Accessibility on Irish and European VOD: subtitles, sign, description, and the two clocks A European viewer who can turn on subtitles for a language they do not…
AI in Irish and European newsrooms: what Article 50 actually makes you disclose A European reader who wants every AI-touched sentence labelled like a cigarette…
Ireland’s co-production treaties: how a film becomes “national” twice A European producer who says “we’ll just co-pro it” is using a slang word for a treaty act…
Cookies, consent and Irish editorial: what the banner is doing to the story A European reader who meets an Irish news or culture site through a cookie wall is a…
Ireland’s games tax credit: when interactive work counts as European culture For most of the last two decades Ireland treated games as an ICT export that happen…
Second-generation Irish audiences in Europe: citizenship, habit, and the missing shelf MSMN’s earlier diaspora-festivals piece asked how Irish film weekends tur…
Irish music and festivals on the European live circuit A European summer now has an Irish date in it even if you never fly to Stradbally or Sligo. Irish artists…
Ireland’s creator economy under the Digital Services Act A European teenager’s media diet is no longer only a schedule and a catalogue. It is a person: a footba…
Arthouse versus the algorithm: how Irish and European films still get chosen MSMN’s discovery piece asked why Irish production records are not the same as audie…
Section 481 explained: Ireland’s 32% screen credit — and the 40% VFX uplift European viewers who finish an Irish-backed drama, a Cartoon Saloon feature or a ser…
Irish live venues, collecting societies, and the Brexit touring bill MSMN has already filed the festival half of Irish live music: IMRO’s billion-euro habit, fi…
They arrive through global streamers, free ad-supported channels on smart TVs, music documentaries that travel as widely as pop itself, and city festivals that…
5 days ago
· 7 min read
· By MSMN Newsroom
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