In an exclusive interview, actor George McMahon, known for his role as Mondo in the popular Irish soap opera Fair City, shared insights into the show’s filming process and expressed his desire to see a beloved former cast member return to the series. Speaking to RSVP Live, McMahon provided fans with a candid look at the behind-the-scenes dynamics of the long-running programme.

Filming Insights and Actor Challenges

McMahon explained the challenges actors face during filming, particularly the repetitive nature of shooting scenes. “There’s a lot of repetition,” he noted. “You can film something so many times and think you’ve moved onto the next scene, but they have just changed camera angles and are doing it all again from a different perspective.”

He emphasized the skill required to maintain freshness in performances, stating, “That is where our skill comes in as actors, to keep things fresh and make it sound like it is the first time we have said those lines each time.” This dedication to their craft is a hallmark of the training actors undergo in preparation for such roles.

Dreaming of Iconic Returns

During the interview, McMahon revealed his wish for Hilda Fay, who portrayed Tracey McGuigan on the show, to make a return. “She is iconic and I think she is one of the finest actors that Ireland has ever produced,” he remarked. “If I got a chance to dance with her on set again, I would absolutely love that.” This sentiment reflects the strong camaraderie often felt among cast members in long-running series.

Additionally, McMahon proposed a storyline that would see his character and his on-screen father, Ray, venture to the Gaelteacht region. He suggested this crossover episode could feature them enjoying pints at Tígh Thaidhg’s in Ros na Rún. “It is the crossover episode we all need, and I am putting it out there. We have to make it happen,” he insisted, showcasing his enthusiasm for creative storytelling.

As Fair City continues to evolve, recent episodes have captivated viewers with dynamic plotlines. In the latest installment, tensions rose between characters Mairead and Dean as their complicated relationship was explored. Following a confrontation about Dean’s connection to another character, Ger, Mairead expressed her dissatisfaction with her marriage to Damien.

After a brief rekindling of their romance, Mairead and Dean agreed to meet again, leaving viewers eager to see how their relationship develops. Meanwhile, the subplot involving Holly, who sought a childminder for her son Milo, added another layer of intrigue, with Renee recommending Ellie for the job. Holly was pleased with Ellie’s rapport with Milo, despite Renee’s tendency to get overly involved.

As Fair City progresses, McMahon’s reflections on his experience and aspirations provide a fascinating glimpse into the life of a soap opera actor, highlighting both the challenges of the craft and the joy of shared moments with fellow performers.

Enda Walsh’s latest theatrical installation, titled The Baby’s Room, captivates audiences with a poignant exploration of identity and self-awareness. Currently running until July 27, 2025, at the Bailey Allen Hall in Dublin, this immersive piece is part of the ongoing series known as Rooms, designed for the Galway International Arts Festival.

The installation presents a meticulously crafted environment resembling a child’s room, complete with a cot, changing table, and an array of toys. The setting evokes nostalgia with its retro carpet and Victorian prints adorning the walls. Yet, the focal point is not merely the room itself but the story of Hannah, who, at 32, finds herself on the brink of marriage, grappling with a moment of existential panic.

A Journey Through Time

In this intimate experience, audiences, limited to small groups, spend approximately 15 minutes within the room. They listen to an audio monologue that offers a glimpse into Hannah’s consciousness. Voiced by Kate Gilmore, known for her standout performance in Safe House at the Abbey Theatre, the narrative unfolds as Hannah rewinds through her life, confronting moments of regret and self-doubt.

The audience witnesses her reflections as she realizes that much of her life has been shaped by the expectations and achievements of others. The monologue reveals a rapid descent into her past, where Hannah grapples with feelings of inadequacy, having lived in the shadow of her sister and feeling disconnected from her peers who have seemingly moved ahead in life.

Moments of Reflection and Realization

The emotional weight of The Baby’s Room lies in its ability to encapsulate a universal struggle: the search for one’s voice and purpose. As Hannah confronts her past, she articulates a profound sense of loss regarding the life she envisioned but never pursued. The experience is akin to an intense moment of self-realization, where the protagonist acknowledges that she has often been passive, lacking direction.

“I look at myself – no mortgage, my car is falling apart, I have no money in the bank,” Gilmore voices, encapsulating Hannah’s turmoil.

This theatrical installation is not just a narrative; it is an invitation to reflect on one’s own life choices and the paths not taken. Walsh and artistic director Paul Fahy continue to enrich the Rooms series, which has already seen successful premieres in locations such as Washington, New York, and London. Each vignette built within this series serves as a powerful reminder of the diverse narratives that shape human experience.

The Baby’s Room offers a unique theatrical encounter, blending intimate storytelling with immersive design. For those in Dublin, it represents an opportunity to engage with a moment of introspection that resonates far beyond the confines of the stage.

