New Year’s Eve television is, let’s be honest, a televisual obligation. And for RTÉ, the Late Late Show New Year Special continues to be a somewhat dutiful, if not entirely inspired, imitation of the BBC’s Jools Holland Hootenanny. The real story here isn’t the show itself, but what it *represents*: a network scrambling to find relevance in a landscape dominated by streaming and social media, leaning heavily on familiar formats and hoping for a spark.
- Patrick Kielty’s performance is noted as genuinely enthusiastic, a feat considering the pre-recorded nature of the broadcast in November.
- The guest list leans heavily into the “musician or sports star” formula, playing to Kielty’s strengths.
- The show features a particularly… unique… collaboration between Sharon Shannon and Lucia Evans performing a trad version of the K-Pop Demon Hunter soundtrack.
Kielty, to his credit, appears to be making the best of it. The review highlights his skill with “vapid banter,” a surprisingly valuable commodity in the world of live television. It’s a subtle acknowledgement of the tightrope he’s walking – being engaging without necessarily saying anything of substance. This is a smart play; in a moment where authenticity is prized, *appearing* relatable can be just as effective as *being* authentic.
The inclusion of moments like Lyra recounting an anecdote about playfully pushing Leo Varadkar is a calculated risk. It’s a bit of lightheartedness designed to generate social media buzz, and it works. It’s the kind of water-cooler moment that RTÉ desperately needs to cultivate. And the extended universe built around The Traitors’ Paudie, complete with his upcoming appearance on Dancing with the Stars Ireland, is a masterclass in extending the lifespan of a hit format. RTÉ isn’t creating stars, it’s maximizing the value of the ones it already has.
The review also acknowledges the personal challenges Kielty has faced recently, with the death of his mother and the end of his marriage. Framing his continued dedication to the show within this context is a savvy PR move, positioning him as resilient and professional. It subtly shifts the narrative away from any potential on-screen awkwardness and towards a story of perseverance.
Ultimately, the Late Late Show New Year Special isn’t a game-changer. But it’s a competent, carefully constructed piece of television designed to keep RTÉ in the conversation. And in the current media climate, simply staying in the conversation is a victory in itself. The question remains whether these incremental efforts will be enough to secure the show’s long-term future, or if it will continue to drift along as a nostalgic echo of its former self.
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