Lotto bosses urge players in one county to check tickets after second major win as store that sold winning slip revealed
LOTTO bosses are urging TellyBingo players in Roscommon to check their numbers after one player won big.
1
There have been two big wins over the past number of days for the county
Credit: Getty Images
One player in the county scooped up a €50k cash prize in
And today's draw revealed another lucky player has struck gold, scooping up the snowball prize.
Worth a total of €65,005, the west stay winning as one player won by getting a full house in 51 calls or less.
And
READ MORE ON MONEY
The golden ticket was purchased in the Tesco, Market Yard, Harrison Centre, Roscommon Town, Co. Roscommon.
The Snowball prize in TellyBingo is one of the game's most thrilling features.
The game starts with set amount of €10,000 and increases with each draw until someone wins it by marking off their numbers.
All the numbers marked off on their bingo card have to be within a specific number of calls in order to win.
Most read in Money
If a player achieves a Full House on or before the 45th call they win an additional €10,000.
The anticipation for fans grows as if the draw is not one, another €5000 is added to the prize.
Unclaimed Lottery Riches: Are You A Winner?
This will keep happening until some lucky person wins the big cash prize.
A spokesperson for the
Emma Monaghan said: 'What a fantastic way to kick-start your weekend with a €65,005 win!
"Following last week's Roscommon win, the National Lottery topped up the Telly Bingo prize fund by €30,000, so players were in for an extra treat.
"A huge congratulations to our latest winner!'
MORE LUCK TO COME
Over the last month of May, euro-million players across all of Ireland have had the best chances to win big.
A massive €250,000 can be won in all nine draws, with people from Dublin, Meath, Limerick and Wicklow all already winning amazing cash prizes.
You can feel the excitement building up around the Island as there are still five more of these €250,000 winnings to take home
If you want to be the next winner, get your ticket ahead of tonight's draw in stores or on the app.
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Irish Post
4 hours ago
- Irish Post
'The Irish take their ghost stories with them': Uncanny creator Danny Robins tells us about his Irish roots ahead of terrifying new tour
FOR someone who has found success by allowing other people to tell their personal stories on his paranormal series, Uncanny, it's perhaps no surprise that Danny Robins learned a lot about his Irish roots through stories handed down through his family over generations. "All the family I haven't met over in Ireland existed as stories," says the third-generation Irishman, who will embark on a new Uncanny live tour in September. "I felt like I was surrounded all the time by these brilliant tall tales and legends about all these different people. I knew that we had a great aunt who was a nun and a great uncle who was a monk and there were all these brilliant characters in the family, who you heard stories about all the time." One story in particular stands out, with Robins' pride in his Irish roots clear from the enthusiasm with which he relays these colourful tales. Danny Robins' grandparents emigrated from Ireland to Manchester (Image: Tim P. Whitby / Getty Images) "The family legend is that my grandad's mum was this eccentric character who was an opera singer and who was apparently the first ever female driver in Cork," he says. "She used to career around in a very old-fashioned car, perhaps slightly under the influence of sherry, so I'm told!" Robins reveals that his mother's family are all from Cork — 'a mixture of O'Sullivans and O'Learys' — while his grandparents were 'movers and shakers on the Cork social scene'. His grandfather played rugby for Munster and his grandmother was picked to play hockey for Ireland but never turned out due to the onset of the Second World War. His grandfather fought in the conflict after the couple emigrated to England and later set up a GP practice. "They went from being part of quite gentile, well-off Cork society to living in a really quite rough and poor part of Manchester," says Robins. "My grandad was a GP in an area where there were a lot of economic problems and worked to try and make the world a better place." Paranormal profession His grandfather's vocation may have been in saving lives, however, Robins' own career has taken him to the other end of the spectrum, very much in the realm of those who have shaken off this mortal coil. The writer and broadcaster is the creator of the wildly successful BBC podcast and TV series, Uncanny. He was already an accomplished comedy writer, working on everything from The Basil Brush Show to Mock the Week and creating the award-winning children's BBC comedy drama, Young Dracula. "I've done comedy shows and travel journalism and music documentaries and all sorts but I feel like I've really found my niche now," says Robins. "I've found the subject that has always fascinated me, that I've been obsessed by since I was a kid, love talking about and in giving myself over to that I'm just allowing myself to make the kind of programmes I'd want to listen to or want to watch. Finding an audience of people who feel the same way, it's just been magical really." Shona McGarty, Jay McGuiness, Laura Whitmore and Colin O'Donoghue during last year's Irish run of Robins' acclaimed play, 2:22 A Ghost Story (Image: Leon Farrell / Photocall Ireland) The paranormal has served him well, with his 2017 Haunted podcast capturing the ears of the Beeb, for whom he wrote and presented the 2021 Battersea Poltergeist