
Michael Flatley says rare great white shark jaws were a ‘gift'
Michael Flatley
said he was given rare great white shark jaws as a 'gift', after it emerged the Lord of the Dance star had been alleged to have sparked a South African trophy shark bone trade that further threatened the endangered species.
A spokeswoman for Mr Flatley suggested the former Riverdance star might have donated the shark jaws to a museum, but later seemed to suggest this might not have happened.
Court documents filed in a dispute over insurance at his Co Cork mansion, Castlehyde, show shark jaws were one of a number of high-value items that the millionaire kept in his mansion, which reportedly had a 'safari room'.
Mr Flatley has
expressed his intention
to run for president of Ireland in this year's contest, which is likely to be held in late October.
READ MORE
Mr Flatley has collected a number of animal artefacts over the years, including the skull of an Alaskan bear and the set of great white shark jaws, which originated in South Africa.
In 2016, shark conservationists carried out a landmark study of the great white shark population along the entire South African coastline. The stark findings suggested the breed had depleted and was facing extinction. At a media briefing launching the findings in Cape Town, respected shark expert Michael Rutzen reportedly alleged Mr Flatley had been partly responsible for inflating the shark jaw market in South Africa after he acquired a set.
'He got himself the biggest jaw ever caught in South Africa,' Mr Rutzen said. 'But what we saw in the field is the fishermen heard about it and started taking the big animals to wait for the next Mike Flatley.'
Mr Rutzen had claimed that Mr Flatley had been given the jaw in exchange for a £30,000 donation to a retirement fund for local fishermen.
A spokeswoman for Mr Flatley said the dancer 'is well known for his kindness and generosity'.
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'Over the past three decades he supported multiple charities both at home in Ireland and throughout the world. He recalls being asked to make a donation almost 30 years ago for which he sought nothing in return but was given an artefact as a thank-you in recognition of his kind gesture. Most gifts of this nature that Mr Flatley received were subsequently donated to relevant museums,' she said.
According to court documents reported last year, a set of shark jaws were in the possession of Mr Flatley in his Castlehyde estate, near Fermoy, Co Cork, until at least 2015.
The world-famous Irish dancer, who currently lives in Monaco, previously came under pressure from animal rights activists when it emerged he had an African rhino horn in the 'safari room' of Castlehyde. The existence of the rhino horn, with an estimated black market value of €200,000, only emerged after the endangered species part was stolen in 2014. The thieves, who were never caught, were pursued by Mr Flatley in his sports car but managed to evade him.
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Mr Flatley also previously owned mounted gazelle heads and zebra-fur framed mirrors, which were included in a 2020 auction of some of his Castlehyde items. Mr Flatley sold a muzzle-like mask worn by actor Anthony Hopkins as Hannibal Lecter in Silence of the Lambs for €85,000 in the same auction.
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Irish Times
2 hours ago
- Irish Times
Give me Helen Mirren's refusal to ‘age gracefully' over the tech bros who refuse to age at all
My mother recently attended the funeral of an acquaintance. In true Irish mammy fashion, she relates these outings with a detour through the family tree of the deceased: 'Her youngest was great friends with your older brother when they were in play school ... a very clingy child.' This woman – let's call her Janet – was always a great beauty, my mother tells me. At 80 she was still handsome – a face you would stop to look at on the street. Janet, it turns out, was striking even in repose. My mother describes how elegant she looked, laid out – like a much younger dead woman. 