheeran concert. Yet it’s the high-profile fallout of the last week that finally seems to have made saying “Free Palestine” socially acceptable in the mainstream. It feels like the collective mood has shifted, where calling out censorship is now the obvious response - not just the business of ‘radical’ activists. To recap, Sheeran’s decision followed an ultimatum from billionaire Robert Kraft, owner of Gillette Stadium, one of the venues Sheeran was scheduled to perform at: either drop Macklemore as your opener after only two of the eight scheduled shows, or you do not play at any stadiums. Sheeran’s disappointing decision to stand on the side of billionaire-led censorship has ultimately seen a surge in support for Free Palestine. It began when all his openers and his backing band pulled out of Sheeran’s tour, in solidarity with Macklemore and with the Palestinian cause. It was met with an uproar of support from those who had never or barely touched politics before: influencers lip-syncing to Macklemore’s music, singers like Jack Antonoff singing “Free Palestine,” and publications and podcasts standing with Macklemore. And finally, we saw material support: Macklemore donated $1 million in profits from his two nights opening for Sheeran’s tour to several Palestinian aid groups and called for Sheeran and Kraft to match it, which they have since promised to do. We’ve also seen children’s entertainer Ms Rachel follow suit with a $1 million donation to Palestinian aid, and publication PopBase has donated $10,000. Anera, a humanitarian aid group working in Palestine, Lebanon, and Jordan, said donations since Macklemore’s announcement were more than triple this month’s daily average. The group’s Instagram page has also gained 8,000 followers. Macklemore far from the first celebrity to speak and participate in politics in the Western World. In 1924, singer Al Jolson supported Republican candidate Warren G. Harding for president, and decades later, celebrities such as Harry Belafonte, Lena Horne, and Aretha Franklin voiced their public support for the Civil Rights movement. More recently, in the lead-up to the 2024 US election, ‘The Daily Show with Trevor Noah partnered with the organisation Power the Polls to recruit poll workers to address shortages- a problem disproportionately affecting voters of colour. The campaign saw 170,000 new sign-ups - 35,000 of which came directly through the TV show’s link - resulting in the recruitment of 713,000 total poll workers that year, an almost three-fold increase on the organisation’s goal. Alongside recruiting workers, celebrities in the US (where voting in elections is not compulsory) have made a huge difference by calling for people to register to vote. Taylor Swift’s endorsement of Kamala Harris in 2024 saw over 400,000 visitors on the voter registration site within 24 hours of her Instagram post. In 2023, Swift had urged her fans to register, resulting in 35,000 new voter registrations. Similarly, Ariana Grande promoted voter registration in 2019 by setting up booths at concerts on the American leg of her tour, resulting in over 33,000 voters registering. And the same thing is happening closer to home. This year, musician Jack River successfully called for government action to ensure creatives in Australia do not have their work scraped by generative AI companies. Celebrity as the mediator between the punter and the politician Celebrity activism isn’t just a feel-good news story - research tells us it actually makes a difference. By directing attention to issues affecting the average person, like voting inaccessibility or a lack of action on a genocide, researchers Alfred Archer and Amanda Cawston state that “celebrities can play a useful bridging role between political elites and the people they represent”. Alternatively, in a world where talking about politics is “not cool,” or where people lack exposure or knowledge to engage with politics, celebrities can act as an educational resource or an entry point into the political world - when they speak up about an issue, their audience gets exposed to it. Olivia Rodrigo’s Daisy Chain Fields festival is a perfect example. Rodrigo partnered with twelve organisations focused on women’s issues, such as reproductive rights. These organisations had stalls at the festival for people to meet them and were also featured heavily on social media, giving their issues global attention and raising $20 million for the organisations. We have also seen celebrities at award shows such as the Emmys wearing F*CK ICE pins, referring to the U.S. Immigration and Customs Enforcement’s treatment and detainment of people - generally people of colour. When celebrities speak up about political issues in public forums, they put the issue at the forefront of mainstream media, rally their supporters, and make it clear that, however much they disagree, the government cannot simply ignore it. Our over-reliance on celebrities versus our politicians As much as I love seeing my favourite celebrity use their platform for a good cause, there is an important question to ask: not whether celebrity activism is good or bad, but whether we should have to rely on celebrities. And the answer would, in an ideal world, be no. In an ideal world, or merely a just world, action on Palestine would’ve happened decades ago, climate change would be taken seriously, and most importantly, people would understand their democratic rights. However, that is not our reality. Only around 28 per cent of Australian Year 10 students reach proficiency in civics and citizenship. In the US, almost two-thirds of people under 30 say high school civics education didn’t prepare them to