Who owns the Irish story? IP rights after the DSM Directive A European viewer who finishes an Irish drama, a TG4 crime series or a Cartoon Saloon feature is con…
Who can buy an Irish newsroom? Media mergers, plurality and the EMFA A European reader who follows Irish news on a phone already lives inside a concentrated mar…
Data centres, streaming and the carbon bill behind the Irish catalogue A European evening of Irish or American television looks weightless: a tile, a Player, a…
Irish live-action drama arrives in European living rooms with faces attached: a Rooney adaptation, a Dublin crime family, an Apple TV+ sisterhood. Irish animati…
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…
Irish-language cinema has had a decade that policy documents now treat as a turning point: An Cailín Ciúin at the Oscars, Kneecap on the festival and BAFTA circ…
Subtitle culture: how Irish and European viewers actually read the screen A European film in an Irish living room is often a reading event. The image is French,…
Ask where Ireland’s screen industry “is” and the postcard answer is the whole island: cliffs, Gaeltacht roads, a Limerick sound stage, a Galway producer’s offic…
Ireland’s documentary boom and the European festival-to-living-room path A European living room now treats non-fiction as a default genre. True-crime series, ce…
A first Irish drama hit on a European streamer can feel like a door kicked open: a Dublin family feud on Netflix, a Sally Rooney adaptation on Hulu and BBC iPla…
The 2026 AVMSD review: what could change for European (and Irish) viewers The Audiovisual Media Services Directive is the quiet operating system of European tel…
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…
6 days ago
· 8 min read
· By MSMN Newsroom
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