Shoplifting pals handed themselves in after being featured on ‘Crimecall' stealing €1,600 groceries from Tesco
Two friends who stole €1,600 worth of groceries from a supermarket handed themselves in to gardaí when they saw the theft featured on RTÉ's Crimecall.
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Irish Times
3 hours ago
- Irish Times
Aidan Gillen and Ella Lily Hyland to star new crime drama Tall Tales & Murder
Tall Tales & Murder, a new darkly comedic crime drama from the writer of Love/Hate, has gone into production in Dublin. The drama, which stars Ella Lily Hyland and Aidan Gille n, has been commissioned for two series by RTÉ and BBC Northern Ireland in association with Screen Ireland, with the first six-part run due to premiere in 2026. Tall Tales & Murder has been co-created by Stuart Carolan, the writer and creator of RTÉ's hit gangster series, and Chris Addison, who starred in political satire The Thick of It and has directed episodes of Veep and his Sky comedy Breeders. The series, which is based on the eight-book Dublin Trilogy series by Caimh McDonnell, will be made for RTÉ and BBC by British production company Avalon in association with Ireland's Metropolitan Pictures. READ MORE The one-hour episodes will be directed by Addison and Irish director Neasa Hardiman, with Avalon distributing the show internationally. Alongside Hyland – the fast-rising star of Netflix's Black Doves – and Gillen, who previously worked with Carolan on Love/Hate, the cast includes Philippa Dunne and Packy Lee. 'I've been a fan of the brilliant Chris Addison since The Thick of It – it's been incredible fun working with him to bring this insane story to life,' said Carolan, the writer and one of the executive producers of Tall Tales & Murder. Addison, who will executive produce as well as direct, said he was 'frankly giddy with delight to get to team up with the twisted and highly original mind' of Carolan to create the show. 'We've taken Caimh's wonderful novel as a jumping off point and ended up with what I like to think of as a dark and delicious screwball drama.' David Crean, who was confirmed as RTÉ head of drama this week after previously serving in the role on an interim basis, said the series had gone into production after 'a great development process' with Carolan and Addison. 'The scripts are fantastic, as is the cast. RTÉ is excited to be collaborating with such brilliant broadcast partners to bring this great series to audiences on a national and international stage.' Eddie Doyle, head of content commissioning for BBC Northern Ireland, described the series as storytelling 'at its darkest, funniest and most surreal', while Rob Aslett, executive producer for Avalon, said the scripts 'created a wildly original crime drama that shines a light on a modern Ireland'. McDonnell, who was born in Limerick and raised in Dublin, is a former stand-up comedian and television writer who published his first novel in the Dublin Trilogy detective series in 2016.
The Journal
4 hours ago
- The Journal
Justice Minister says €325,000 deportation flight to Nigeria is ‘value for money'
JUSTICE MINISTER JIM O'Callaghan has said last night's chartered flight for deportations which cost close to €325,000 is 'value for money'. Last night, 35 people were deported on a chartered flight to Lagos, Nigeria. This included 21 men, nine women and five children – the children removed are all part of family groups. It's the third chartered flight so far this year and was carried out by the Garda National Immigration Bureau, following two previous chartered flights to Georgia. O'Callaghan said the flight 'landed safely this morning', though it did have to make an unscheduled stop due to a medical incident on board. When a person does not comply with a deportation order they can be arrested and detained to ensure their deportation. The Department of Justice said carries out enforced removals as a 'last resort' when a person does not remove themselves from the State. Speaking on RTÉ's News at One, O'Callaghan said the exact cost of last night's flight was €324,714. The first chartered flight to Georgia in February cost just over €102,000 , and O'Callaghan told the Dáil that the second flight in April would cost around €200,000 . O'Callaghan said the cost of last night's flight includes the cost of employing gardaí for this purpose. He described the fee of close to €325,000 as the 'standard price'. Advertisement 'You have to look at the alternative to it,' said O'Callaghan. 'My department is spending €1.2 billion this year just in terms of accommodation for people who are seeking asylum. 'We do it because we're obliged to do so, but there has to be a consequence.' He added that the flight costs provides 'value for money'. 'Not just in terms of the cost of a charter flight,' said O'Callaghan, 'but also it is sending out a very clear message that deportation orders mean something. 'If you have a deportation order, you're required to leave the country. If you don't do so voluntarily, it will be enforced.' He added: 'It's in the interest of people who are granted asylum, that persons who are rejected for asylum are forced to leave. 'Otherwise the asylum system becomes meaningless.' Meanwhile, O'Callaghan remarked that such enforced deportations 'is not a very pleasant part of the job'. 'But in terms of ensuring that we have a rules based system, it is absolutely essential that we have a response and a consequence to people who have been served with a deportation order yet do not comply with it,' he added. O'Callaghan also said that such chartered flights will be a 'fairly frequent and regular response to the issue'. 'People have to know that if they're served with a deportation order, it has meaning. 'If it is the case that you're not permitted to stay, there must be a consequence otherwise the whole system becomes meaningless.' Readers like you are keeping these stories free for everyone... A mix of advertising and supporting contributions helps keep paywalls away from valuable information like this article. Over 5,000 readers like you have already stepped up and support us with a monthly payment or a once-off donation. Learn More Support The Journal
RTÉ News
13 hours ago
- RTÉ News
Blood, sweat and milk: the changing world of GAA interviews on TV
