#liam o'hanlon

[beardedmrbean]

WASHINGTON (AP) — Even as she promoted her efforts to boost clean energy, Vice President Kamala Harris said in Tuesday's debate that the Biden-Harris administration has overseen “the largest increase in domestic oil production in history because of an approach that recognizes that we cannot over rely on foreign oil.″

The comment by Harris, a longtime climate hawk who backed the original Green New Deal, surprised supporters and opponents alike — and conflicted with frequent boasts by Harris and President Joe Biden that they are champions in the fight to slow global warming.

After former President Donald Trump withdrew the U.S. from the Paris Agreement on climate change, the Biden-Harris administration reentered the global pact aimed at reducing emissions. The administration also set a target to slash U.S. greenhouse gas emissions by 50% by 2030 and moved to accelerate renewable energy projects and shift away from fossil fuels.

Liam Donovan, a Republican strategist, said it was notable that at a debate in energy-rich Pennsylvania, Harris chose to “brag about something that President Biden has barely acknowledged — that domestic fossil fuel production under the Biden administration is at an all-time high.″ Crude production averaged 12.9 million barrels a day last year, eclipsing a previous record set in 2019 under Trump, according to the U.S. Energy Information Administration.

The statement was “another sign of Harris’ sprint to the middle″ on energy policy and other issues, said Donovan, who works with energy industry clients at the Bracewell law and lobbying firm.

Harris went one step further, rebranding the 2022 Inflation Reduction Act — the administration's signature climate law — as a boon to fracking and other drilling, thanks to lease-sale requirements inserted into the bill by independent West Virginia Sen. Joe Manchin, a key swing vote in the Senate and a strong supporter of the fossil fuel industry.

Harris's comments disappointed some in the environmental community.

“Harris missed a critical opportunity to lay out a stark contrast with Trump and show young voters that she will stand up to Big Oil and stop the climate crisis,'' said Stevie O’Hanlon, a spokesperson for the Sunrise Movement, one of the groups behind the Green New Deal.

“Harris spent more time promoting fracking than laying out a bold vision for a clean energy future,'' O'Hanlon said. “Young voters want more from Harris'' on climate change, she added. “We want to see a real plan that meets the scale and urgency of this crisis.''

Her group is working to turn out young voters, “but we hear people asking every day, ‘What are Democrats going to do for us?’” O'Hanlon said. “To win, Harris needs to show young people she will fight for us.”

Other environmental groups were less critical, citing the looming threat to climate action posed by Trump, who rolled back more than 100 environmental protections during his term as president.

“There is only one presidential candidate who is a champion for climate action and that is Kamala Harris,'' said Alex Glass, speaking for Climate Power, a liberal advocacy group. Harris "laid out a clear vision to invest in clean energy jobs and lower costs for working families,'' Glass said.

By comparison, she said, Trump "will do the bidding of his Big Oil donors.''

Glass cited the conservative Project 2025, written by Trump allies, saying it will put millions of clean-energy jobs at risk and let oil companies "profiteer and pollute.'' Trump has denied a direct connection to Project 2025 but has endorsed some of its key ideas.

Mike Sommers, president and CEO of the American Petroleum Institute, the oil and gas industry's top lobbying group, said Harris' comment in support of fracking reflected political reality in the closely contested election. “You have to be for fracking to be elected president in 2024,'' he said. “That's good news for our industry and great news for American consumers.''

Asked why he was so confident about the need to support fracking, Sommers offered a one-word answer: “Pennsylvania.”

Not only is it a key swing state in the election, Pennsylvania also “is the beating heart of the natural gas industry in this country,” Sommers said, second only to Texas in total production.

"You don't win Pennsylvania without supporting fracking, and you don't win the presidency without Pennsylvania,'' Sommers said.

In the debate, Trump disputed Harris's claim that she will not try to ban fracking, but Sommers said he takes Harris at her word and welcomes her support for fracking and oil drilling more generally.

Asked if he was concerned about Harris' past actions suing oil companies, Sommers said no. The oil and gas industry supports 11 million jobs, he said, and the price of gasoline “is determined by economics — supply and demand. There is no man behind the curtain” rigging prices.

As California attorney general, Harris “won tens of millions in settlements against Big Oil and held polluters accountable,'' her campaign says. Her platform includes a promise to ”hold polluters accountable to secure clean air and water for all.''

Trump, meanwhile, has vowed to rescind unspent funds from the climate law and other programs, and said he will target offshore wind projects. He said Harris would move to restrict onshore oil and gas production if elected.

“They’ll go back to destroying our country, and oil will be dead, fossil fuel will be dead,” Trump said.