understand voting deadlines, how to research candidates, or how to vote by mail. When civics education is weak, our trust in these institutions and our understanding of change-making processes also decline. This is where celebrity steps in and becomes our main source of reliance. As Mary R. Connelly notes in _The Tartan, “_Celebrities will always be involved in campaigns in one form or another, but their presence is not what causes people to vote blindly. The lack of political engagement and literacy is what allows celebrities to wield their influence on the political sphere so impactfully.” About the author Varsha Yajman is the Digital Content Producer at Cheek Media. She is a youth advocate and lawyer with a background in climate litigation and is passionate about looking at the intersection between race, climate justice, and mental health. Thanks for reading Cheek Media Co. ! This post is public so feel free to share it. Share
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Why politicians should pay more attention to the polls (reprise)
Welcome to the 231st edition of The Week in Polls (TWIP), a polling newsletter that always welcomes new readers. So please don’t keep TWIP a secret; share it with your friends and colleagues: Share The Week in Polls With all the stories swirling around Reform, JL Partners and political polling, I am finally tearing myself away from talking about the regulation of polling this week - and instead re-running a previous piece reminding us why the solution to problems with polls isn’t simply to ban or ignore them. Rather, we need them to play a vital role in making our politics - and politicians - better. This is followed by summaries of the latest national voting intention polls, seat projections from MRPs and the most recent party leader ratings. Subscribers who pay for the full edition can also read ten insights from the latest polls and analyses, including: A trio of organisations and a pair of professors have been casting their eyes over the Liberal Democrats ahead of the party’s autumn conference; What impact did the summer heatwave have on views on climate change? and Which wins out between chocolate and cheese? If you are not yet a paid subscriber, you can read all ten by starting a free trial now: Get FREE 7-day trial For more polling news as it comes in ahead of next week’s edition, you can also follow The Week in Polls on Bluesky. Picking up on my doubt last week about whether or not 35% of British train travellers have tried to order a takeaway for delivery to a railway station or carriage, thank you to reader Iain, who has been in touch to say he has done just that… in India. Another quick pair of updates, this time on the controversies around Reform and polling. Politico has a further scoop - “Farage aide caught in donor sting attended Egypt retreat with JL Partners” - and Ian Dunt has written about the problems with polling too: “Seeing the response of many polling experts in the last few weeks suggests that they are nervous about what is happening and keen to mitigate against it. Seeing the response of journalists, which has been basically non-existent, suggests the precise opposite.” My usual reminder as well: please do hit reply if you’ve spotted a poll, focus group or new piece of poll-based research that you think should be in contention for coverage in a future edition. Thank you! And with that, on with the show. How politicians get public opinion wrong I have written before about the benefits that come from widespread availability of high-quality political polling. We need more polls and more good coverage of polls. However, what I’ve not dug into before is the research into how accurately politicians estimate public opinion on issues. Thankfully we have academic research to tell us. First, the bad news: We present results from a study of 866 politicians in four countries.1 Politicians were asked to estimate the percentage of public support for various policy proposals. Comparing more than 10,000 estimations with actual levels of public support, we conclude that politicians are quite inaccurate estimators of people’s preferences. They make large errors and even regularly misperceive what a majority of the voters wants. Politicians are hardly better at estimating public preferences than ordinary citizens. Walgrave, S., Jansen, A., Sevenans, J., Soontjens, K., Pilet, J.B., Brack, N., Varone, F., Helfer, L., Vliegenthart, R., van der Meer, T., Breunig, C., Bailer, S., Sheffer, L. & Loewen, P.J. (2023a), “Inaccurate Politicians: Elected Representatives’ Estimations of Public Opinion in Four Countries”, The Journal of Politics, 85(1): 209-222. The bad news is not quite as bad as that makes it sound because, when asked whether the majority of public opinion was for or against various policies, politicians picked the wrong option ‘only’ 29% of the time. However, this included getting it wrong even when public opinion is far from evenly split on an issue: They do not only get it wrong when the public is divided and hard to read (e.g., when there is a 51%:49% distribution). Seventy percent of the misplacements occur for policies with a relatively clear distribution of at least 60% (dis)agreeing citizens. Moreover, the public scored only slightly worse than politicians, picking the wrong option 2.7 out of 8 times on average, compared with 2.3 times for politicians. Turning to the other measure of accuracy (not which side is in the lead but what the percentage support is for each side), politicians on average were 18 percentage points out in their guesses. Again, this was only slightly better than the public, whose error came in at 21 percentage