English Bulldog Puppies for Sale in Eugene, OR

IT is just a regular working day in the priesthood for Fr Martin O’Hagan, his brother, Fr Eugene, and their long-time friend and musical collaborator, Fr David Delargy – better known collectively as The Priests.

Individually, they have dealt with everything from parishioner emergencies to future strategy planning on the morning I ring to chat about what is, in many ways, their biggest event yet – their retirement.

The popular priestly trio are set to quit the big stage – but will, on occasions, grace some smaller ones - with a series of farewell concerts beginning this month and finishing with a last hurrah at the Ulster Hall, Belfast, in January next year.

It is fair to say the Time To Say Goodbye concert tour has taken fans and parishioners somewhat by surprise, but after 50 years singing together and travelling the globe, 2024 is a good a year to bow out, reflects Fr Eugene – chancellor and vicar general of the Diocese of Down and Connor - who admits he will miss “the buzz” of big audience events.

After Baywatch: Moment in the Sun - The iconic slow-motion beach run was made by accident

Tasha Ghouri tops Strictly Come Dancing Movie Week leaderboard with 34

“When we signed our recording contract with Sony in 2008, we had a line put in it that said our music career would never encroach on our diocesan work,” he explains, “but as times change and we get a little older, this is becoming more difficult to coordinate. Our 50th anniversary seems the right time to step back from performing live as a group.”

As Fr David, parish priest of the Loughshore Parishes of Greencastle, Whitehouse and St James (incorporating Whiteabbey and Greenisland) puts it: “Our circumstances have changed a lot since we started out – when I began, I had a small parish and there were two of us: myself and a retired priest. Now I am 17 years older and my energy levels are not quite the same.

“At the same time, my responsibilities have increased... I now have three parishes – four churches – to look after and there is only myself to do it. So, if I do have to be away at a concert somewhere, it’s not just as straightforward finding a replacement.”

Despite this, it hasn’t been an easy decision to say ‘goodbye’ to The Priests, with Fr Martin, parish priest of Newtownards and Comber, acknowledging it will be “a wrench”, particularly since all three voices remain “in good trim”.

“It will be quite a wrench, really,” he says, “but it will be nice to go out with a sense of celebration and great thanks to God and to all those who have contributed to our journey over the years.”

That very “unexpected journey” began quietly back in 1974 when all three were musically-minded schoolboys (nicknamed ‘Holy,’ ‘Holy’, ‘Holy’ by their peers) at St MacNissi’s College in Carnlough (now St Killian’s College, aka Garron Tower) enthusiastically took part in the annual Christmas shows – the first one The Pirates of Penzance when 11-year-old David played Kate – “I had a high soprano voice” – Martin played Edith and Eugene was Major General Stanley.

Our circumstances have changed a lot since we started out... I now have three parishes – four churches – to look after and there is only myself to do it. So, if I do have to be away at a concert somewhere, it’s not just as straightforward finding a replacement

— Fr David Delargy

All three studied at Queen’s in Belfast and had vocation training at the seminary, also in Belfast - during which they studied music under singing teacher Frank Capper. Then, some years into their priestly ministries, in 2008 everything changed.

“We had been singing together at local venues at that stage, but it is a funny story how we ended up being signed to Sony,” Fr Eugene recounts. “As priests, we were invited to audition for a part chanting Latin Mass, linking songs on a proposed album of religious music, when people at the Epic label – part of the Sony family - became interested in our back story and decided to set aside the original project and sign us up for an album instead. What happened afterwards came as a complete surprise, completely out of the blue...”

After signing their record deal on the steps of London’s Westminster Abbey, the three became Guinness World Record holders after The Priests, became the fastest selling debut for a classical act in the UK, also earning them gold and platinum discs for sales throughout Europe and Australia and topping the classical Billboard chart in the USA.

They were heady days and, in the years since, three more albums followed, as well as a documentary, a book (Soul Song) various overseas tours, royal receptions and performances for high-profile audience members including Pope Francis in 2013 in Rome.

But, as working priests, they didn’t let it all go to their heads. “If it did,” observes Father David wryly, “it didn’t stick there for very long. The thing is, when you move into that world, people praise you, they tell you that you are wonderful, they lay it on thick... you find yourself being transported from the airport in a limousine – but I remember Eugene once saying: ‘Boys, we are having all these wonderful experiences, but be very careful that you don’t jump out of the bowl you were baked in.’”

