What about the babies that don't make the final selection? You heard about the final selection. I thought that doesn't that, doesn't that? Ooh, it sounds like something. Doesn't it? Yeah, the final selection. Final selection. Sounds like final solution. Hello, my name is Anne McLeanie. And I'm Phelan. Welcome to the Ann and Phelm Scoop. Do you know what's just occurred to me today, Ann? Oh my God. I'm nervous now because I haven't heard this before.

What? Today is the day that October 7 was supposed to be on in Dublin. Oh, wow. We're recording this on Monday. We are. We're recording this on May the 11th. That's exactly right. We were supposed to be in Dublin and we were meant to be having the play on tonight. Quite shocking. Yeah. Yeah. After being rejected by the Abbey Theatre, then rejected by the Mansion House, then we went on to the National Concert Hall where we got rejected. Well, no, we got accepted. Oh, accepted for a minute.

Yes.

And in fact, we got accepted by all those places.

And then they decided that people of Ireland didn't need to hear Israeli voices.

Didn't need to hear the truth about October 7.

You know, just to remind people, October 7, our play, our verbatim play, we went to Israel about October 7. You know, just to remind people, October 7, our play,

our verbatim play, we went to Israel after October 7, recorded people talking about the day.

And the play is 100% verbatim. It's kind of extraordinary. Very powerful. And people who've seen

that's exactly what they say, how powerful it is. But the hate that we've received online,

and by the way, maybe I'll put up a few of those tweets by the way right now. Just really shocking, disturbing, violent, by the way, and threatening. You know, we'll be outside. People saying that we'll be outside if you get to show this play, if you have a performance of this play at the National Concert Hall. And what was interesting in all of the cases where we've tried to have the play on, when we just asked, you know, do you have a rent? Can we rent a room for the night? And all of these places, by the way, are underwater from a financial point of view. Yes. They're all supported by taxpayers in Ireland, innocent taxpayers in Ireland who think they're, you know, contributing to diversity and all that business and the arts. And the arts. And what they discover then is that, you know, we were, as I said, was just a rental. By the way, it shouldn't even been a rental. We should have been commissioned. But let's just leave that one. That is true, actually. Let's leave that aside for a moment. But it is a very good point, by the way, why we weren't commissioned in the first place. This play was very successful in New York. And you would have thought the Irish theatre world would have loved to have heard other voices because they've certainly heard a lot of Palestinian voices. But what we discovered was that when we'd ask for a rental, you know, they'd be like, there's all these dates, you just tell me a date. There's all kinds of dates available. Until they discovered what the play was about,

that it was actually giving voice to the victims and the survivors of October 7.

And then suddenly there's no dates available actually anytime they can see well into the future that there's just nothing available.

And the truth is that these major, huge government-funded institutions are dark. Many, many, many, many nights. And we were like any night at all, even like, and as you know, as you said, Philemon, this is the 11th of May we're recording. It's a Monday. A Monday night in a theatre? They're pretty much all dark. Yeah. So the idea that they could get some income in. These organizations, they're so wealthy,

and Ireland's such a wealthy country,

they can afford to do with how thousands of dollars in income, thousands of euros. But as you say,

they should have actually commissioned it as would have been, it would have been the most talked about

play of the decade in Ireland. And a lot of these theatres in Ireland and Dublin particularly have this, you know, they're so proud of their history that there was riots in the streets over Sean O'Casey's plays and they love that and they make a huge deal of it, you know, that there was all kinds of controversy and they love controversy and it, but they really like diversity. Diversity is actually really what they like. In fact, I would say diversity is their strength, Phelham. Do you think that they think that diversity is their strength? That's their biggest, most boring aspect of them. It's one thing that they certainly don't know the definition of. They certainly don't know the definition of diversity. Anyway, Philam, what are we doing in the podcast this week?

On the show today, I am going to make a prediction.

Yes.

You may have seen the Spencer Pratt ad, the one, the anti-spenser Pratt ad. I am going to

suggest it's a clever fake. Well, I'll tell you more about that as we get in the show.

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