
Passive and structured Mayo look like overthinking it in the new-rules order
The one saving grace for
Mayo
might be that almost nobody saw their defeat to
Cavan
on Sunday. It wasn't on RTÉ, it wasn't on GAA+, the official attendance at Castlebar was just 7,387 – a miserable crowd, in every sense of the word. And plenty of them were gone before the final whistle.
That's not how it works though. Particularly not in Mayo. Nick Hornby's contention in his classic book Fever Pitch rings 100 per cent true here – listening to your team play on the radio always makes things worse in your imagination than it is in reality.
It's one thing
Mayo losing to Cavan for the first time since 1948
and for the first time at home. It's another when your people are already predisposed to think the worst anyway.
Mayo people will tell anyone who'll listen that this has been coming. The casual observer will point to the fact that they've been in the final of the league and the Connacht Championship this season already. And when the casual observer does so within earshot of the Mayo supporter, the casual observer will be told to get stuffed. Sure they made the league final by accident. Sure they struggled to beat Leitrim in the Connacht semi-final.
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No, whatever about Kevin McStay and his management team's hold over the actual Mayo dressingroom – and to be fair, there has been no suggestion of unrest or unhappiness there – the wider dressingroom within the county has gradually been ebbing away over the past three years. Even allowing for the slightly unglamorous fixture, getting less than 8,000 into MacHale Park for the opening game of the All-Ireland series tells its own story.
On specifics, there are a few main problems. For one, at a brass tacks level, Mayo don't score enough. If this was a problem that might not necessarily have been fatal under the old rules, it's going to catch up with you eventually under the new ones.
There had to be a limited future in the fact that Mayo finished top of Division One in the league despite being the lowest scorers in it. They got to the Connacht final without kicking a single two-pointer. They tried for eight of them against Galway in Castlebar a fortnight ago but only landed two.
There's an old NFL maxim – you're either coaching it or you're allowing it. Whatever work Mayo have done behind closed doors on creating and taking two-point chances, it hasn't translated to the arena. They have played four games in this championship so far and in none of them have they raised more orange flags than the opposition. Only one of those games was against Division One opposition.
Which leads neatly on to the second major grumble Mayo people have about their team, that they're altogether too passive and too careful in possession. The contrast between their steady, sensible build-up play on Sunday and the flying support running of Cavan in transition was stark.
Aidan O`Shea of Mayo in action against Cavan. Photograph: ©INPHO/James Lawlor
Ray Galligan deserves major credit for lighting a fire under his charges after they limped meekly out of Ulster against Tyrone. Funny enough, maybe the only Sam Maguire county whose support base was as down in the mouth about their own prospects as Mayo was Cavan. But they came to Castlebar to play at championship pace, full of direct running and at least some element of risk-taking.
Mayo, as has been their way for long stretches this season, were far more methodical and one-paced. For whatever reason, they often look like they haven't fully embraced the new game. For a county that thrived in creating chaos within the suffocating strictures of the old rules, they look hesitant to submit to any form of it now.
That needn't be fatal, of course. As the weeks go by, more and more teams are finding ways to keep the ball for longer and longer. Everyone is so conditioned to possession football by now and Mayo don't owe you exciting transitions and glorious kick-passes into the big man on the edge of the square any more than Donegal or Armagh or Louth do.
But the thing that made Mayo special over the past decade and a half was always that feeling that when the needle went into the red, they could go to places where other teams would simply wilt. If a game was going a million miles an hour, it was the other crowd who tried to slow it down and gain some measure of control over the whole thing. Now it is Mayo who do that.
Which would be fine – if they were winning. McStay and his brains trust look to have decided that all the years of chaos and carnival were ultimately not the answer and that if they are going to reach the top of the mountain, they'll have to do it in a much steadier, more structured manner.
It makes some logical sense, certainly. But when you're losing at home in front of a tiny crowd to a lower division team, it smacks of overthinking.