drama-documentary. The podcast was based on the real-life story of Shirley Hitchings, who was reportedly tormented by a poltergeist in 1950s London. A request at the end of the series for listeners' own stories sparked a deluge of paranormal tales and from that, the Uncanny podcast and subsequent TV series and live show, I Know What I Saw, was born, while Robins also created the drama-documentary Witch Farm podcast for the BBC in 2022. On stage, Robins' award-winning 2021 supernatural play, 2:22 A Ghost Story, is preparing for a second British tour later this year, having also racked up six successful West End runs. The show, which sees two couples debate the existence of ghosts during a dinner party as they await recurring eerie phenomena that begins at the same time every night, had a successful run in Dublin last year with Irish stars Laura Whitmore and Colin O'Donoghue among the cast. The upcoming British tour, which kicks off in Manchester in August, will star second-generation Irishwoman Stacey Dooley. For Uncanny fans though, what is most eagerly-anticipated is the brand new Uncanny live tour, Fear of the Dark, with Robins saying fans should 'definitely expect a show that is unlike any other podcast live show'. The 'serious' paranormal show with Belfast roots For those unfamiliar with Uncanny, each episode sees a listener tell their own, deeply-personal story of the paranormal. However, this is not your stereotypical ghost-hunting show where presenters run around castles in night vision goggles, wielding spirit boxes and thermal cameras as psychic mediums seemingly channel ghosts on demand. If those shows are the equivalent of a cheap Hollywood jump-scare, Uncanny provides the genuine chills you might experience watching a tense, atmospheric chiller where the fear is in what you might uncover. Meanwhile, Robins — who admits to never yet having had his own paranormal experience — is aided not by a team of monomaniacal devotees but by two open-minded experts representing both Team Sceptic and Team Believer, usually Dr Ciarán O'Keeffe and Evelyn Hollow respectively. Nor are the subjects unreliable narrators or attention seekers but rational professionals you wouldn't normally expect to entertain the existence of ghosts, let alone have a chilling tale of their own locked away. Indeed, the very first episode of Uncanny heard from Ken, a top genetic scientist telling his story of an eerie apparition and poltergeist activity during his time in the Alanbrooke halls of residence at Queen's University Belfast in the 1980s. The episode, Room 611, went viral, sparking national headlines, uncovering corroborating stories and historical records and even creating the show's catchphrase: "Bloody hell, Ken!" Robins will be joined on the upcoming Uncanny: Fear of the Dark tour by the show's regular experts Dr Ciarán O'Keeffe, representing Team Sceptic, and Evelyn Hollow, representing Team Believer (Image: Sama Kai / Dave Benett / Getty Images) "It's what set up the whole world of Uncanny really, the fact that you had a very ordinary and very sceptical person who didn't believe in ghosts telling you that they felt they might've seen one," says Robins. "I always think of Belfast because it does feel like a place that's synonymous with Uncanny. There's quite a few different Irish people that come into the Uncanny picture at various points and I know in the next series that comes out in the autumn, we've got a really good Irish story as well." He adds: "Uncanny is still entertaining but it tries to take the subject a little bit more seriously. It also keeps an open mind so it's not just preaching to the converted. We're there, saying, 'It might be a ghost but it might not'. You hear from sceptics and believers and that has made it easier for a lot of people to talk. "There's a lot of people who wouldn't have felt comfortable going on some of those slightly louder, brasher more fantastical paranormal shows. I just felt there was a massive amount of people, you could almost say a kind of silent majority out there, who've had strange experiences and who didn't know how to talk about it. A lot of the emails I get are from people who say, 'I haven't even discussed this with my partner', people who didn't know how to talk about it, didn't know where to talk about it, were worried they'd be judged, that they'd be laughed at, ridiculed, even have their mental health questioned. Uncanny's created a safe space, it has legitimised being able to say this out loud." 'The Irish are natural storytellers' As well as Room 611, there are other Irish tales featured on Uncanny, all told by level-headed, rational, down-to-earth guests. They include The Ghost who Hated Parties, which recounts how an imposing presence terrifies visitors to a student house in Waterford in the 1980s. An Angel Called Bernie sees a software engineer and former Irish soldier tell how his grandmother intervenes from beyond the grave on numerous occasions to save people's lives. The Beast of Langeais hears from two men from Belfast, a teacher and a former police officer, who encounter a devilish hoofed creature during a school trip to France in 1983. Meanwhile, The Haunting of Tanfield House sees the daughter of staunch Catholics who emigrated from Ireland recall a terrifying childhood exorcism after she encounters poltergeist activity in a student house in Surrey. With yet another Irish tale included in the next series of Uncanny, Robins isn't surprised at the proliferation of stories from the Emerald Isle. "I think Ireland is a place with a really, really rich tradition of ghost stories, some fantastic ghost stories stretching back into folkloric things, tales of