The first broadcast of The Sunday Game on RTÉ in July 1979 paved the way for the proliferation of GAA interviews on TV. The timing and setting of an interview indicate an immediacy to the match. With this comes immense elation and adrenaline that can lead to an unpredictable series of events which is entertaining for viewers. When Offaly sensationally beat Galway in 1981 to win their first All-Ireland senior hurling title, RTÉ's GAA correspondent Mick Dunne was in the winning dressing room afterwards to capture the atmosphere. Priests and supporters surrounding bloodied players as they downed pints of milk in front of the camera is a sight that will likely never be recreated - and RTÉ cameras are unlikely to gain such access to dressing rooms again. Mick Dunne joins the victorious Offaly hurlers in the dressing room after the 1981 All Ireland hurling final But maybe it was a step too far to have cameras in the dressing rooms in the first place? The dressing room as a sacred space is often spoken of by players. It's a distinct, closed off, separate space where the team can gather and privately absorb their achievements before the crowds descend again. Interviews at half-time are difficult to construct as players and backroom teams are anxious to get to the dressing room for a rest and recharge, no matter how the scoreline is shaping up. Occasionally a coach or selector will do a hasty and general interview to camera, but this usually adds little insight once a good commentary team is on duty and has already outlined where things are going right or wrong on the pitch. Ger Loughnane's interview with Marty Morrissey at half-time of the 1995 All-Ireland senior hurling final is undoubtedly the most memorable GAA interview of its type. Loughnane's "we are going to do it" assurance is iconic in Clare hurling folklore. Had the team not won the title, the interview would be considered an embarrassing example of improper conduct by a manager in the cauldron of Croke Park. Now, it is completely unthinkable for a manager to give such an interview at half-time when the All-Ireland title is at stake. Post-match interviews are the most common TV interview and are usually taken right after the match, on the pitch or in the media zone. The basic idea of an interview is to elicit information. However, in the case of a post-match interview, this information is unlikely to reveal anything surprising or new about the match, as there has been little time for the interviewee to reflect on, rewatch or analyse the event in question. Consequently, post-match interviews are not the place to hold the player or manager accountable for their actions or critically evaluate their performance. Pitchside interviews are usually celebratory in nature and focus on the winning team. With the usual 'ah sure we're delighted with our team performance' being rehashed, it is often the fans in the background scrambling for an appearance on television that is more distracting and entertaining than the interview itself. Interviews with the losing side are often conducted not as immediately as the winning team's interviews and usually off the pitch in more colourless, neutral spaces. This change of tone and environment is most likely out of respect for emotions in the face of defeat. From RTÉ Sport, Armagh's Rian O'Neill gives his reaction after their win over Kerry in the 2024 All Ireland football semi-final Pundits and presenters in studio have an indirect experience of a match through detached observation, which is why sideline reporters are tasked to relay important information that is only available by being positioned close to the action. It also means that they are ready to approach players and managers for their post-match insights. A new style of interview has emerged on The Sunday Game in recent years which involves inviting a player straight from the pitch into the studio. What this type of interview hopes to achieve is an evaluation of the match by one of the active players and the type of insight that cannot be provided by anyone else. But what often happens is an awkward interaction, created by the visible contrast between the polished pundits lauding over the player who is still visibly marked by the previous physical activity. In a conversation so soon after the match, interviewers are unlikely to risk conflict or controversy and instead, strive to reach a consensual evaluation of the match with the player. Interviewers in this context will usually empathise with the interviewee either in their defeat or in their celebration. Any other type of approach would result in interviewees refusing to participate. Which begs the question, what are viewers to gain from these studio interactions except than to see how tired a player is after a match or how dirty their jersey is? Brian Hayes joined our panel after Cork's victory yesterday to look back on their scoring exploits and the prospect of taking on Limerick again. #SundayGame — The Sunday Game (@TheSundayGame) May 26, 2025 Digital media has enabled the emergence of new forms of sports journalism such as blogs, podcasts, and social media-based reporting. Streaming services and mobile devices have transformed the way fans consume sports media, allowing for on-demand and personalised viewing experiences. Interviews with supporters are another way of gaining a fresh insight into a game whether it be the anticipated beforehand or the dejection or delight after a match. However, these interviews are not taken seriously, and the main objective is to capture the atmosphere outside the grounds in the hope that a one liner or a vibrant outfit will create a viral moment online. Sports journalists are constantly striving to find new, innovative approaches to GAA interviews to remain relevant, profitable and engaging. To gain insight into the minds of players and managers past and present, indepth interviews about personal experiences have become more widespread. Focused RTÉ documentaries such as Jimmy's Winnin' Matches, Micko, Christy Ring: Man & Ball, The Game and the forthcoming Hell for Leather series on Gaelic football offer an opportunity to uncover unknown information that would never be revealed in other styles of interviews. From RTÉ, Micko documentry first aired in 2018 While watching matches is entertaining, sometimes the personalities participating in these events are themselves, almost as interesting. TG4's Laochra Gael is a popular example of how long form, indepth interviews backed up with archive footage is an appealing way of forging a new angle from often worn-out stories. The reality is that most GAA interviews on TV are repetitive and forgettable. Post-match interviews are a ritual exercise by the media in the hope that the interviewee will make a comment that can be used for headlines, clickbait and discussion. The lament of the loss of the unruliness and unpredictability of dressing room interviews will continue as viewers face more constructed approaches to interviews that are constrained by the boundaries of studio lighting and players that cannot give too much away unless they want to upset their team or supporters. The future of GAA TV interviews will continue to be shaped by the evolution of technology, the changing nature of match day regulations for the media and the ongoing battle for audience attention and engagement.