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Irish Times
43 minutes ago
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Limerick have an edge because they have managed games like this one so many times before. About two-thirds of the Cork team have never played in a Munster final, even though they've been in two of the last four All-Ireland finals. What Limerick have in these situations is an extra bit of ruthlessness. They have vast experience of winning tight matches. Most teams work with sports psychologists now and Limerick have put a lot of emphasis on that under John Kiely, but you have to experience what big games are like. Nobody can tell you. For a game like this, Limerick have that comfort and I think it will be the difference. Galway's Jack Grealish tackles Eoin Cody of Kilkenny during the counties' Leinster SHC match in Nowlan Park in April. Photograph: Leah Scholes/Inpho Different stuff is at play in the Leinster final. Winning six provincial titles in a row would be a great achievement for Kilkenny, but 2025 will only be deemed a success if they win the All-Ireland. 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Irish Times
43 minutes ago
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RTÉ News
an hour ago
- RTÉ News
Hell for Leather: How we made RTÉ's epic new GAA series
Colm O'Callaghan, RTÉ's Head of Specialist Factual Content, introduces Hell for Leather, an epic new 5-part RTÉ One series, delving into the role of Gaelic football in the sporting, cultural and social history of modern Ireland. RTÉ's history of hurling series The Game was first broadcast in May 2018. Made by Crossing the Line Productions and directed by Gerry Nelson, it was a cinematic and wide-ranging undertaking that, in its style, execution and ambition, resonated quickly. I've written previously here about why we commissioned it. As soon as the curtain came down on that series, our thoughts turned quickly to an obvious next step: a similar strand about Gaelic football. The seven years its taken to finally get that five-parter - Hell for Leather - to air, is worthy of a drama serial in itself and there were times when I felt we were never going to see it home at all. Needless to say, I'm glad we stayed the journey. As tends to be case with large-scale commissioned projects, I took many meetings and did an awful lot of talking before even formally asking RTÉ to consider supporting it. The primary issue was with what had just gone before it and with how effectively The Game had landed. Should we even bother, I asked the creative team at Crossing the Line, to attempt something similar with a sport often regarded by purists as the less aesthetic and less skilful of the family of national games? Any misgivings I had were quickly put to bed by a couple of trusted friends and regular sounding boards. Michael Moynihan and Diarmuid O'Donovan are fellow clubmen of mine from the fabled Glen Rovers on the northside of Cork city, even if Diarmuid is arguably better known for his involvement with the football side of that club, Saint Nicholas, and his work in a variety of roles at county level. Sharp, serious men both, they sketched out a provisional list of potential themes, topics, chapters and cast members for the team to chew over and flesh out. They didn't so much ease my mind as bend it in a variety of directions and, by doing so, turned much of what I'd ever thought about Gaelic football on its head. The game in Ulster, industry and All-Ireland success in the midlands, the eventual dawning of the women's game, Kerry's eternal majesty, the Jacks and the Culchies, Dulchies, Heffernan, Dwyer, the mighty men from Down, the mighty women of Cork. Seán Boylan, Mick O'Connell, the golden age of wireless, Sister Pauline Gibbons, Jim McGuinness and Jim Gavin. Bringing boardroom thinking to breeze-blocked dressing rooms. Renaissance, reformation, age of empires, true leaders and the days of our lives: it was up to director Gerry Nelson to shape the mine of history, some of it happening before him in real time, into tangible blocks. Sport is often seen as a reflection of life and, in this regard, its possible to trace the development of modern Ireland since way before independence through the prism of Gaelic football. Stitching this editorial thread into the heart of Hell for Leather was always a tall order but one that producers John Murray, Jessica McGurk and Siobhán Ward managed with typical elan. So in as much as the series tracks the evolution and history of the game as comprehensively as time allows, it also tells a story of Ireland. With The Game already under the belts of the production team – as well as 2020's one-off, Christy Ring: Man and Ball – the doors opened far more easily this time around. Jarlath Burns, who has since become the most recent Uachtarán of Cumann Lúthchleas Gael, was an enthusiastic voice from early on and helped unlock a variety of editorial lines. In every club and parish that we approached during the long gestation of this series – and there were many – the welcome was fierce and the humour was always good. So, what kept us? When we first discussed the potential for a series, I'm not sure if any of us expected the production period to endure for so long. But then neither could we have foreseen Covid, an All-Ireland final played during a lockdown and the consequences for sport, film-making and life in general during that time. Projects of this scale also require multiple funding and finance strands too and, to this end, we're grateful to Coimisiún na Meán, the Department of Finance, the Gaelic Athletic Association and to Collen, our generous sponsors, without whom the project could never have taken flight. And then there's the more mundane and practical stuff. Many of those featured in the series are proud, fabled former players for whom modesty has long prevented them from opening up about their own heroics and the scale of their achievements. The likes of Mick O'Connell, Seán O'Neill, Jimmy Gray and Seán Murphy are among many who decorate this production but for whom numerous site visits and no little persuasion was necessary. Others, despite our best and enduring efforts, just couldn't or wouldn't commit. All history is contestable, of course, and this too is the case with Hell for Leather. How can one realistically do justice to such a varied and complicated past in just 250 minutes of airtime? It is, therefore, to the credit of Gerry Nelson and series editor Andrew Hearne that the series delivers far more than the sum of its parts and still stays true to its purpose as agreed way back at the start. Gaelic football, flush with its recent re-enhancements, is enjoying a renewed sense of freedom, and talk of its latest existential crisis has abated, at least for now. As the former Kerry captain, Dara Ó Cinnéide told Nelson, "at the end of the day it's a game … but it's this bloody game we love so much". As a reminder about why Gaelic football's well-being matters, Hell for Leather is as good a starting point as any.