A president’s power to restrict fracking, even on federal lands, is limited, and barring the practice on private land would require an act of Congress.

[lardedallwithsweetflowers]

“Then I met a young girl, Sinéad Cusack. She was working in the Irish pantomime of 1965 — Emer agus an Laoch (Emer and the Swan). She was seventeen. I was thirty-five. I really fell in love, for the first time in my life. For several years, sometimes wildly happy, other times shatteringly miserable, I believed I had found the perfect partner, the one who was made for me and I for her. Like Chekhov's young poet in The Cherry Orchard, I believed, and still believe, 'there is happiness!'

[...] Sinéad Cusack, who was with me, said suddenly, 'I'm going to miss the Queen's. This is where I've spent my whole life as an actress.' Her whole life as an actress was a little over six moths, but I sympathised.

[...] Sinéad, who was student at UCD at the time, introduced me to MacNeice's poetry.

[...] She [Brenda, Dowling’s wife] had not, I think, taken up with anyone else. I guess she was pretty frustrated with life. Anyway, she began to get very edgy with me, sarcastic about Sinéad, goading me. I refused to be goaded, and my very coolness, as always, made Brenda angrier.     Then, one morning, she physically attacked me. I had to hold her down to the bed [...]

[...] When we played at Theatre Royal in Waterford, I saw my sister Marie, her husband Jim and all my O'Hanlon nephews and nieces. I brought Sinéad over to see them one Sunday in Tramore, when she visited me on tour. They were very taken with her. My niece Judy, long afterwards, called her daughter Sinéad.

[...] The Abbey actors always credited Liam [Redmond] with writing that Sinéad had moved to London a few months earlier, leaving my ordinary life hollow and empty as a church at night when everyone is gone. Nobody would have known it, to see me at the theatre or at P.J.'s afterwards. P.J. knew, though. I realise, now, I was lovesick. So going to London was more about seeing her than about making a movie; but, as always, each life was full and separate [...]     I saw a lot of Sinéad; I even saw her a few times at her father's house in Islington. Sometimes Cyril was very understanding of my feelings for her: 'You and I have to help each other, Vincent' he'd say. Other times he was very angry. Once, as I was saying good night to her at the top of the steps leading down to his basement flat, he came up, ordered her to go down, and produced a carving knife — 'I'll kill you, you bastard, if you don't leave my daughter alone!'     I knew how he felt. I didn't often let myself think about it: the gap in our ages; my marriage and children; and Abbey salary and financial responsibilities; her being over in London, me in Ireland; how much I missed her; how much I wanted her to have a career, but hated her being away... the litany was endless. Physically, I am not a brave or rash person, but I said to Cyril, and meant it, 'You'd be doing me a favour.'     He looked at me for a moment. Deep down I felt he hadn't mean it. Both of us were in much of the same boat. We muttered good-nights, and I turned and went back to Pat's place.     I had met Sinéad's mother, Maureen, who was also an actress, in London. We talked about Sinéad and me. Of course, we came to no conclusion. I liked her. She listened as I stumbled on about how I was now legally separated. There was no divorce in Ireland, but maybe it would be possible and realistic for me to get a bigger flat or a cottage in the country. Sinéad wanted to act, and would undoubtedly do well. I was ready to make a commitment to her, and maybe we could make a life together.     Maureen phoned me before I left for Dublin. She told me frankly that, before we met, she had not thought too well of me or of the effect I was having on her daughter. After seeing me and talking to me, she realised that I deeply cared about Sinéad, saw how unhappy I was about it all. She asked me — begged me — to give her daughter a chance to make her own life, her career, and in time have a marriage and children. I knew she was right and that she was saying these things for the right reasons. Before we hung up, I had promised to try. Which I did, for a while. For a long, long while.     We certainly didn't move in together and start a new life. Sinéad got more and more film and television work in England and in Ireland [...]