points.2 Further research, using the same mix of countries, gives a little more comfort about how (in)accurate perceptions are: We show that politicians have a better understanding of public opinion when they think the issue matters to voters. Further, when an issue is personally important to politicians they more accurately estimate their party supporters’ opinions. The results confirm that politicians hold more accurate perceptions of voters’ preferences when they think it is important to do so but not necessarily when the issues actually are important to voters. Butler, C., Walgrave, S., Soontjens, K. & Loewen, P.J. (2024), “Politicians are better at estimating public opinion when they think it is more salient”, Party Politics: 1–13. Even so, it’s not a good picture. The remedy for this? Politicians should spend more time reading the polls. So forward this newsletter to someone you know… Share For a more general argument against banning polls, see my 2024 piece. Is “Let Bartlet Be Bartlet” good advice or not? The latest episode of my Political Fictions podcast heads across the Atlantic for a dip into one of the political TV classics: Mark and Cory talk about a giant of American political drama for the first time this week, as they tackle The West Wing. They talk about Let Bartlet Be Bartlet, the nineteenth episode of series one. In it, Mark wonders if The West Wing is actually the epitome of the “Boris Johnson school of politics”, Cory outmanoeuvres Mark into confirming we will record a Christmas Special about Love, Actually and they debate whether the central message of this episode has been misunderstood. Cory’s email newsletter is Paperback Rioter and Mark has a family of email newsletters. Subscribe to our newsletter for some additional bonus content and to get alerted whenever a new episode comes out. Our theme tune is “Monkeys Spinning Monkeys” by Kevin MacLeod/incompetech.com and licensed under the Creative Commons: By Attribution 4.0 License. You can also listen to our episode on Apple Podcasts, Spotify, the web or YouTube. Elsewhere from me… [ A Lord's Eye View How to fix the problem of money in our politics Welcome to my latest update on work in the House of Lords. This time I am taking a look at how our political system is regulated, and the protections we need to keep democracy safe from becoming simply a contest to see who has the biggest bank account… Read more 5 days ago · 3 likes · 2 comments · Mark Pack ](https://lordseyeview.substack.com/p/how-to-fix-the-problem-of-money-in?utm_source=substack&utm_campaign=post_embed&utm_medium=web&embedding_publication_id=1269283) If you spot a factual error… Borrowing an idea from Stuart Ritchie and others, if you spot a factual error in an edition of this newsletter, I will give you a free 12-month subscription to the paid-for version (or an extra 12 months on your existing one). Factual errors qualify, but grammatical errors or disagreements over interpretation do not, and my decision is final. Messages about both of those are always welcome, though. Voting intention and leadership ratings Here are the latest voting intention polls from different pollsters. It is all pretty static at the moment, with a small and consistent Labour lead in nearly all the polls. The table is also online here, along with explanations about what is included. It is updated regularly throughout the week as new polls are released. Next are the seat projections from MRPs, also sorted by fieldwork dates, listing those which are based on dedicated fieldwork (rather than models based on averages of other polls). Because such MRPs are published infrequently, some of the entries below are quite old. Finally, here is a summary of leadership ratings, with a graph from PollCheck: Detailed numbers from the latest polls are online here, and both that and the graph are updated regularly throughout the week as new data comes out. For historical figures on both voting intention and leader approval stretching back to the 1930s, including Parliamentary by-election polls, see PollBase. Catch up on the previous two editions [ ](https://theweekinpolls.substack.com/p/a-crisis-point-for-political-polling) [ A crisis point for political polling Sep 13 ](https://theweekinpolls.substack.com/p/a-crisis-point-for-political-polling) [ Read full story ](https://theweekinpolls.substack.com/p/a-crisis-point-for-political-polling) [ ](https://theweekinpolls.substack.com/p/extra-questions-about-the-polls-in) [ Extra questions about the polls in Reform’s funding scandal Sep 6 ](https://theweekinpolls.substack.com/p/extra-questions-about-the-polls-in) [ Read full story ](https://theweekinpolls.substack.com/p/extra-questions-about-the-polls-in) My privacy policy and other legal information are available here. Links to purchase books or other items are usually affiliate links which pay a commission for each sale. Quotes from social media messages are occasionally lightly edited for punctuation and clarity. If you are subscribed to other email lists of mine, please note that unsubscribing from this one will not automatically remove you from the others. If you wish to be removed from all my lists, simply reply to this email to let me know. A quintet of Lib Dem polling analyses, and 9 other polling insights you shouldn’t miss The following ten findings from the most recent polls and analyses are only for subscribers who pay for the full edition, but you can sign up for a free trial to read them straight away. Ahead of the start of Liberal Democrat conference, we have a trio of organisations and a pair of professors with pieces out about Ed Davey’s party:
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