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Irish Daily Mirror
2 hours ago
- Irish Daily Mirror
Irish TikTok creator to 'rebrand' after toy giants u-turn on law suit
The Irish creator behind Sylvaniandrama has confirmed that the channel will be rebranded after a lawsuit against her was dropped. Thea Von Engelbrechten is the mastermind behind one of TikTok's most popular parody channels Sylvaniandrama. Her videos were widely beloved on social media for their unhinged skits involving the little animal families: parodying everything from kidnapping, drug abuse, to divorce. However, fans were confused when the channel suddenly went quiet several months ago. It then came to light that Thea was being sued been sued in the US by Epoch, the Japanese toy and computer games company behind Sylvanian Families over her videos. The company claimed that Von Engelbrechten's videos had caused 'irreparable injury' to their reputation. Thea, from Kildare, was just 19 when she started the channel back in 2021 – and the videos quickly skyrocketed in popularity. She currently has over 2.5 million followers on TikTok and one million on Instagram. However, they also eventually caught the attention of Epoch Company Ltd., the Japanese toy and video game company who own Sylvanian Families. The toy giant wasn't impressed (Image: Sylvaniandrama/TikTok) Epoch filed a lawsuit against the creator, claiming the videos could confuse potential purchasers of Sylvanian Families toys into believing that they have been produced or authorised by Epoch. They were suing her over issues pertaining to copyright – including 'creating, publishing, and disseminating online advertising videos' on the back of brand deals with companies like Marc Jacobs and Burberry. A pre-trial conference was set for August 14, where the legal teams from both sides were to meet to explore settlement options or prepare the case for trial. However, Epoch has since dropped its suit against the skit creator. On August 8, the company voluntarily dismissed all claims "without prejudice," with each side covering its own legal costs. On the same day, Thea posted on Instagram: "Hi guys, on the 19th August I will be changing the name and profile picture of this account. I'm not sure what to change it to yet so please let me know if you have any suggestions". Fans flooded the comments with suggestions of what the channel could be renamed to. Popular suggestions included "notsylvaniandrama", "CancelledCritters" and "Desperate Mousewives". Previously, news of the lawsuit had caused fan uproar on social media, with many believing that the videos actually helped promote Sylvanians online. TikTok account @junk_mom posted: 'Imagine if every little girl that ever posted a video on YouTube making her stuffed animals talk to each other was sued by the corporation that made those stuffed animals.' She continued to say that Sylvaniandrama 'opened up a lot of new people to the Sylvanian toys.' 'Sylvanian drama is literally doing free advertising for them, that's so sad,' one comment added. 'Why sue her she's literally giving them customers,' another wrote. A third pointed out that many other people have also created channels around creating fake scenarios with popular toys. They wrote: "It's like the old videos on YouTube we'd watch as a kid of people doing the same thing with Barbie's... It's always been a thing." The Mirror has reached out to Epoch and Sylvaniandrama for comment. Subscribe to our newsletter for the latest news from the Irish Mirror direct to your inbox: Sign up here.
Irish Independent
3 hours ago
- Irish Independent
The summer I went to Irish college – ‘Boys from the southside of Dublin or the west of Ireland were both new breeds I hadn't met before'
From first kisses and céilís to finding their tribe, six Irish personalities share their favourite memories of summer in the Gaeltacht My memories of Irish college:
Irish Times
3 hours ago
- Irish Times
Alexander's Feast at Kilkenny Arts Festival review: Perfect tale for Handel becomes perfect choice for Irish Baroque Orchestra
Alexander's Feast Irish Baroque Orchestra/Whelan St Canice's Cathedral, Kilkenny ★★★★☆ This Kilkenny Arts Festival performance of Alexander's Feast takes place close to three centuries since its Irish premiere, in February 1742. That occasion was only a few weeks ahead of the world premiere of Messiah, in the same Dublin music hall on Fishamble Street, in April that year. Both pieces were signals of career change for Handel. He composed Alexander's Feast in 1736, just as he was coming to accept that his gravy train of Italian operas for the London market would soon leave the station for the last time. His future success now lay with English-language texts, mostly biblical, and in composing oratorios rather than operas. Alexander's Feast is actually neither. It's Handel's setting of a John Dryden poem for the feast of St Cecilia, patron of music. And music is its theme. For although the backdrop is ancient Persepolis, where Alexander the Great is celebrating his conquest of Persia, Dryden's real story is about how Alexander's bard Timotheus uses music to manipulate the king's emotions this way and that. Perfect for Handel – who retained Dryden's subtitle, The Power of Music – and perfect for the Irish Baroque Orchestra and its director, Peter Whelan, a conductor of manifest artistic appetite and energy. As we've come to expect with Whelan, these qualities are immediately to the fore with his unleashing of the work's overture, itself full of energy and promise. His players run with every expression he communicates, so important in music with such sharp emotional contrasts from one movement to the next, all of it edged with the characteristic colours and zest of original instruments. READ MORE The choruses – often the reflections of bystanders, as it were, on the different emotional states into which Timotheus leads Alexander – are sung not by a choir but by four singers, one to a part. Only once or twice does it feel as if the absence of a full choir means something is missing – unless that's just my having attended 4,000 Messiahs. Otherwise the four singers are excellent, communicating not only clear words and the relevant states of mind but also wide dynamic range and easy navigation of Handel's intricate counterpoint. In short, they are as effective as they are impressive, so it's quite unfortunate that their names – Elspeth Piggott, Sarah Thursfield, Christopher Bowen and William Gaunt – do not appear in the printed programme. (It is also either oversight or poor judgment, with a work of this kind, not to provide the audience with copies of the text.) [ 'It's really a coup': Irish Baroque Orchestra to make BBC Proms debut with Handel 'Dublin' oratorio not performed since 18th century Opens in new window ] The three soloists are well matched in colour and tone quality, as though cut from the same cloth, but with each one's individual touch on show in how they present each new mood. The soprano Aisling Kenny, for example, brightly inhabits pride and excitement as Timotheus persuades Alexander that he belongs on Olympus among the gods, while the tenor Stuart Jackson is equally at home celebrating Bacchus and drink or urging vengeance and war. The countertenor Hugh Cutting beautifully validates Handel's entrusting his part with the work's tenderest and most searching moments. Irish Baroque Orchestra perform Alexander's Feast at the Royal Albert Hall in London, as part of BBC Proms , on Saturday, August 30th