Certainly, a sobering visit to a project helping impoverished families in Thailand - being supported by their charitable foundation - was a stark reminder about how the world is unfairly divided into the haves and have-nots. During a visit to one family, Fr David was presented with a dish of pan-fried mosquitos - the very best the family could offer. He gamely took a forkful, but they stuck in his throat.

Behind the glamour and smiles back home, there was a time when all three felt something sticking in their throats. “When our success took off, it was great,” recalls Fr David. “It opened up another side of the clergy to people, but it was all happening at a very, very difficult time for the Catholic Church in Ireland.

“There were all sorts of negative stories in the press about abuses and how these had been mishandled and covered up. Bishops were being held to account and people were angry… I mean, priests were angry. I was angry.

“People were angry with the church and a lot of people were walking away, feeling let down and disillusioned. And there we were, sticking our necks out as singing priests and appearing on shows like The Jonathan Ross Show... it was frightening for us.

“But I think, in the end, it gave people something else to talk about and the music lifted spirits. I also think it gave a bit of encouragement to young men contemplating a vocation in the priesthood - it sent out a message that when you put yourself forward as a candidate, you don’t have to set aside your humanity, your personality or your talents - you bring all of that into priestly ministry with you. That’s who you are and that’s what you offer.”

One evening he suddenly said: ‘Martin, your toupee is looking very well this evening’. I just had to react on my feet, responding with a quick, ‘Excuse me, this is the real thing’, and tugging at my head

— Fr Martin O'Hagan

For all three, the legacy will be the sense of fun, as well as the music – and the many non-scripted moments that had Fr Martin literally pulling his hair out.

“The humour is very spontaneous on stage – and I never know what Eugene is going to come out with next,” he says, laughing.

“One evening he suddenly said: ‘Martin, your toupee is looking very well this evening’. I just had to react on my feet, responding with a quick, ‘Excuse me, this is the real thing’, and tugging at my head.

“Music is an amazing means of interpreting our journey through this world and I think when combined with faith, it comes alive, but I hope people also remember we were able to laugh and, even through secular music, bring a spiritual quality that touched lives.”

The Priests’ Time to Say Goodbye concerts take place across Ireland, beginning this month (September 27) in The Lark, Ballbriggan, Co Dublin, before moving to The Market Place, Armagh (November 8), The Braid, Ballymena (November 16), The Guildhall, Derry (December 21) and The Ulster Hall, Belfast (January 5). Tickets available from all venues or Ticketmaster

For an event that seems to draw lower and lower ratings with each passing year, the media and television consumers are quick to engage in passionate debates about the status of awards shows. With each telecast, the Monday morning quarterbacking sessions ensue, dissecting the ratings, what was successful and unsuccessful, and a macro examination of their popularity with a mass audience. After an abysmal 4.3 million viewers for last year's strike-delayed ceremony, the 76th Emmy Awards, airing this past Sunday on ABC, only had room to improve. The broadcast and presentation went smoothly enough, but there was an enthusiasm and urgency noticeably lacking on the stage and screen. While not an abject disaster, the Emmys illustrated the glaring issue hindering the viability of awards shows in 2024. The hosts, the father-son duo of Eugene Levy and Dan Levy, were witty and charming as expected, but the show simply didn't let them be witty and charming long enough.

The 2024 Emmy Awards Was a Mixed Bag of Entertaining Familiarity

The 2024 Emmys mostly skewed on the side of familiarity, evident by the reliance on reunions of the cast of The West Wing, Saturday Night Live, and Happy Days. While wins for cast members of The Bear, including Jeremy Allen White and Ebon-Moss Bachrach (with Liza Colon-Zayas winning her first), were practically a forgone conclusion, it was finally defeated in the Outstanding Comedy Series category, losing to Hacks, with Jean Smart winning Best Actress in its respective genre. On the drama side, Shōgun swept through most awards, including Best Actress for Anna Sawai, Actor for Hiroyuki Sanada, and Outstanding Series, although Billy Crudup for The Morning Show and Elizabeth Debicki for The Crown spoiled a complete sweep. Supporting the Levys in their hosting duties were presenters Colin Farrell, the cast of Only Murders in the Building, Candice Bergen, Viola Davis, and more.