'An ageless beauty,' she pronounces. While I draw the line at worrying how I'll look in an open casket, I'm not immune to the allure of ageing gracefully. It's the promise behind the peptide serum I bought last week without knowing – at all – what a peptide is. It's an ideal I see presented more and more by luxury brands. Joni Mitchell channelling chic Americana for St Laurent, Joan Didion a kind of cerebral restraint for Celine. Actresses like Meryl Streep, Iman and Helen Mirren also embody what it means to age gracefully. Inspired by this 'ageless beauty' trend, my personal ambition is to look like Olwen Fouéré when I'm older – elegant, sharp, a little formidable. Never mind that Fouéré has the cut glass cheekbones of a Celtic Goddess and mine are procured with a contouring crayon clutched in my fist. I won't look like Fouéré in 20 years, any more than I'm going to wake up at 60 and suddenly play the trumpet. 'But seriously, Mum, you don't look that old,' my eight year old told me last week apropos nothing. (Why? When did he learn that looking old is bad?). 'You don't look 40. You could pass for ... 38.' A devastating pause as he takes me in, slumped on the couch in my pyjamas ' ... 39' Ageing is so undignified. READ MORE Mirren agrees. 'I'm not ageing gracefully at all. I hate that term,' the actress said last week, when asked to reflect on turning 80. 'We just do grow older, there's no way you can escape that. You have to grow up with your own body, your own face and the way it changes.' I think – somewhat unkindly – that it's easy for the genetically blessed to dismiss our anxieties about ageing. By refusing to entertain the concept, isn't Mirren simply refusing to play a game she has already won? And isn't that what beauty, youth and elegance is all about? 'Graceful ageing' is code for look good, but don't try hard; accept decline, but discreetly correct it; grow old, but make it luxury. It's the kind of grace that takes a lot of free time and even more money. 'It's not always easy but it is inevitable.' Mirren says of the ageing process. 'You have to learn to accept it.' Or not. While many in the entertainment industry aspire to the sort of 'natural' ageing that takes a top-notch aesthetician, a billionaire class has emerged who want to conquer age entirely. Jeff Bezos has poured billions into Altos Labs, a research institute working to halt or reverse the ageing process. Peter Thiel – who else? – is a patron of Aubrey de Grey's LEV Foundation , which aims for 'longevity escape velocity', adding more than one year of life expectancy per year of research. Recently Thiel donated more than $1 million to the Methuselah Institute with the goal of making '90 feel like 50 by 2030', including programmes focused on rejuvenating bone marrow and blood cells. Meanwhile, the fintech mogul Bryan Johnson is probably best known for his anti-ageing protocol Project Blueprint (also known, bluntly, as 'Don't Die'), which, along with supplements and full body tracking, includes plasma infusions from his son. [ A tech entrepreneur chases immortality: Bryan Johnson is 46. Soon, he plans to tur Opens in new window ] A recent fictional bestseller – Notes on Infinity by Austin Taylor – extrapolates from real-world research on senescence happening at the author's alma mater. David Sinclair's Harvard lab is controversially at work on so-called Yamanaka factors, a set of genes that researchers hope might be used to 'reprogramme' ageing cells back to a more youthful, embryonic-like state. Anti-ageing was once a woman's pastime, but these innovations suggest a wider preoccupation with the process. 'Bro science', for example, is a grassroots movement that emerged online in the pandemic. Proponents treat ageing like an open-source design challenge – the term most often used is 'biohacking' – with testosterone injections, gym rituals and a dizzying variety of supplements: creatine, protein, collagen, NAD+, metformin. The focus here is less on looking younger than your years so much as a refusal to submit to anything as weak as cellular death. On the surface, these worlds couldn't look more different: Dame Helen marking her 80th in Elie Saab versus some guy named Travis shilling NMN supplements on TikTok. But whether it's 'age gracefully' or 'don't die,' both frame time as a threat to be managed through purchasing power. Karl Marx famously wrote about capital as a kind of 'living death' – a vampire draining the life-force from workers and natural resources. A bloodsucking Johnson was probably not what the German economist had in mind, but the resonance is hard to ignore. Graceful ageing and biohacking both offer to smooth the rough edges of mortality – but only for those who can pay. Youth might soon be wasted on the super-rich. Janet, I think, didn't have a peptide or a protocol. She had a good haircut, maybe a lipstick she liked, and people who turned out to remember her face. That isn't nothing. It might even be grace.


