Irish journalist, literary editor, and drama criticMr Fintan O’Toole.
The fifth annual “Circling The Square”, Poetry and Music Festival gets underway in Thurles, Co. Tipperary, this coming Friday evening, 16th October 2026, at 6:30pm.
The much-anticipated three-day festival, running from Friday 16th to Sunday 18th October, promises yet another wonderful celebration of poetry, literature and live music in the heart of Thurles Town.
Established to honour the life and literary legacy of the late Thurles poet and critic Dennis O’Driscoll(1954–2012), the festival has grown into one of Ireland’s most highly regarded literary gatherings, attracting acclaimed poets, writers and musicians.
Saturday’s programme continues at The Source Arts Centre, Cathedral Street, Thurles, (Eircode E41 A4E8), featuring an impressive line-up of poets and musicians, together with a special discussion entitled Fieldwork: ‘The Public Life of Seamus Heaney‘, involving Mr Fintan O’Toole, (Latter biographer of Seamus Heaney), Mr Mick Heaney(Latter son of poet Seamus Heaney), and Mr Declan O’Driscoll(Latter brother of the late poet Dennis O’Driscoll).
This will be followed by readings from poets Maija Mäkelä, Adam Wyeth, Katie Donovan, Stephen Sexton and Catriona O’Reilly, plus music by classical flautist Emma Roche.
With a rich combination of poetry, music and warm Tipperary hospitality, “Circling The Square” promises to be yet another memorable cultural occasion for Thurles and its environs. Everyone is warmly invited to support this wonderful celebration of literature and the arts in Thurles, Co. Tipperary.
Further information and ticket details for Saturday’s events are available HERE – {Tel- 0504 90204}
The entertainment world is mourning the heartbreaking loss of American actor and producer Roy Frank “RJ” Mitte III, best known for playing Walter White Jr., also known as Flynn, in the critically acclaimed television series “Breaking Bad”.
Mitte died yesterday Monday, 12th October 2026, aged just 34, in Texas. TMZ has reported that his death was by suicide, citing a county official, although his representatives have not publicly confirmed the cause of death. The circumstances remain under investigation.
For millions of viewers, Mitte will forever be remembered as the son of Walter White, played by Bryan Cranston, in one of television’s most celebrated dramas. Appearing throughout all five seasons of Breaking Bad, Mitte brought warmth, vulnerability and emotional honesty to Walter Jr., a young man struggling to understand the increasingly destructive behaviour of his father. His character became an important emotional centre of the series, often representing the innocent family members caught in the consequences of Walter White’s decisions.
Away from the cameras, Mitte made an equally meaningful impact. Living with cerebral palsy himself, he used his growing fame to challenge stereotypes, champion disability rights and encourage greater representation of disabled actors in film and television. His career extended beyond Breaking Bad, but it was his portrayal of Walter Jr. that introduced him to audiences around the world and secured his place in television history.
At just 34, his passing is a devastating loss for his family, friends, colleagues and the many fans who admired both his talent and his advocacy. His death is also a reminder of the importance of compassion, mental health awareness and looking out for those around us. We should never assume we know what another person may be experiencing.
Our thoughts are with RJ Mitte’s loved ones during this incredibly difficult time.
Lyrics and Vocals: The late American singer and songwriter of country-folk music John E. Prine (1946–2020)
John Prine.
One of the things that made John Prine such a wonderful songwriter was his ability to take something completely ridiculous and turn it into something funny, thoughtful, and strangely moving. The song hereunder came about because John was genuinely annoyed when scientists decided that Pluto wasn’t a planet any more. He figured Pluto had been doing a perfectly good job for years, and it seemed a bit unfair to suddenly demote the poor thing. But underneath the humour, there’s something deeper here about a world that’s always changing, people who think they know everything, and the comfort of having your own little place to escape to. Only John Prine could bring all that together in one song.
The Lonesome Friends of Science.
The Lonesome Friends of Science.