In an age where awards shows are trying to avoid explosive displays of public embarrassment, such as announcing the wrong winner for Best Picture or slapping a presenter on stage, there is an inclination towards safe and familiar beats. Viewers know what to expect these days; a brief monologue that takes mild jabs at the current trends in the industry and the nominees, a myriad of big-ticket presenters, and an array of skits and montages. Once the clock hits 11:00 EST, you know they're about to wrap it up. The 2024 Emmys' lack of polarization in its creative choices made for a pleasant viewing experience, but it's not one you'll remember three months from now. Clinging to nostalgia and the urge to "get the band back together" prevails throughout pop culture and the last two Emmy broadcasts have built the show around these reunions, where half the runtime is dedicated to rushing cast members of a beloved show on the stage to say a few kind words to the audience.

Eugene Levy and Dan Levy Shined With Limited Screen Time at the Emmys

At the outset of the broadcast, the uber-charismatic father-son team of Eugene and Dan Levy teased an excellent night. It's never a surprise when these two, the stars of Schitt's Creek, light up the stage or screen with their radiant humor, but it did remind audiences of the magistry and innate star power of awards shows. The nature of the generational gap between Eugene and Dan provided for a plethora of self-deprecating humor regarding the former's age, as well as the elderly status of his friends and former co-stars, Steve Martin and Martin Short. During their affable monologue, Dan described The Emmys as "broadcast TV's biggest night for honoring movie stars on streaming services," poking fun at the migration of movie stars working on the small screen. Weighing in on the hotly contested debate on The Bear's validity as a comedy, Eugene said, "In true spirit of The Bear, we will not be making any jokes." The two engaged in a witty debate about the ubiquity of the "+" sign used as a suffix for every major streaming service, with Eugene confusing the plus sign on Apple TV+ as a direct endorsement of the LGBTQ community.

While the hosting duties highlighted the most pressing issue of the Emmys, it was certainly no fault of Eugene and Dan Levy, who brought their magnetism to the Peacock Theater in Los Angeles. Hosting an awards show is often cited as a thankless job, no matter the likability and talent of the respective host. It brings all the scrutiny and baggage with limited benefits, as Kevin Hart learned before he pulled himself from hosting the Oscars in 2018 after insensitive social media posts of his were unearthed. However, these award shows, particularly the Academy Awards and the Emmys, are primarily to blame for the untenable nature of hosting, as they hardly let their hosts fulfill their hosting duties by putting on a memorable presentation. Following their monologue, the Levys were barely visible for the rest of the ceremony, only making brief asides returning from commercial breaks. Following Hart's departure, the Academy Awards made the bold decision to go host-less for the next three ceremonies, relying on an ensemble group of presenters to carry the show, which signaled where these awards shows were heading.

Modern Award Shows Don't Allow Their Hosts To Fulfill Their Duties as Hosts

A collaborative hosting effort of a broadcast works in theory, but the lack of a single voice or hosting pair anchoring the ceremony is responsible for the awkward, sluggish pacing of recent awards shows. Sunday night's Emmys allocated more time to setting up reunions than to Eugene and Dan Levy on the stage. Complaining about bits and sketches at awards shows is as timeless of a tradition as an orchestra playing off an acceptance speech that's overstayed its welcome. Instead of the traditional comedic skit, the ceremony gathered shining examples of character archetypes on the small screen, including fathers, villains, and doctors. These perfunctory presentations brought the momentum to a screeching halt. In general, these curated demonstrations or montages are woefully misguided. Viewers want charming and entertaining people, like the never-not-hysterical Catherine O'Hara, to riff on stage, even if they are not the designated hosts.

As self-important as award shows carry themselves, everyone recognizes that these nights are not about curing cancer. Any telecast, the Oscars, Grammys, Tonys, or Emmys, is about putting on a show, an apt desire for an awards body made up of entertainers. No one expects Eugene Levy or Dan Levy to lead the broadcast on their own. Still, by keeping them on the back burner for most of the night, the Emmys are depriving their waning audience of a steady and effortlessly pleasant comedy team making the ceremony cohesive. A viewer may not care about The Bear, Shōgun, and Hacks altogether, but the charisma of the Levys might keep them coming back for more. Let your hosts be hosts. It's not rocket science.

The Emmys

Awards Show

Ceremony to celebrate the 75th edition of the Primetime Emmy awards.