Irish Examiner
3 hours ago
- Irish Examiner
Cork video game studio urges greater backing after global success of 'Ready or Not'
A Cork video game studio is celebrating 2m console sales of its first-person shooter game Ready or Not, but says more supports are needed for the industry to thrive in Ireland. Ready or Not was released internationally by Cork studio Void Interactive for PlayStation 5 and Xbox on July 15, having been released initially in 2023 on Windows for PC. Sales of the first-person shooter game, which sells for around €50, exceeded 2m in the two weeks following its release on console, taking its total global sales to 11m. First established more than seven years ago by Julio Rodriguez, Ryan David Post, and Stirling Rank, Void Interactive is based in the National Esports Centre on the South Mall in Cork City, employing 70 people in total, who work remotely. Void Interactive CFO Philip Nathan, COO Stirling Rank, and CEO Julio Rodriguez celebrate the success of their first-person shooter game 'Ready or Not' with David Cronin at the National Esports Centre in Cork. Picture: Gerard McCarthy Its flagship product, Ready or Not, is a tactical first-person shooter game set in the fictional dystopian US city of Los Sueños, depicting a modern-day world in which Swat police units are called to defuse hostile and confronting situations. Following the significant uptake in the game so far, the company is actively looking to expand its teams, offering remote positions for developers spanning across graphic design, animation and programming. 'We want to hire as many people as we can in Ireland,' said Philip Nathan, chief financial officer of Void Interactive. Speaking on the release of the game for console, Mr Nathan said: 'Surpassing the 2m milestone has been an incredible success for us. It can be so hard to estimate, as it is so reliant on the consumer market and how it reacts. 'Our lowest estimation for the release was 800,000, while our highest estimate was 2.75m, which we are on track to exceed very soon, with demand remaining strong.' 'Ready or Not' was released internationally by Cork-based Void Interactive for PlayStation 5 and Xbox on July 15, having been released initially on Windows for PC in 2023. Picture: Speaking to the Irish Examiner, Mr Nathan says the company's establishment in Cork was an easy decision, noting: 'The founders always knew this would be a global business and we needed a strong area to facilitate this. 'Our founders are from Mexico, Australia, and New Zealand and wanted an English-speaking city with strong European ties. "They also didn't want a capital city, which made Cork the perfect choice for the company." While its staff are fully remote, Void Interactive is based in the National Esports Centre, located in the Republic of Work on South Mall. Officially opened in March 2025 following €1m investment in gaming infrastructure, the National Esports Centre created 10 new jobs along with further positions in gaming, media, and technology expected as the centre continues to expand. The hub is used by professional eSports athletes, aspiring gamers, developers, gaming researchers, and students and is also home to WYLDE, Ireland's first professional Esports academy, which was founded in Cork in 2021. Gamer Karina Shastak, Steve Daly of the National Esports Centre and Philip Nathan of Void Interactive with Taoiseach Micheál Martin and Wylde Esports player Ciarán Walsh at the official opening of the Esports Centre in Cork in March. Picture: Gerard McCarthy Recent years have seen Cork City become an epicentre for Ireland's growing video game industry, but despite a strong ecosystem, Mr Nathan says more needs to be done for Ireland to realise the opportunities available within the sector. 'Ireland has a thriving film and TV industry, which offers everything from heavy supports to generous tax breaks. While this is great, the video game industry should get similar attention. 'The video game industry is valued significantly higher than TV and film, and is only growing larger. 'The current generation of retirees is the first to grow up with mainstream video games, which means a growing customer base with the industry now targeting every generation. 'There is so much potential for the Irish Government, universities, and Enterprise Ireland to get behind this and allow for Ireland to become a video game hotspot in Europe." The global videogame market is projected to grow by 3.4% to $189bn (€165bn) in 2025, compared with last year's growth of 3.2%, according to a report by video game research specialists Newzoo, with this projected growth reflecting concrete changes, hardware cycles, pricing trends, install base growth, and title pipelines. 'We've seen this happen in Cork before, where one company comes and a whole industry follows,' Mr Nathan said. 'In 2005, McAfee set up here, and it wasn't long before the city became a hub for cybersecurity companies. The Government was quick to take notice, and universities altered their offerings to cater for the heightened demand for computer science graduates. There is an opportunity here to do that again and replicate previous success. 'I've reached out to universities and government agencies, offering sponsorships and other things. I said, whatever they wanted, we would give it to them. I never got a response. 'I hope that changes in time, and people begin to see the opportunity that lies in front of them.' Looking forward, Mr Nathan says sales of Ready or Not are expected to total 5m by the end of 2025, with a further 2m to 3m sales anticipated over the next five months, and the company also looking to add extra levels to the popular game in the near future. 'We are constantly investing in ways to improve the game and user experience,' says Mr Nathan. 'And while we do that, we are also looking to diversify our offerings and develop new games, while always keeping Ready or Not our main focus and at the core of our business. 'There are a lot of exciting things in the pipeline, and we're looking at a very busy few years ahead.'

