Rachael

Doing my best to do what is right every day in these crazy times.

[Rachael @Irishintegrity]

@indepdubnrth I joined Aontu amidst the whole covid saga. I never thought I would join a political party but Peadar has principles and integrity like yourself

[Aontú @AontuIE]

Simon Harris should resign.

We are deeply saddened to hear of the death of Harvey Morrison Sherratt.

@Toibin1

#aontú #scoliosis

[Rachael @Irishintegrity]

@IrishRail The station master organised a taxi for me to Dublin. I am so grateful. I was still late and had to wait hours but I got seen and sorted eventually. Healing now. Thank you for going the extra mile

[Aontú @AontuIE]

Only Aontú is holding this government to account.

They are wasting your money.

Don't waste your vote.

Vótáil Aontú #1

[Rachael @Irishintegrity]

@markpower65 @AontuIE Remember, failed lockdowns and forced MRNA vaccines? Those weren't tough decisions. They were despicable decisions, and Aontu fought you on them like a proper opposition party should.

[Michael McNamara MEP @McNamaraMEP]

I am asking for your support to continue to work on the issues that matter on your behalf, but in Europe where more and more of the decisions that affect our lives are being made.
https://t.co/GztrOKUjo4

[Dr. Eoin Lenihan @EoinLenihan]

Powerful campaign ad from Michael McNamara. No doubt he'd do the job in Europe.
👇👇👇

[Rachael @Irishintegrity]

@mullin54321 @EoinLenihan He was anything but silent, Lisa. He was one of the few who spoke out along with Mattie McGrath. Here's the proof. https://t.co/YXDtXHWe9P

[Rachael @Irishintegrity]

I just supported @west_awake1 on @buymeacoffee! 🎉

Gerry O'Neill is taking a counter narrative look at the world we live in....... You can support by buying a coffee here — https://t.co/OaL7ZSRdNo

[Rachael @Irishintegrity]

#freeFatherTes

[Graham Linehan @Glinner]

A few years ago I had an idea for a stage musical based on Father Ted, an idea I felt was equal to and respectful of the enduring affection many held for the residents of Craggy Island’s parochial house.

The story touched on themes that seemed big enough for a West End stage. Jimmy Mulville of Hat Trick Productions @HatTrickProd was excited by my pitch and accompanied me to Dublin to convince my old writing partner Arthur Mathews to embark with us on the project. We then enlisted Neil Hannon of The Divine Comedy, who like Arthur, was one of my oldest friends and one whose development as a songwriter I had watched with delight over the previous three decades.

We began work on a script, encountering all the usual obstacles. Our first drafts were messy and overlong but soon we discovered the key to each character's story and it came alive.

Neil started delivering songs—each one better than the last. Through them, Ted revealed new, hilarious depths to his frustration and Mrs.Doyle had an absolute showstopper that I’m sure would have brought the audience to their feet.

All this to carry the audience merrily along to what I felt was the show's greatest strength, its ending. It was an ending that wrapped up the characters’ stories once and for all, and perhaps shook off some of the gloom associated with the show since Dermot Morgan’s tragic death only days after our final wrap party in 1998.

While we were working on the show, trans activists were busy trying to destroy my life.

I had noticed some years before that troubled children were placing themselves on an irreversible medical pathway that was deeply damaging to their health and peace of mind. In this, they were encouraged by legacy LGB organizations that had catastrophically lost their way. When I began speaking up about it, trans activists reacted as they always do, by contacting possible employers, smearing my name in propaganda outlets like Pink News, which would later come after JK Rowling when she entered the fray. The police were sent to my door multiple times. I was sued by a succession of activists, one of whom was a child predator and vexatious litigant.

But I felt that my colleagues, who were so close to me during all this, who saw the effect that the abuse was having on my life and my ability to make a living, would stand by my side.

That didn’t happen.

The last time I worked on the Father Ted musical. We presented the whole show to executive producer Sonia Friedman and her team. The story was almost there. The songs were exquisite. We'd even worked on a few rudimentary dance routines to give an idea of what audiences would see on stage. But then, I received a call to go to London and the Hat Trick offices. There I was told to remove my name from the show or it would not be made. Jimmy Mulville offered me £200,000 to do so. The money would have been incredibly useful as my other means of earning a living had largely disappeared.

But in the end, I refused for many reasons, not the least of which was that I did not want the legacy of Father Ted to be built on the ruined bodies of gay, autistic, abused and gender-nonconforming children.

Recently, my position in this debate has been vindicated by the findings of the #CassReport , which found that ‘trans healthcare’ in the UK has an inadequate evidence base, a toxic atmosphere within gender clinics that led to whistleblowers being vilified and smeared, and a rush to medicalize children without sufficient regard for the long-term consequences of such interventions.