fairies and banshees and all those kind of things and I feel like we've only touched the tip of the iceberg in terms of exploring stories from Ireland on Uncanny," he says. Uncanny began life as a podcast before being adapted for television in 2023 and a first live show, I Know What I Saw, in 2024 (Image: Uncanny / Facebook) "One of the things I love about coming across is when we ask people for their local ghost stories and the things that have happened to them. Last time when we came to Dublin, we had some fantastic stories and I'm looking forward to hearing more again. There's loads of ghost stories but there's also just loads of brilliant stories. I think it's a way that people in Ireland express themselves. I think the Irish are natural storytellers, they have a gift of the gab, a wit and enjoyment of language and I think some of the greatest literature ever written has been written by Irish writers. Growing up and reading things by a whole host of different Irish writers, I definitely felt a kinship with it. I love that enjoyment of language that you see in a lot of work that's emanated from Ireland." Likewise, Robins sees that love of storytelling kept alive in the English cities where Irish people flocked to over the centuries, just as his own grandparents did. "I see a huge interest [in the paranormal] in Ireland," says Robins. "I sometimes say that there are a certain parts of the country that seem to love their ghost stories more. A part of the country that I always find I get great ghost stories from is Liverpool and of course [there was] a massive influx of Irish people and the same true of Manchester. Places over here in the UK where Irish people have settled, you get a lot of ghost stories. It's like the Irish take their ghost stories with them. It's one of the great things the Irish have given to the world, this huge treasure trove of stories that have emanated from this island." 'A really big, epic night out' So popular is Uncanny within those Irish hubs in Britain that the upcoming Uncanny: Fear of the Dark tour has had to add extra shows at venues in Greater Manchester and Liverpool to meet demand. The extensive tour gets underway in Salford on September 18 and takes in other cities with traditionally large Irish populations, including Birmingham and Glasgow. Dublin and, of course, Belfast are also on the schedule. However, while the tour will no doubt seek to replicate the successful format of the Uncanny podcast and TV show, Robins promises it will be so much more, an immersive experience utilising the full capabilities of its theatrical venues. He promises this will not merely be a normal Uncanny podcast episode recorded on stage in front of an audience. "This is way more theatrical in that this really brings these real-life ghost stories to life in a very theatrical way using video projection, amazing sound effects and illusions," he reveals. "You'll see things flying across the stage like poltergeist activity, so it's a proper theatrical show that embraces all the magic that you can achieve in a theatre. The first live show, I Know What I Saw, featured two real-life cases that were brand new and had never been heard on the pod or the TV series before. We examined them together and got the audience involved in contributing their theories. Fear of the Dark has taken that one step further. We're featuring a whole selection of new cases and will be looking at not just ghosts but UFOs, cryptozoology — that idea of strange beasts that may or may not exist, like the yeti and the Loch Ness Monster and Bigfoot — and examine these cases doing some experiments live in the theatre to test sceptic theories. We'll be looking at some classic cases of paranormal history as well, so very much like the TV series come to life on stage in front of you. Robins with the Best New Play Award for 2:22 A Ghost Story at the 2022 WhatsOnStage Awards (Image: David M. Benett / Dave Benett / Getty Images) "It's going to be a really big, epic night out where, whether you're interested in the paranormal or not, there's going to be so much to talk about — these fascinating human interest stories, amazing science, amazing history and hopefully a night that will really get you talking. That question, 'Do you believe in ghosts' or 'Do ghosts exist', it's the one question you could ask of anyone, anywhere in the world and spark a great debate. There'll be a chance for the audience to tell us their own ghost stories, we'll probably dive into some local stories and then you can ask us your questions." And for Robins, who listened to those stories of his own Irish heritage with awe and wonder, returning to the Emerald Isle will be like coming full circle. "It feels in a weird way like coming home, there is a huge cultural lineage for me stretching across the generations," says Robins, who obtained his Irish citizenship last year. "My mum was the first one of her family to not be brought up in Ireland and it's a place I feel a deep connection with and I can't wait to get there again. I've got lots of family in Dublin as well and I feel like I'm connecting, plugging into my family origins when I come that way. When we head to Belfast, I feel like I'm tapping into the very birthplace of Uncanny with the Room 611 story, so they're both destinations on the tour that have huge significance for us." For tickets and more information on Uncanny: Fear of the Dark, please click here. To book tickets for 2:22 A Ghost Story, please click here. All Uncanny podcast episodes can be found on the BBC website by clicking here and are also available on the BBC Sounds app, while the Uncanny TV series is available on iPlayer by clicking here.