[...] When I met Sinéad in Dublin, she told me she was going out with a young actor in the Abbey, Donal McCann. Home is the hero!     So Sinéad was dating a young single actor, much more 'suitable' than I. Why couldn't I leave it at that? Was it that I couldn't bear to lose? Partly, though even in retrospect only a tiny part. The biggest part was that I had built my own prison — a premise: I had found the perfect match, the perfect person in the world for me, the person I was made for. It was only a matter of waiting. In the meantime she was getting nearer her majority. Not much nearer, but time flies. Her career was taking shape; my directing future was doing likewise. We would soon be financially able to set up house together. That was a reasonable hope, I thought! The driving force was, of course, feeling. I felt certain that I was in love, that I loved her, and that she loved me. Feeling doesn't necessarily make it so! Once again I was living on false premises, and Sinéad and I returned to our old ways together.     This was the beginning of more than two years of moving in circles emotionally. She, Sinéad, was with me only a fraction of the time. Other times she was at her parents' home in Dalkey; in London; on location; working with other young and famous actors. My suspicions, jelousies, loneliness, tortured me. 'Iago touching her', I wrote in a poem of the time. Behind my mild blue eyes, my green-eyed monster ate my insides. Then there would be a few hours and days of hope and happiness, a meeting, a letter, a phone call — and the circle began again.     When Tom Murphy's masterpiece Famine moved from the Peacock to the Abbey main stage, I took over from Eamonn Morrissey the twisted mind and body of the hunchback Micilín — a great part in a great play. During the run, there was the madness of a Sunday with Frank Grimes at the Merriman Festival; Siobhán McKenna reading The Midnight Court; [...] pint after pint of black porter and, against Frank's much better judgment, driving dangerously to drop in on Sinéad on location! We find her horseback-riding in a meadow with a man, a film actor. I spend a nightmarish night in Gort. A hotel, empty courtyards, climbing walls, talking, singing, shouting at the moon. Then driving drunkenly back along country lanes to pick up Frank. Fall asleep on a fairy mound in the woods nearby.     Next day back in Dublin, exploring my pain and anger in Micilín’s anger [...]

[...] I didn't seem to have a love life — at least, not with Sinéad Cusack. We met at the flat she was staying in, on the morning I arrived in London. She had been touched by and thanked me for some flowers I had sent from America for one of those special private anniversaries that people in love keep. She told me about the film she had finished opposite Peter Sellers. I remember the morning light; the atmosphere between us sweet; two very close friends, who loved each other, meeting after a long absence. I also knew that I was getting 'the bullet' — that it was over. It was not said, but I felt I had lost out to the Stellar Sellers.

[...] I stayed in touch with Sinéad by letter, and less frequently by phone. One night Sinéad arrived unexpectedly to see me. Wounded. She wasn't able to stay long. Her work was in London, mostly. Thus another cycle began. It would be the one the cobbler hit his wife with — the last!

[...] The Becauseway was televised on RTÉ, directed by one of their staff directors. Sinéad came back from London to appear in it. She and I had not seen much of each other in months leading up to this. Letters and occasional visits where short and not always sweet. I still believed that somehow everything would work out right — whatever 'right' meant. Certainly the moving finger was writing, though I didn't know it.

[...] The last act of Sinéad and Vincent's sweet, often sad saga, has four scenes.     Scene One takes place in or about the Late Late Show. Sinéad is being interviewed about her career in connection with the TV showing of The Becauseway. Another guest is a soccer player. He engages in some 'kidding' with her. Vincent is watching it on a home television screen; his green-eyed monster jumps on his shoulder and starts whispering sweet jealousies in his ear. Later Sinéad agrees not to keep a date made with the footballer, but only if Vincent telephones and tells him that she won't be there. He does. The two men exchange rude words. Compliments fly when the quality meets!     Scene Two takes place, some time later, in the studio of Radio Éireann on a Sunday morning, where a large group of well-known actors and actresses are recording installments of The Kennedys of Castlerosse. A copy of an English Sunday newspaper with a large circulation in Ireland is laying on a chair. Having finished a scene as Christy, Vincent sits on the chair beside the paper, glances at the headline, looks away, does a double-take. He picks up the paper and reads that there has been a mini-riot by young men gathered outside Sinéad Cusack's apartment in Islington, demanding the appearance of George Best, the well-known soccer player, who is sheltering within. Vincent realises that he is the only one in the studio who has not already read this news. He coolly resumes recording at the microphone. At the tea break, he calls London on the public phone in the hallway. He gets through to Sinéad. Yes, she had gone to dinner with George Best. It was all a kind of silly joke. It didn't mean anything. He is reassured, goes back to the studio and tells Phil and Angela the glad things.     Scene Three takes place outside the Abbey next afternoon, Vincent gets an early edition of the Evening Herald. The headline tells a continuation of the story of Sinéad and the soccer star in London. Vincet goes back to the flat in Waterloo Road. He wakes about an hour later. Sits up smiling, symbolically spits her out of his system; declares out loud to himself, pleasantly, completely without rancour, 'It's gone. I'm free. I've been an idiot. It's over. It's been over a long time. I'm going to have fun. Call off the search for the perfect partner!' He gets up, lights the geyser, turns on a bath, starts setting his dinner table, takes the makings of a mixed grill from the fridge, checks the bath now and then — singing the whole time his laughing version of 'Somebody Stole my Gal'.     Scene Four will take place in London in March 1971 [...]