Once at a meeting, Sonia Friedman, said to me “You’re on the wrong side of history.” I never received an apology from her. I would still appreciate one.

My beliefs—that biological sex is real and important, that women need single sex spaces for their safety and privacy, that their sports should be fair and finally that children should not be subjected to experimental medical protocols—are specifically protected in British law. Furthermore, polling shows that the same views are held by the majority of the British population. Mulville will not explain the problem he has with these views because he knows it will put him out of step with the majority of decent people in this country.

For too long now, Mulville has been sitting on a musical that would be a surefire hit. He is doing this for no other reason than to please the gender cultists on his staff and in the wider, captured media landscape. It’s pathetic, cruel and cowardly. If he doesn't want to make the show, he should get out of the way and let me do it.

Please share this message with your networks and use the hashtag #FreeFatherTed when you can. While it might not result in the return of my work, it will certainly make it more challenging for Mulville (and Friedman) to pretend they had nothing to do with a disgraceful act of preemptive cultural vandalism.

[Graham Linehan @Glinner]

A few years ago I had an idea for a stage musical based on Father Ted, an idea I felt was equal to and respectful of the enduring affection many held for the residents of Craggy Island’s parochial house.

The story touched on themes that seemed big enough for a West End stage. Jimmy Mulville of Hat Trick Productions @HatTrickProd was excited by my pitch and accompanied me to Dublin to convince my old writing partner Arthur Mathews to embark with us on the project. We then enlisted Neil Hannon of The Divine Comedy, who like Arthur, was one of my oldest friends and one whose development as a songwriter I had watched with delight over the previous three decades.

We began work on a script, encountering all the usual obstacles. Our first drafts were messy and overlong but soon we discovered the key to each character's story and it came alive.

Neil started delivering songs—each one better than the last. Through them, Ted revealed new, hilarious depths to his frustration and Mrs.Doyle had an absolute showstopper that I’m sure would have brought the audience to their feet.

All this to carry the audience merrily along to what I felt was the show's greatest strength, its ending. It was an ending that wrapped up the characters’ stories once and for all, and perhaps shook off some of the gloom associated with the show since Dermot Morgan’s tragic death only days after our final wrap party in 1998.

While we were working on the show, trans activists were busy trying to destroy my life.

I had noticed some years before that troubled children were placing themselves on an irreversible medical pathway that was deeply damaging to their health and peace of mind. In this, they were encouraged by legacy LGB organizations that had catastrophically lost their way. When I began speaking up about it, trans activists reacted as they always do, by contacting possible employers, smearing my name in propaganda outlets like Pink News, which would later come after JK Rowling when she entered the fray. The police were sent to my door multiple times. I was sued by a succession of activists, one of whom was a child predator and vexatious litigant.

But I felt that my colleagues, who were so close to me during all this, who saw the effect that the abuse was having on my life and my ability to make a living, would stand by my side.

That didn’t happen.

The last time I worked on the Father Ted musical. We presented the whole show to executive producer Sonia Friedman and her team. The story was almost there. The songs were exquisite. We'd even worked on a few rudimentary dance routines to give an idea of what audiences would see on stage. But then, I received a call to go to London and the Hat Trick offices. There I was told to remove my name from the show or it would not be made. Jimmy Mulville offered me £200,000 to do so. The money would have been incredibly useful as my other means of earning a living had largely disappeared.

But in the end, I refused for many reasons, not the least of which was that I did not want the legacy of Father Ted to be built on the ruined bodies of gay, autistic, abused and gender-nonconforming children.

Recently, my position in this debate has been vindicated by the findings of the #CassReport , which found that ‘trans healthcare’ in the UK has an inadequate evidence base, a toxic atmosphere within gender clinics that led to whistleblowers being vilified and smeared, and a rush to medicalize children without sufficient regard for the long-term consequences of such interventions.

Once at a meeting, Sonia Friedman, said to me “You’re on the wrong side of history.” I never received an apology from her. I would still appreciate one.

My beliefs—that biological sex is real and important, that women need single sex spaces for their safety and privacy, that their sports should be fair and finally that children should not be subjected to experimental medical protocols—are specifically protected in British law. Furthermore, polling shows that the same views are held by the majority of the British population. Mulville will not explain the problem he has with these views because he knows it will put him out of step with the majority of decent people in this country.

For too long now, Mulville has been sitting on a musical that would be a surefire hit. He is doing this for no other reason than to please the gender cultists on his staff and in the wider, captured media landscape. It’s pathetic, cruel and cowardly. If he doesn't want to make the show, he should get out of the way and let me do it.

Please share this message with your networks and use the hashtag #FreeFatherTed when you can. While it might not result in the return of my work, it will certainly make it more challenging for Mulville (and Friedman) to pretend they had nothing to do with a disgraceful act of preemptive cultural vandalism.