An estimated 10,000 people marched through the streets of Dublin on July 19, 2025, in what has been described as the largest National March for Palestine to date. Organized by the Ireland-Palestine Solidarity Campaign (IPSC) and supported by over 170 civil society organizations, the demonstration began at Parnell Square and concluded at Leinster House. It marked the 16th national protest since October 2023, with participants calling on the Irish government to hold Israel accountable for its actions in Gaza, where more than 58,000 Palestinians are reported to have lost their lives in the past 20 months.

Protesters carried banners and chanted slogans urging the Central Bank of Ireland to stop facilitating Israeli government bonds. As the march reached the Dáil, a rally featured prominent speakers and performances, highlighting personal stories from those directly affected by the conflict.

Among the speakers was Mary Manning, a Dunnes Stores worker known for her historic protest against apartheid South Africa. She drew connections between the anti-apartheid movement and current efforts for Palestine. Marah Nijim, a 23-year-old student from Gaza, shared her painful experience of having her brother hospitalized due to starvation, stating, “It’s kind of heavy for me to talk now because I just got the news that my brother is in hospital because of a lack of food.”

Other speakers included Gary Gannon, a Social Democrats TD, and representatives from various organizations, who echoed the sentiments of the crowd. The core demand of the march was for the full implementation of the Occupied Territories Bill, which seeks to prohibit trade with illegal Israeli settlements in occupied Palestinian territories. Although the Irish government plans to advance the Bill this autumn, campaigners are pushing for a comprehensive ban on trade in both services and goods.

Zoe Lawlor, Chairperson of IPSC, criticized the government for what she termed “hypocrisy and cowardice.” She highlighted the government’s refusal to grant visas to 33 young Palestinian GAA players and performers from the Lajee cultural centre in the West Bank. “They are blocking the students in Gaza who have already been accepted to Irish universities,” she stated.

Lawlor also condemned the use of Shannon Airport by the US military for arms transport, arguing that it implicates Ireland in Israel’s actions. “Israel does not commit this genocide alone. It does so with the weapons, the money, and the political cover it gets from the US and the EU,” she added.

The timing of the march coincided with escalating violence in Gaza, including reports of 93 people killed by Israeli fire while queuing for food on July 20. The Israeli military recently entered the southern and eastern districts of Deir Al-Balah, claiming that hostages held by Hamas may be located there.

International diplomatic efforts are also underway, with plans for a UN conference in New York later this month co-hosted by France and Saudi Arabia, where Palestine is expected to be formally recognized by several states. Despite these developments, demonstrators in Dublin and beyond insist that mere recognition of Palestine is insufficient. They demand concrete actions, including sanctions, to help put an end to the ongoing violence and occupation.

The momentum of the protest reflects a growing movement advocating for Palestinian rights, emphasizing the need for urgent action from the Irish government and the international community.

Dee Devlin has reportedly received more than €1 million in director’s fees from McGregor Sports and Entertainment, the management company founded by her partner, mixed martial artist Conor McGregor. This substantial sum has been accrued over a three-year period, highlighting Devlin’s significant role in the operations of the company.

The fees represent a share of the total compensation allocated to the board of directors, which has been instrumental in managing McGregor’s diverse business interests. These include not only his fighting career but also various ventures in the fields of whiskey, fashion, and fitness. The financial details were disclosed in documents filed with the Companies Registration Office in Dublin, Ireland.

Financial Insights on McGregor’s Business Ventures

McGregor Sports and Entertainment has emerged as a lucrative enterprise, reflecting the brand’s global appeal. The €1 million in fees to Devlin underscores her importance in the company’s strategic planning and decision-making processes. The management firm has played a critical role in elevating McGregor’s brand, particularly following his rise to fame in the Ultimate Fighting Championship (UFC).

In addition to her directorial duties, Devlin has been a key figure in McGregor’s personal and professional life, supporting him throughout his career. Her involvement in the business reflects a shared vision for their future endeavors and a commitment to expanding the McGregor brand.

Implications for the Future of McGregor Sports

As the company continues to expand, the financial success illustrated by Devlin’s earnings may pave the way for further investment and growth. The management team, including Devlin, is expected to explore new opportunities that align with McGregor’s evolving brand and market presence.

This significant financial reward for Devlin not only highlights her contributions but also raises questions about the future direction of McGregor Sports and Entertainment. With McGregor’s brand value estimated in the hundreds of millions, the growth potential remains substantial.

The financial disclosures serve as a reminder of the interconnectedness of personal and professional success within the realm of sports management. As the company navigates the complexities of the entertainment industry, both McGregor and Devlin are likely to remain at the forefront of its developments, shaping the future of their ventures together.