Irish Times
3 hours ago
- Irish Times
Des Geraghty: ‘The real problem in fascism is the people who are insecure'
Throughout his long career in public life , Des Geraghty has been many things: trade union leader, politician, author, musician and campaigner. With such a varied resumé, one wouldn't think there'd be room for another string to his bow. But it seems he also missed his calling as an actor, at least if his command of Shakespearean drama is anything to go by. Geraghty is sitting in the crowded cafe of the National Gallery , musing on the effects of social inequity and economic uncertainty, when he suddenly starts to recite a passage from Julius Caesar to make his point. 'That lowliness is young ambition's ladder, whereto the climber-upward turns his face,' he exuberantly incants, his voice rising above the clatter of crockery, 'But when he once attains the uppermost round, he scorns the base degrees by which he did ascend.' Geraghty delivers this (slightly truncated) passage after making a more prosaically phrased observation about society: 'Once you get on this ladder and you go up a bit, and you get a house, you start looking at people who don't have one.' If his theatrical flourish doesn't necessarily herald a new acting sideline, it underlines Geraghty's multifaceted approach to activism down the years, encompassing education and culture as well as economics and politics. READ MORE The 81-year-old former Siptu president has now pulled together these disparate strands for a new documentary film on one of his heroes, 1916 leader James Connolly , entitled We Only Want the Earth. Written and directed by acclaimed film-maker Alan Gilsenan , with Geraghty as executive producer and driving spirit – he first mooted the project in 2003 – the film focuses on Connolly's life and ideas rather than his role in the Easter Rising. 'I was more interested in his life than in his death,' Geraghty says. 'He had a very fruitful life before 1916, probably more relevant to today's world.' Accordingly, the film, which has been screened at festivals around the country, vividly weaves Connolly's biography with contributions from environmental, trade union and trans rights activists – 'practitioners who have been influenced by Connolly's vision' – as well as poetry and song from the likes of Christy Moore and Stephen Rea. It's an approach that reflects Geraghty's belief that Connolly's legacy still matters. 'I could be described as irreligious, but I believe very much in the spirit. And I think there's a spirt of Connolly, and it's a spirit that the Irish people inherited, personally and collectively,' he says. 'That's particularly important to me in today's world. I'm depressed by the fact that the working class in many parts of Europe, and in Ireland, are being attracted to very right-wing ideas like sectarianism, ultranationalism, racism, hostility to migrants, quite the opposite of what the spirit of Connolly would represent.' There's no doubting the importance of Connolly to Geraghty's own political philosophy, though he's inspired more by the executed rebel's union activities than his fateful decision to take up arms. James Connolly: The 1916 leader 'argued the worker should be building structures for a new society in the workplace - that always stuck with me', says Des Geraghty 'If you were going to put a political description on me, it would be a constructive socialist,' he says. 'And I got that from Connolly. He argued the worker should be building structures for a new society in the workplace. So that always stuck with me. Throughout my career, I've been seen as too left-wing for some, and not left-wing enough for others, but I like to think I was in the process of constructing coalitions of people to build a better society.' For the 35 years that he worked as a full-time union official – first with the Irish Transport and General Workers Union (ITGWU), then its successor Siptu – Geraghty was at the coalface of industrial relations, involved in struggles and negotiations with employers. (Ryanair boss Michael O'Leary wasn't a fan.) But he displayed an expansive attitude to his brief, whether being involved in left-wing politics or helping negotiate the social partnership agreements that underpinned the Celtic Tiger. [ Alan Gilsenan: 'I would have had a dreamy, artsy-fartsy notion that a united Ireland would be great' Opens in new window ] Since stepping down as Siptu leader in 2003, he has enjoyed a high-profile second act, mixing service on the boards of public bodies with campaigning. And while he studiously avoids comment on his successors, he thinks the trade union movement needs to aim higher than seeking better pay for members. 