The lonesome friends of science say, “The world will end most any day”. Well, if it does, then that’s okay, ‘Cause I don’t live here anyway. I live down deep inside my head, Where long ago I made my bed. I get my mail in Tennessee, My wife, my dog, and my family. Now poor planet Pluto now, He never stood a chance no how, When he got uninvited to, The interplanetary dance. Once a mighty planet there, Now just an ordinary star, Hangin’ out in Hollywood, In some ol’ funky sushi bar. The lonesome friends of science say, “The world will end most any day”. Well, if it does, then that’s okay, ‘Cause I don’t live here anyway. I live down deep inside my head, Where long ago I made my bed. I get my mail in Tennessee My wife, my dog, and my kids and me. The Vulcan lives in Birmingham. Sometimes he just don’t give a damn. His head is full of bumblebees, His pride hangs down below his knees. Venus left him long ago, For a guy named Mars from Idaho. The Vulcan sent a wedding gift, Three-legged stool and a wheelchair lift. The lonesome friends of science say, “This world will end most any day”. Well, if it does, then that’s okay, ‘Cause I don’t live here anyway. I live down deep inside my head, Where long ago I made my bed. I get my mail in Tennessee My wife, my dog, my kids and me. Those bastards in their white lab coats, Who experiment with mountain goats, Should leave the universe alone, It’s not their business, not their home. I go to sleep and it never rains. My dog predicts hurricanes, She can smell a storm a mile away, That’s all the news we have today. The lonesome friends of science say, “The world will end most any day”. Well, if it does, then that’s okay, ‘Cause I don’t live here anyway. I live down deep inside my head, Where long ago I made my bed. I get my mail in Tennessee, My wife, my dog, my kids and me.
The Irish Government has decided that RTÉ will receive €240 million in public funding in 2027 instead of the €260 million previously promised.
That statement raises two important questions: Is the Government justified in holding back the extra €20 million? And has RTÉ delivered the reforms it promised in return for such substantial public funding?
RTÉ Director General Mr Kevin Bakhurst strongly disagrees with the Government’s decision. He says RTÉ planned its future on the basis of a three-year Government funding commitment and that changing the figure at this late stage will affect its five-year strategy. And he has a point. But taxpayers are also entitled to look at what RTÉ promised to deliver in return. What happened to the promised staff reductions? One of RTÉ’s major reform commitments was to become a smaller and more efficient organisation. RTÉ’s strategy proposed reducing its workforce by up to 400 positions, roughly 20% of its workforce, over the five-year transformation programme. Its 2025 Voluntary Exit Programme was therefore an important first test. RTÉ received 325 applications from staff wishing to leave, and RTÉ itself said its target for 2025 was “over 100” exits under the voluntary scheme. What actually happened? Only 67 employees left through the Voluntary Exit Programme in 2025. RTÉ also abolished or “suppressed” another 30 posts, giving a headline figure of 97 positions removed.
But there is an important distinction. Sixty seven people actually left through the redundancy programme. The additional 30 were posts removed following other departures or organisational changes. Therefore, against RTÉ’s own stated target of more than 100 voluntary exits in 2025, only 67 were achieved. That means the actual redundancy programme delivered roughly two-thirds of its first-year target. And RTÉ still has a very considerable distance to travel if it is to achieve its overall ambition of reducing staff numbers by up to 400.
RTÉ’s own internal review subsequently acknowledged that the voluntary exit scheme failed to produce departures on the scale required. It found that the criteria were restrictive, the application period was too short and that, if the experience were repeated, RTÉ might have to make around 500 offers to achieve 300 exits. That surely strengthens the Government’s argument that the promised transformation has not progressed as quickly as expected.
What about RTÉ’s €22.5 million surplus?
RTÉ reported a €22.5 million surplus for 2025. At first glance that produces an obvious question: Why does an organisation reporting a €22.5m surplus need another €20m from Government? The answer is more complicated. RTÉ says some planned expenditure was postponed into 2026 and that part of the surplus arose from accounting adjustments rather than cash sitting unused. It also says €9.6 million resulted from the release of accounting provisions and accruals, so that portion should not simply be regarded as spare cash.
Nevertheless, taxpayers are entitled to ask:
Exactly which projects were postponed?
How much did each project cost?