[...] Score of old friends from every walk of life came to see us. Sinéad wrote that she would like to see me and asked me to call her, which I did. I agreed to spend the day with her. [...] It was something I wanted to do for old time’s and friendship’s sake. There was nothing more to it than that. I no longer loved Sinéad. It was over. It was true, too [...]     She seemed to understand, to believe me. It was only later I found out how hurt and frightened she was. [...] I had been there for her for so long that it was hard for her to believe it was no longer so. Other then one phone call to my office at the Abbey, a few accidental meetings in Dublin streets and theatres, and seeing her on stage or film, our paths have not crossed again.”

— Vincent Dowling in his autobiography Astride the Moon (2000)

[heymrstargazer]

hi hello i don't know nearly enough about your oc's so would you mind telling me about them?

WOULD I MIND??? PFTTT

we're gonna be here for a while

gonna do physical descriptions from the actual notes doc w/ little info dumps about all of them (more actual story details can be found at @wcygswhia​ and some better details in this post)

~~~

Colin Rian O’Hanlon: 22, 5′6″, pale af with lots of freckles cause he’s very Irish, had a thick accent when he was really young but has mostly gotten rid of it (except for when hes shitfaced drunk), dark red kinda burgundy hair that looks more brown than red in darker lighting, quite a few scars

overall colin’s kind of a dick. he pisses people off on purpose, gets in their way, touches their things without asking, and makes them question just about everything they stand for. that’s for the employees of his parents’ business, at least. colins parents run an elite service of highly-trained hitmen, and at one point he was supposed to take over the company and was trained as such for many years. unfortunately colin decided killing people was wrong, and has been ostracized from the family since and is either used as a punching bag or completely ignored. but, because he’s an asshole, he doesn’t get much sympathy for the way hes treated. in all actuality, the things hes doing are his very backwards attempt at getting the employees to see what theyre doing is wrong and that they should leave as soon as possible

~~~

Ross Jaymes Masters: 22, 5′9″, lots of tattoos, from wisconsin and has a midwestern accent (literally says ope every 5 minutes lbr), has bleached his hair to hell and back but is letting it grow out (finally)

ross is overall amazing in every way possible, very kind and caring but can be cocky at times (in a lovable way though). is basically a genius, almost has his phd in psychology because his schooling, along with colins, changed a lot when he moved in with the o’hanlons at 13 or 14. i wont get into all that, its pretty sad, but essentially moving in with them was treated as a boarding school type thing, and him and colin learned mostly through private tutors and didn’t really do summer breaks. hes incredibly charismatic and charming, and he knows it gets him more than it should. ross is also very private with his accomplishments because he knows how privileged he is to have all these things, especially in comparison to his 12 siblings and growing up as one of the very, very few pocs in the incredibly white, christian, conservative town he was born in

~~~

Lynette Brielle Dawson: 21, 5′8″, really dark brown hair, some tiny tattoos here and there

lynette comes off as very professional, and saves any arguments or problems for when she can talk to the individual in private. she grew up with her family working in the same business as the O’Hanlons, so she has a lot of knowledge and training already covered which is why she so easily gets accepted into the O’Hanlon’s company. colin and lynette are sort of each others worst nightmare. lynette is like the child the colins parents wish they had, so it causes a lot of friction between them there, and they just started off on the wrong foot and somehow manage to trip their way to another one every time they talk. lynette is trying so hard to do everything right and make a name for herself so colin is there every step of the way messing that up. theyre really the only thing keeping the other from succeeding, cause lynette could do her job if he was out of the picture and colin would be able to stay under his parents radar if she stopped showing him up (unintentionally) in every way possible. eventually they do agree to stop making each others lives miserable, but of course shit hits the fan right after

~~~

Vincent Cohen Brenner: 5′11″, 20, definition of straight white boy (blond hair and all)

oh how i hate this dickhead. hes manipulative, rude, arrogant, overly privileged, and knows he can get away with anything. he originally was just accompanying lynette to the masquerade (where she was hired) because she didn’t want to drive hours to the middle of nowhere alone. unfortunately the end of the masquerade didn’t end how lynette thought, so she ended up asking if vincent could be hired as well. hes careful not to show that hes an asshole around her, but colin can see it from a mile away. its another big clashing point between all of them, and hes so willing to do anything for lynette because he has a very creepy stalkery crush on her. dont get me wrong, he comes off as a very nice, respectful person, but some of the fucked up parts show through in his humor and such

~~~

Austin Elliot Keller: 6′, 25, also the definition of a straight white boy but like the lovable himbo version (light brown hair)

austin has worked at the mansion for a few terms, and has managed to make friends with ross, and somewhat colin (a feat in and of itself). hes incredibly dedicated to his job, which can put a strain on some of his relationships, but overall hes very considerate and genuinely a good person (despite his profession). he takes a liking to lynette right away, not in a creepy way, and shows her a lot of respect and offers to help her through the first few months at the mansion because its all so new. while its subtle, its very different from the friendship she gets from vincent, and because lynette is very her, the two of them mesh very well together. they become friends very quickly and its kinda obvious that theres the possibility of something more there, but neither of them rush into anything and they really build a good relationship before going into anything romantic