'I believe the union movement gets its strength when it's broadly embracing the wider principles: the economy, the status of people, families, access to housing, healthcare, all the areas where trade unions work,' he says. 'I was on my own at times on the left by arguing for social bargaining at national level, for the reason that we could bring in issues of concern for people on social welfare or the unemployed. 'I'll give you a simple example. The last negotiation I was involved in very centrally was the last social partnership agreement [the Sustaining Progress programme of 2003-2005], when we put the issue of housing on the agenda, and got a commitment in the agreement for 10,000 affordable houses.' Citing achievements from the Celtic Tiger era may seem counterintuitive given how things unravelled in the 2008 crash, but while he talks about a better future, Geraghty has a keen sense of history, both Ireland's and his own. Gregarious and erudite, he makes regular conversational diversions into passionate polemics, historical precedents, literary references and personal anecdotes. His family background, in particular, remains central to his worldview. A self-described 'proud Irishman and Dubliner', he was born in the Liberties in 1943 to parents with strong republican connections. As described in his 2021 memoir, We Dare to Dream of an Island of Equals , his father Tom was a member of republican youth organisation Na Fianna Éireann, while his mother Lily's brothers went on the run during the independence struggle: his uncle Jack had been in Connolly's Citizen Army. 'They were very Larkinite republicans,' Geraghty adds, referring to Jim Larkin, founder of the ITGWU and union leader during the turbulent 1913 lockout. Des Geraghty: 'My mother should have been the minister for finance; she fed us all when my father was unemployed.' Photograph: Nick Bradshaw Money was tight. 'My mother should have been the minister for finance; she fed us all when my father was unemployed.' But he remembers a culturally vibrant childhood. 'There was always singing in our house,' he says, recalling the music played by nearby neighbours who were in the Furey folk dynasty. It began his lifelong love of Irish music, both as musician – he plays the flute – and folklorist: in 1994, he wrote a biography of his old friend Luke Kelly , singer with The Dubliners. [ From the archive: Daring to dream of an island of equals Opens in new window ] Geraghty went straight into work after school, including a stint as an RTÉ cameraman, before becoming a full-time union official in 1969. He also married the late Irish Times journalist Mary Maher: they later separated, but remained friends until her death in 2021. (Former Siptu economist Rosheen Callender has been his partner for many years.) Parallel to this, he was involved in politics, first as a member of the Workers' Party – he stood unsuccessfully for the European Parliament in 1984 – and then its post-split iteration, Democratic Left. He represented the latter in the European Parliament in the early 1990s, when he came in as substitute for sitting MEP Proinsias De Rossa. He did not stand for re-election, however – it was agreed he would return to Siptu. Apart from an unsuccessful Seanad run for Labour in 2002, he largely eschewed party politics. Though he believes the labour movement needs both a political and industrial arm, he is clearly frustrated by the fractures in left-wing politics. 'There's a lot of splitting hairs of politics,' he says, pointing to the rivalry between the Labour Party and the Social Democrats. 'My own view is I don't want to get involved in that,' he adds. 'I was never a sectarian in my political outlook. I always worked with everyone in the union – there were great shop stewards who were Fianna Fáil-ers. I suppose my philosophy would have been that you've got to embrace all.' His all-encompassing attitude that 'trade union voices should be heard anywhere decisions are made' was put to the test when, in the depths of the crash in 2009, he was approached by the late Brian Lenihan, then finance minister, to join the board of the Central Bank. 'I said, 'you must be joking, I've no time for bankers and I've less time for them now',' Geraghty recalls. But after relenting under Lenihan's persistence, he was appointed as chair of the risk committee. He still remembers Central Bank official delivering a stark assessment of the debt accumulated by Irish banks. 'She had a white face,' he recounts. 