Extra.ie
20 hours ago
- Extra.ie
Bond girl Alison Doody reunites with a View to a Kill co-star to mark 30 year anniversary
Irish star of the silver screen Alison Doody who shot to fame in the 90's with a series of bad girl roles in cult films like Indiana Jones and James Bond, has reunited with one of her Bond girl co-stars to mark 30 years since she starred in A View to a Kill. Southside stunner Alison, first made her Hollywood mark when she was cast as part of the 007 franchise, where she played to perfection the role of baddie Bond girl Jenny Flex in A View to a Kill. Now three decades on from when A View to A Kill first hit movie theatres around the globe, Alison has reunited with her View to a Kill co-star Papillon Soo Soo in the French villa where much of the film was shot, to mark the movie's milestone. Irish star of the silver screen Alison Doody who shot to fame in the 90's with a series of bad girl roles in cult films like Indiana Jones and James Bond, has reunited with one of her Bond girl co-stars to mark 30 years since she starred in A View to a Kill. David Buchan/Variety/Penske Media via Getty Images) In the film Alison played Jenny Flex, a beautiful but deadly bodyguard to the film's main machiavellian character Max Zorin played by Christopher Walken. And in keeping with all great Bond movie plots, where good trumps evil and the bad guys and girls invariably meet a grisly end, Alison met her fate when she is double-crossed and left to die. But while she may have been killed off-screen, in real life she lived on and is now reliving her bond girl days in the French villa where the movie was made. Pic: Laurence Wreford/Instagram And thirty years after her big screen debut Alison demonstrated she has those killer looks that shot to international super stardom. Dressed to kill in a sleek black power suit with towering patent black heels Alison is movie starlet personified. Alison Doody. Pic: After her James Bond appearance Alison went on to star alongside Harrison Ford in Indiana Jones and the Last Crusade , where once again her angelic platinum blonde doe-eyed beautiful looks concealed her deadly evil side .