Release Date

January 15, 2024

Cast

Jeremy Allen White , Juno Temple , Kieran Culkin , Jodie Foster , Jenna Ortega , Ayo Edebiri , Pedro Pascal , Hannah Waddingham

Main Genre

Awards Show

Seasons

75

Studio

Dear Gossips,

As Sarah, Duana, and I have said over the years, and we’ve been doing this for years, we’re never going to be the people who complain about award shows. We are award show junkies, and not just because it’s our job. Even when they’re too long and drag on, it’s not really a huge problem – because we would rather have award shows than no award shows, no matter their length, and even when they’re bad.

This year’s Emmys, though, were far from bad. And I’m not sure how they rank in terms of length but the show didn’t feel long; in fact, it felt really zippy, well-paced, so that by the last hour, I was actually surprised that they’d gone as long as they had, because for me, that was a relatively *short* three plus hours. Credit then to the producers for how they planned out the show like they way presenters were grouped together, many of them by the genre of their characters. This was a nice touch of imagination and economy: you get to involve more people this way, but also not add to the time.

And then, of course, the hosts. I predicted at The Squawk before the start of the show that Eugene and Dan Levy would set a new standard for award show hosting last night – “we might be seeing the best Emmys hosting performance of all time” is what I said and now that the show is over, that stands up. But this isn’t me taking credit, because it wasn’t a difficult thing to foretell. There is no universe in which Eugene and Dan would flop. And there are many reasons for this but one of the most important reasons is that they both have so much live experience. Eugene’s extensive career spans stage and screen, he’s done musicals and sketch comedy, he can improv, he can do impressions, he has the kind of range that, like Steve Martin and Martin Short, is rarely reproduced now in the younger generation of performers.

As for Dan, well, I had a front row seat to Dan’s career beginnings on MTV Canada, and this too was often live broadcast, sometimes scripted, often unscripted. Live television can make or break you, and the value of this kind of training cannot be overstated. Dan, of course, like his dad, has gone on to expand the reach of his talent, but he will never not be able to host the sh-t out of a live show, and this is a skillset he can flex over so many of his peers. Eugene and Dan Levy understand and honour the artform of live television and television production in general. And this point is especially important and personal to me because I work in television production, I am surrounded by television professionals who’ve been at it for decades, they’re experts, some of the best in the business, and they are increasingly underappreciated for their experience and hard work by people who keep chasing new media glory.

Eugene and Dan are products of legacy media. Which, by the way, is what made this bit so f-cking genius – the way they sold it is … chef’s kiss.

THIS WAS HILARIOUS 😂 Dan Levy and Eugene Levy presenting at the 76th Emmys ✨ï¸ðŸ“¹ ABCSeptember 15, 2024#DanLevy #EugeneLevy #Emmys pic.twitter.com/vQkGJeG45t

— Lee✌ðŸ¼ðŸ©·ðŸ’œðŸ’™ (@LeonieWoolf) September 16, 2024

Hosting game on lock. But fashion game also on lock. Both of them in beautifully tailored tuxedos, but of course Dan with the extra flair on the red carpet with that c-nty blouse, Loewe of course. Dan being Dan though, that wasn’t his own style statement. The shoulder pads on his opening monologue tuxedo? Excellent. And I love the way he’s wearing his hair shorter these days.

The Levys were a gift to the Emmys last night. And they are one of the biggest headlines to come out of the Emmys because now everyone wants them to host everything. Remember the storytelling rule that Duana taught us all those years ago: give them what they need and not what they want. Eugene and Dan know this better than most.

Thanks for joining us at The Squawk for our live chat! And thanks for joining us here today as we roll out our Emmys coverage. Sarah, Duana, and I have been writing all night, and we look forward to your comments on the daily Squawk chat, if you’re a subscriber, and/or your emails if you are not. Refresh often!

Yours in gossip,

Lainey

By Judy Berman

September 16, 2024 12:05 AM EDT

Eugene and Dan Levy opened Sunday’s 76th Emmy Awards with a disclaimer. The father-son Schitt’s Creek duo were not, they explained, stand-ups like most awards-show hosts. “I wouldn't actually even call us hosts. We're more like actors acting like hosts,” said Dan. “If things go south,” Eugene joked, “my name is pronounced ‘Martin Short.’” It was a bit of polite self-effacement from the extremely Canadian Levys. In reality, though, there was no need for it. The emcees imbued what is always a long night—and was, this time around, full of predictable wins—with many moments of lighthearted fun, without trying too hard to roast their fellow actors or land headline-making zingers. To state what should be obvious to TV producers but rarely seems to inform their choice of hosts for the Emmys or any other awards telecast: Charm and chemistry go a long way.