~~~

Valarie Marie Grimshaw: 24, 5′5″, a sweetheart honestly, pretty much looks like emma roberts

ugh as i said a sweetheart. she just wants to be friends with people and loves making connections, but isnt entirely a people pleaser. she knows she cant make everyone happy and is okay with that. she makes a very quick connection with lynette, like instantly they become best friends, but she also starts hanging out with colin early on. she develops a bit of a crush on him, very curious as to what he has going on especially being stuck in the mansion despite that his parents hate him. lynette makes fun of her endlessly for it, but valarie also makes a bit of connection with him (as friends) and sorta coaxes lynette into giving him a chance (not that either lynette or colin want it, but still)

[thestageyshelf]

SOLD 🎭 Jackie The Musical @ New Wimbledon Theatre 2016 (#77)

Title: Jackie The Musical

Venue: New Wimbledon Theatre

Year: 2016

Condition: Creasing to front cover

Author: Book by Mike James

Director: Anna Linstrum

Choreographer: Arlene Phillips

Cast: Tricia Adele-Turner, Gemma Archer, Nicholas Bailey, Matthew Barrow, Graham Bickley, Janet Dibley, Lori Haley Fox, Dominic Adam Griffin, Michael Hamway, Bob Harms, Liam Paul Jennings, Ricky Johnston, Lacy Jordinson, Laura Mullowney, Anna Murray, Gemma Naylor, Sam O'Hanlon, Adam Philpott, Anthony Starr, Daisy Steere, Hayley-Jo Whitney

FIND ON EBAY HERE

[kwebtv]

Moone Boy  -   Sky One  -  September 14, 2012 - April 6, 2015

Sitcom (18 episodes)

Running Time:  30 minutes

Stars:

Chris O'Dowd as Seán Caution Murphy

David Rawle as Martin Paul Kenny Dalglish Moone

Deirdre O'Kane as Debra Moone

Peter McDonald as Liam Moone

Ian O'Reilly as Padraic O'Dwyer

Aoife Duffin as Trisha Moone

Clare Monnelly as Fidelma Moone

Sarah White as Sinéad Moone

Steve Coogan as Francie "Touchy" Fehily

Evan O'Hanlon as Paulie

Johnny Vegas as Crunchie Haystacks

Steve Wall as Danny Moone

Norma Sheahan as Linda

Ronan Raftery as Dessie

Tom Hickey as Granddad Joe

[heymrstargazer]

uh this is talking about literal torture scars so maybe steer clear if you're uncomfortable with that

anyway a list of (i think) all of colins scars and why he has them

assume they were all caused by his parents during torture demonstrations unless stared otherwise

getting this out of the way because it's not technically a scar (and was not included in demonstrations). colins auditory nerves and choclea were damaged with a high dose of drugs at a young age, therefore causing his deafness

slit around his throat (not deep but repeated often enough to scar)

a few track marks on the sides of his neck because they often demonstrate poison tactics

also track marks on his forearms for the same reason

ones around all joints of his arms (shoulders/biceps, elbows, wrists) for dismemberment examples

one very large slit vertically down his chest in case organ harvesting was part of the request

5 whip marks on his back from various occurrences in which he misbehaved when he was younger (not in the demonstration)

similar joint cuts around his thighs, knees, and the fronts of his ankles (also for dismemberment)

small dent in his hip from a vegetable peeler

a bullet scar on his hip (during a demonstration but not part of it. he ran his mouth when he really shouldn't have)

deep one on his forearm from a table saw

x over his heart because apparently fatal stab wounds need instructions

burns on his knees (used with various methods. a hot poker, a match, a lighter, a heat gun, etc.)

three small circular ones on his calf from a mace

one small one on the top of his foot from where he dropped a sword on it (drunken antics, not from the demonstration)

many nicks on his hands and arms from his own knives (also not from the demonstration)

tiny circular ones on his arms from anxiously picking while waiting for his parents to get him out of the basement when he was little (non-demonstration)