'I said, 'give it to me straight, what is the situation?' Now, I'd been reading all the journals and papers saying €64 billion [in debt], and she said, 'it's closer to €120 billion'. That was a frightening situation – I couldn't sleep that night, I wondered was I mad taking this on.' What I see is that they're dehumanising all of us. It's not just Gaza; they're making this standard acceptable. It's the depths of depravity — Des Geraghty As it turned out, Geraghty remained on the board until 2019: 'I was confident enough in the period I was there that good decisions were made.' But while he says he learned a lot about banking, he still views economics on a human scale. 'Economic thinking tends to be dominated by classical economists, bankers, financiers, and they're all about the bottom line, but I've always argued that's a very narrow concept of economy,' he says. 'Every penny you give in social welfare is channelled into the economy – it's spent in the local shop, on clothes and books for school. Economy is about how people live, the bottle of milk that you buy in the morning.' This chimes with his wider outlook. 'I like the slogan the Greens came up with: think globally, and act locally. We have to understand the world we live it, and act locally, with the sense of the community we're in.' But for all his idealism Geraghty is aware that not everyone shares his vision of a shared society. 'I found in housing [he was previously chairman of the Affordable Homes Partnership] that I was taken aback by objections to housing projects in local authorities,' he says. 'It usually was an objection to traffic, but at the end of the day people in secure houses are never that wild about new people coming in. So the real threat comes from people who are insecure, and the real problem in fascism is the people who are insecure. And that's egged on by people who have vested interests in that – Brexit was a classic example.' Similarly, Geraghty is alive to the growth of anti-immigrant sentiment in Ireland. He understands some concerns about the impact of immigration in rural areas. 'I can see an ordinary, logical argument that the State needs to do better, without filling out the local hotels,' he says. 'But the basic thing is we have a responsibility to provide as best we can.' Des Geraghty: 'I think that music, poetry and song was the anchor that kept the spirit of the Irish alive over centuries.' Photograph: Nick Bradshaw He firmly believes Ireland has 'enormously benefited' from migration: his 2007 book 40 Shades of Green celebrated the contribution of immigrants, in line with his view of national identity as 'a jigsaw of many pieces'. 'We're a mosaic of these identities, and we shouldn't be afraid of them,' he says. 'We need to thrive on difference.' These days, his activism is international in focus. He is vocal about Israel's destruction of Gaza, while calling out European inaction on the issue. 'What I see is that they're dehumanising all of us,' he says. 'It's not just Gaza; they're making this standard acceptable – Putin has done the same thing, bombing cities. It's the depths of depravity.' [ A father in Gaza: Our children are dying as the world watches. We don't want your pity – we want action Opens in new window ] Still, Geraghty sees reasons for hope. He lauds Ireland's 'communitarian instinct', evident in the charity sector and grass-roots action on patient rights and homelessness. Likewise, he remains inspired by Ireland's cultural life. 'Seán O'Casey said something very interesting, that culture is the way we live,' he observes. 'Culture isn't something out there, it has to be part of your own existence.' It's advice Geraghty has always taken to heart, whether previously serving as chairman of Poetry Ireland or appearing this month at the Masters of Tradition festival in west Cork. 'I think that music, poetry and song was the anchor that kept the spirit of the Irish alive over centuries,' he says. 'Music can bring people closer to their own homeplace – pride of place is very important if we're going to deal with the environment – and it doesn't have to be mutually exclusive to anyone else.' Such idealism speaks of Geraghty's principles, but also his personality. He cheerfully greets people who come up to him during our encounter, and even when discussing dark subjects, he looks on bright side. 'My optimism is rooted in my experience with human beings,' he says. 'I think human beings fundamentally have the potential to be either good or bad. We've the potential for humanity and greatness and creativity, or we can go down another road of dog-eat-dog and doing down other people, where you encourage all the worst features. I don't like competition as a philosophy. I think people are at their best when they're co-operating, when they're sharing, when they're not trying to beat other people.' Des Geraghty appears in conversation with Martin Hayes at the West Cork Music Masters of Tradition festival on August 24th