Irish Examiner
a day ago
- Irish Examiner
‘Feels bigger than herself': the importance of Taylor Swift's latest victory
It goes without saying, but Taylor Swift has scored a lot of victories in the past few years. There was, first and foremost, the blockbuster Eras Tour, which became the bestselling concert tour of all time and a certifiable cultural era in itself. She released the bestselling concert film of all time, with a distribution model that upended the theatrical market. There was yet another album of the year Grammy. She turned the Super Bowl into the ultimate rom-com. Even with mediocre critical reviews, her most recent album, The Tortured Poets Department, set more streaming records than I can count. Read More Taylor Swift announces she has acquired the rights to all of her music All of these were beyond impressive, if at times threatening overexposure and annoyingly at odds with her self-styled narrative as an underdog – the emotionally astute lyricist battling against a sliding scale of villains, from careless boys, bitchy girls and heartbreak to gossip, criticism and misogynistic double standards. Often, the targets are petty; I never want to hear a Kim Kardashian reference again. But on Friday, with the announcement that she purchased the master recordings of her first six albums, Swift notched arguably the most significant victory of her career, over the one remaining foe worthy of her stature: the artist-devaluing practices of the music industry. For those who do not follow what has become canon in Swift's massive fandom, ownership of her masters has been the animating force behind the last six years of Swift's career, ever since Scooter Braun, most famous as the music manager behind Justin Bieber, purchased them from Swift's former label Big Machine Records for $300m in 2019. Like virtually all young artists, Swift had signed a deal that did not entitle her to ownership of her recordings, just royalties from their sales. The deal 'stripped me of my life's work', Swift wrote at the time, and left her catalog 'in the hands of someone who tried to dismantle it'. (Braun used to manage longtime Swift antagonizer Kanye West.) Taylor Swift performs during her Eras Tour. Picture: Charles McQuillan/TAS24/Getty Images for TAS Rights Management For the following six years, even after Braun sold the catalog to private equity group Shamrock Capital for $360m, Swift re-recorded each album under the moniker 'Taylor's Version', a business masterstroke that at once devalued the originals, ginned up nostalgia and set the stage for the Eras Tour. The ownership of her master recordings, as well as her all her music videos, concert films, album art, photography and unreleased songs, is, in Swift's own words, deeply meaningful on a personal level. 'To say this is my greatest dream come true is actually being pretty reserved about it,' she said in a handwritten letter posted on her website to announce the acquisition. 'All I've ever wanted was the opportunity to work hard enough to be able to one day purchase my music outright with no strings attached, no partnership, with full autonomy.' (Swift, the daughter of a Merrill Lynch stockbroker and forever a savvy dealmaker, also thanked Shamrock Capital for being 'the first people to ever offer this to me' and praised the private equity firm for being 'honest, fair, and respectful'.) But it is also a victory that, for once in this era, feels bigger than Swift herself. Swift owning her masters is a small step toward transparency and artistic integrity in the music industry, and one made possible by her immense wealth and power. The fact that we're even talking about ownership of master recordings, that millions of music listeners now question the business standard of recording industry contracts, is a testament to the power Swift can wield when she chooses a worthy target, even if that target often takes direct form in the figure of Braun (who, for what it's worth, said he's 'happy for her'.) 'I'm extremely heartened by the conversations this saga has reignited within my industry among artists and fans,' Swift wrote. 'Every time a new artist tells me they negotiated to own their master recordings in their record contract because of this fight, I'm reminded of how important it was for all of this to happen.' This is Swift in her best crusader mode – grounded in the work, clear-eyed on the stakes, speaking as a songwriter in perhaps the one arena where she remains an underdog with something to fight for. Though often overshadowed by gossip and her personal life, in ways both self-inflected and expected by a culture that loves to see women fail, her flexing of her exceptional clout over the music industry for artists rights is one of her most enduring fights. It dates back at least to an open letter to Apple Music withholding her album 1989 from the company's streaming service because it would not pay royalties to artists during the service's first three months. (Apple quickly caved.) Or her Billboard's Woman of the Year speech in 2014 in which she called for fairer compensation of writers, musicians and producers – a point she cited five years later when accepting Woman of the Decade in 2019, in a speech that is worth revisiting for the contrast between which fights resonate, and which rankle. Taylor Swift arrives on to the Aviva stage for the first of her three sold-out Dublin gigs as part of her Eras tour. Picture: Chani Anderson The part about adjusting her sound and image to appease critics? Flop, mild applause, one of many instances where Swift evinces a sensitivity to criticism and bone-deep desire for popularity that is so incongruous with her stature as arguably the most famous woman on the planet that I find it endearing, the most human element of her incomprehensible celebrity. The part where she bluntly calls out 'the unregulated world of private equity coming in and buying up our music as if it is real estate, as if it's an app or a shoe line'? It's the most strident and fair she's ever sounded, and it holds up. Even if the purchase of her masters feels a bit like settling out of court before the full trial – the re-record project remains unfinished – this is the win that could have the most salient downstream effect for both artists and people who appreciate music. Similar to how her criticism of Ticketmaster, and fan frustration over the experience of buying tickets for the Eras Tour, led to efforts to reform ticket transparency and break up the Live Nation monopoly, this is power appropriately applied upward. 'Thank you for being curious about something that used to be thought of as too industry-centric for broad discussion,' she wrote to her fans. 'You'll never know how much it means to me that you cared. Every single bit of it counted and ended us up here.' Swiftie or no, this is a Swift victory worth cheering for. - The Guardian Read More Aviva stadium company enjoys Taylor Swift and Pink dividend as operating profits increase to €7m