How much of the €22.5m surplus represented genuine underspending?
And why isn’t that information presented in a simple, easily understood breakdown?
RTÉ receives much more than €240 million overall. There is another important point often overlooked in this debate. RTÉ does not operate on €240 million alone. In 2025 its total revenue was approximately €383.4 million. That included licence-fee income, additional Government funding and substantialcommercial income from advertising and other activities. So the €240m being discussed is RTÉ’s public-funding allocation, is not the broadcaster’s entire annual income. RTÉ operates television channels, radio stations, news services, RTÉ Player, digital services, regional reporting, Irish-language broadcasting, sport, drama, entertainment, documentaries and cultural programming. Nobody seriously suggests all of this can be provided for nothing. But when hundreds of millions of euro of public money are involved, the public is entitled to know exactly what it is buying.
Where is all the money going? There should be a straightforward annual statement telling taxpayers:
How much goes on staff?
How much goes on management?
How much goes on television and radio programmes?
How much goes on sports rights?
How much goes to independent producers?
How much goes on buildings and property?
How much goes on technology?
How much has actually been saved?
And crucially, How many of the promised redundancies and staff reductions have actually happened?
The Government certainly has questions to answer. It publicly committed itself to predictable multi-year funding and RTÉ understandably made plans on that basis, but RTÉ also made commitments. It promised a smaller, more agile organisation and proposed reducing staffing by up to 400 positions. In the first major voluntary redundancy programme, RTÉ sought more than 100 exits. Despite receiving 325 applications, only 67 people ultimately departed under that scheme. That cannot reasonably be described as the level of progress originally envisaged. Public funding should come with public accountability. So perhaps the real question is not simply whether RTÉ should receive €240m or €260m.
It is this: Before another €20 million of taxpayers’ money is handed over, shouldn’t RTÉ be required to show clearly how the money already provided has been spent, why its redundancy programme fell short of its own target, how it intends to achieve the promised reduction of up to 400 positions and exactly what measurable reforms the public/taxpayer is getting in return?
Two of County Tipperary’s most famous visitor attractions, Cahir Castle and the Rock of Cashel, have an unexpected connection to a new showbusiness love story after “The Wayfinders” co-stars Issy Knopfler(English television actress and producer) and Sam Buchanan(English television and film actor) announced their engagement.
Issy, the daughter of ‘Dire Straits’ legend Mark Knopfler, and actor Sam Buchanan met while working on the fantasy adventure series, which made extensive use of Ireland’s and Tipperary’s historic landscapes.
Cahir Castle.
Of particular interest to Tipperary is the fact that filming for “The Wayfinders” took place at Cahir Castle and beside the spectacular Rock of Cashel. The production also filmed around counties Limerick and Clare, using the Mid-West’s castles, woodland and ancient sites to create its medieval fantasy world. Battle scenes were among those shot in the Cashel area.
That gives two of Tipperary’s best-known tourist landmarks another screen credit. Cahir Castle, dramatically positioned on a rocky island in the River Suir, is one of Ireland’s largest and best-preserved medieval castles, while the Rock of Cashel is among the country’s most instantly recognisable historic sites. Their imposing towers, stone walls and remarkable settings make both natural choices for a fantasy production centred on a medieval world.
Rock of Cashel.
“The Wayfinders” follows three high-school students who are transported into a dangerous realm of swords, magic and monsters and must find a route home. Issy plays ‘Aurora’, while Sam stars as ‘Kavan’. Their working relationship developed into romance, and the couple have now revealed their engagement following Sam’s proposal during a romantic break. The announcement was made in early October 2026, two years after the pair first met while working on the series. Both actors were already familiar faces. Sam previously appeared as ‘Fitzy’ in EastEnders, while Issy’s television credits include “Silent Witness” and “Before We Die”. The couple have also moved behind the camera together, launching independent production company ‘Silent Knight Productions’, in November 2025.
For Tipperary, however, the story provides another reminder of the extraordinary screen potential of Cahir Castle and the Rock of Cashel; two historic attractions now forming part of the backdrop to a fantasy series and the real-life romance that grew from it.
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