Happily, with awards-show ratings in free fall, ABC tried something new recruiting faces TV fans were actually excited to see. The past decade’s worth of Emmys hosts have been pretty bland, ranging from the same late-night personalities we see every week—Jimmy Kimmel (twice), Stephen Colbert, SNL’s Michael Che and Colin Jost—to past-their-prime comedians like Cedric the Entertainer and Kenan Thompson. (The last time a woman hosted? Jane Lynch in 2011.) It was only eight months ago that black-ish star Anthony Anderson hosted a strike-delayed 2023 ceremony, and I’m probably not alone in recalling precisely nothing about that performance.

The Levys were an inspired choice, in part because they excel at what they have evocatively described as “bicker-banter” (while they didn’t technically host the 2020 SAG Awards, they did open the ceremony, wonderfully) and in part because there is still so much goodwill for the sleeper-hit Canadian sitcom they created and starred in together. They also seemed to have the right perspective going into what is, more often than not, a thankless gig. “The challenge,” Dan noted in the pair’s recent Good Morning America interview, “is not humiliating yourself on television in front of millions and millions of people.” (Doesn’t Jo Koy know it.)

Their introduction set the tone for an unusually laid-back, gently upbeat evening, with most punchlines aimed at nominated shows—and each other—rather than nominees’ personal lives or the phantom of "wokeness" or the low-hanging fruit that is American politics. (Side note: What do we even call an opening speech given by a duo? Monologue sounds wrong, but so does dialogue.) Like Schitt’s Creek, the Levys’ back-and-forth was just spicy enough to cut the sweetness. “My most rewarding dad role,” Eugene told Dan, “has been being your dad [pause] in Schitt’s Creek.” By which he meant, he won an Emmy for it. When cheers broke out, Dan gamely played the wounded boy: “Why are we applauding bad parenting?”

Though you wouldn’t know it to watch the standard awards show, funny jokes don’t have to be mean jokes. Eugene got in some smartly written meta-humor by referencing the endless debate over whether The Bear was actually a comedy (a category it would all but sweep, notably losing best comedy series to Hacks), then saying: “In the true spirit of The Bear, we will not be making any jokes.” Dan struck the right tone with his layered one-liner on the Emmys finally nominating the excellent Native American dramedy Reservation Dogs, for its final season: “The Academy found a show that has been creatively thriving for years and said, ‘Look what we discovered!’”

The bicker-banter carried the rest of the night, as the Levys settled into the roles of neurotic, out-of-touch dad and cheeky, easily exasperated son. Dan dispensed “fun facts” about iconic roles his father had lost to other actors and Eugene finally struck back with: “And how was your audition for Ripley?” Introducing a segment on memorable TV dads, Dan sang the praises of Tony Soprano—a murderer, as Eugene noted. Dan: “Well, his heart was in the right place.” Eugene spoke for all of us at home, forced for too many years to endure bad awards-show crowd work, when he complained that going out into the audience was “uncomfortable.” Speaking of discomfort, Dan almost managed to defuse the telecast’s celebration of a perennially loaded sort of character: “And now, a TV archetype everyone in this room agrees on: Cops!”

The evening ended—less than 10 minutes late, which counts as early for this cursed genre of live television—the only way it could, with a reunion of the Levys’ Schitt’s Creek family. First came Annie Murphy, taking a page from her delightfully delusional character, Alexis Rose, and ready to be fêted as “the shining star of Schitt’s Creek”—only to learn that the description was really meant for Rose matriarch Catherine O’Hara. Eugene’s TV spouse materialized to present the nominees of the night’s final category, best comedy series. With America at the edge of its collective seat, or just anxious to get to bed on a Sunday night, she delivered a valedictory pivot worthy of the melodramatic Moira: “And the Emmy goes to… No, must we? Must we really choose just one winner? When all the nominees have done such wonderful, hilarious work?”

Truth be told, I wish we’d seen a bit more of the reunited Roses. But it’s not every year that the Emmys leave us wanting more. To the remarkable extent that they did so in their second 2024 ceremony, the Levys deserve a lot of credit—and perhaps an invitation to do it again in 2025.