[Rachael @Irishintegrity]

#FreeFatherTed

[Michael McNamara MEP @McNamaraMEP]

"... the young, the old, the brave and the bold their duties to fulfil."
I couldn't agree more, lads.
We'll meet at the parish church in Clooney a mile from Spancil Hill to discuss a new direction for Irish politics?

[Rachael @Irishintegrity]

Well said @Niall_Boylan

[Niall Boylan @Niall_Boylan]

I feel so down today thinking about where our country is heading politically. The whole idea of a government is to represent the people, and the whole idea of the opposition is to represent those who generally don’t always agree with government policy and to pull the reins when they feel a government has or is abusing its power.
Ireland has lost its democracy as we now have a government who are failing to listen to the many of the people and an opposition that is failing to step in to represent the voiceless. With an election looming and the Hobson's choice of five main political parties and a few smaller parties who are all cheeks of the same political arse, really, the people have no choice. Voting for an independent will give you some level of satisfaction, but sadly these independents have little or no power as we see they are more often than not just ignored.
Then we come to the media. There was a time when the media was split into liberal and conservative choices, but now they are all singing from the same hymn sheet and most are just mouthpieces for the government. The politicians queue up to be interviewed coming close to an election, knowing they will, for the most part, receive soft questions and ass-licking, and very rarely be robustly challenged on behalf of the people. When any member of the media or journalists challenges them, they will be discredited (questioned about their funding) and most likely refused any more interviews. So, really, most of the sitting government politicians are answerable to nobody while they line their pockets with their large six-figure salaries.
I know I’m stating the very obvious, but it's getting worse to the point that they can blatantly lie or give what they call misinformation to the public, and there are no consequences anymore as they will always be backed by their overpaid buddies in the party, as they are all needed for numbers to keep them all in a job.
This is not politics! This is not public representation! This is a joke, and the Irish people surprise me that they put up with this form of politics for so long. When we look back at the days of Charlie Haughey and Co, we think corruption, brown envelopes, nod and winkery, and lies, but the one thing they had in their favour was they did think of the people because they wanted the power to continue lining their corrupt pockets, whereas this lot don’t care what you think of them and they know their buddies will back them up no matter what they do.
They can misrepresent facts in referendums, have properties undeclared, lie about payments, make really bad decisions that affect people's lives or just do nothing and they never lose their job over it, and even when the time comes for an election they will get back into power even though they didn’t have a mandate from the people.
People often ask me why we don’t interview sitting government ministers. It's not for the want of trying, I can assure you. It’s because they won't let it happen. They either refuse or ignore our requests. Why? Because they don’t like me and I won't agree to ask the soft questions they are used to from the tried and trusted interviewers on the mainstream media who rely on them coming back to them time and time again so treat them with the respect they don’t always deserve.
There are many broadcasters that I admired in the past, but since COVID, I feel they should hang their heads in shame because they played a game with the people and went along with overestimated figures, sensational stories, ridiculous unnecessary restrictions and lockdowns, and pandered to the so-called scientists who were milking COVID financially for everything they could get. Why did they do this, you may ask? Because it was easy to do and it kept their bosses happy, and the scare stories made TV and radio.
I'll look back at this and can say I was on the right side of history, and as much as you all might not always agree with me, I can tell you I always tried to be honest in my thoughts, which cost me a lot of work. I could have gone all woke and agreed with everything the government did and made a lot of money, but I would have been miserably unhappy. Instead, I choose to just make a living and be true to myself.
It's still a struggle, and as well as my radio show, I get up early every day and love platforming the voices of those who feel voiceless in society on my podcast. Three of us work hard on the podcast, and if we make a difference in just a few people's lives, it's worth not getting paid for doing it.
PS: As Leo is so interested in how small online media is funded, I’ll explain. We get NO funding and we cover our costs from the subscriptions we get on our website and a few small donations we get from listeners. I can assure you it doesn’t even cover the costs and we don’t get paid, hence three of us who do it still have our own full-time jobs as well.
Thanks all and have a great Sunday and keep shouting from the rooftops.

[Rachael @Irishintegrity]

@Andy66202501 https://t.co/tcB8a9trw6
I think you'll enjoy this Andy.

[Elon Musk @elonmusk]

@dogeofficialceo Ironically, the Irish PM hates the Irish people

[Rachael @Irishintegrity]

I'm not sure those twins have the same father. #LateLateToyShow

[Rachael @Irishintegrity]

Patrick Kielty pissing himself, laughing at the dinasaur sex noises 🤣 #LateLateToyShow

[Rachael @Irishintegrity]

Aw - heres a look at all the kids not good enough to make the show. #LateLateToyShow