In a delightful fusion of cinematic artistry and whiskey craftsmanship, Redbreast Irish Whiskey has announced its partnership with acclaimed Irish actor Andrew Scott and the prestigious SXSW Film & TV Festival to launch ‘Redbreast Unhidden.’ This ambitious initiative aims to celebrate and showcase the hidden gems within the film industry, providing talented filmmakers with a platform to shine and audiences with a chance to discover unique stories.

A New Era for Film and Whiskeys

The ‘Redbreast Unhidden’ campaign marks an exciting chapter in Redbreast’s new global initiative, ‘Quite the Find,’ which emphasizes the joy of discovery. Just as the first sip of Redbreast reveals a complex tapestry of flavors, this partnership seeks to uncover extraordinary films that might otherwise fly under the radar. The campaign is a testament to both the art of filmmaking and the tradition of whiskey-making that Redbreast has perfected over the last century.

Nodjame Fouad, CEO of Irish Distillers, expressed the essence of this collaboration beautifully when he said, “We invite whiskey enthusiasts and newcomers on a journey that celebrates craftsmanship, character, and complexity in the creative worlds of whiskey and film.” Redbreast’s rich and complex profiles perfectly mirror the multifaceted stories told by independent filmmakers, making this partnership a match made in creative heaven.

Handpicked by Talent: The Short Films Selection

At the heart of ‘Redbreast Unhidden’ lies an exciting selection of six short films that exemplify the spirit of this initiative. Curated by Andrew Scott, the films span a variety of genres, reflecting themes of authenticity, resilience, and discovery. Here’s a glimpse at the exceptional works that will be showcased at SXSW:

1. One Day This Kid by Alexander Farah
2. Entre Tormentas by Frank Zayas
3. Nervous Energy by Eve Lui
4. Sweetbriar by Danny Rivera
5. Brief Somebodies by Andy Reid
6. I’m The Most Racist Person I Know by Leela Varghese

Each film captures a unique perspective, ranging from poignant dramas to clever comedies, inviting audiences to engage with pressing societal themes like identity, familial love, and personal struggles.

Celebrating Emerging Voices with the ‘Redbreast Unhidden Award’

The collaboration doesn’t stop at showcasing remarkable films; it also aims to uplift emerging voices in the industry. At this year’s SXSW Film & TV Festival, the inaugural ‘Redbreast Unhidden Award’ will be presented. One deserving filmmaker will be honored with a financial award, providing them the support needed to pursue their artistic vision. Andrew Scott himself will participate in selecting the winner, embodying the initiative’s aim to nurture the next generation of creators.

An Invitation to Experience Cinema Like Never Before

From March 11 to 13, 2025, Redbreast will host a series of immersive events at SXSW, inviting attendees to enjoy curated film screenings and explore a hidden speakeasy cinema-inspired bar. For those unable to attend the festival in Austin, fear not! Redbreast is also bringing the spirit of SXSW to major cities across the globe with exclusive film and cocktail experiences, allowing fans to uncover hidden gems from the comfort of their local community.

As Francis Román, Senior Film & TV Programming Manager at SXSW, aptly put it, “The beauty of programming is finding those hidden gems.”

Join the Adventure

The ‘Redbreast Unhidden’ platform opens up a world of discovery for film lovers and whiskey aficionados alike. Whether you’re a long-time fan of independent cinema or new to the scene, this initiative encourages exploration and appreciation for the artistry behind the camera.

To dive deeper into this collaboration, discover the films being showcased, and stay updated on local events, head to Redbreast’s SXSW page and follow @RedbreastUS on social media.

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So, pour yourself a glass of Redbreast, sit back, and prepare to embark on a cinematic journey that will surely reveal stories worth discovering! Cheers to celebrating creativity and the joy of the unexpected!

Follow Redbreast on social:
Instagram @RedbreastUS
Facebook @RedbreastSinglePotStill  

About Irish Distillers

Irish Distillers, a Pernod Ricard company, is a producer of some of the world’s most well-known and successful Irish whiskeys and Ireland’s leading supplier of spirits and wines. Led by Jameson, our brands are driving the success of Irish whiskey globally. Jameson is the world’s bestselling and most awarded Irish whiskey, a top 3 selling international whiskey brand and a top 10 international spirits brand, achieving +1% net sales growth globally in FY24. Our brands are exported to 130+ markets around the world.

Irish Distillers was formed in 1966, when a merger took place between John Power & Son, John Jameson & Son, and Cork Distilleries Company. In 1988 Irish Distillers joined Pernod Ricard, gaining access to unprecedented levels of investment and an extensive global distribution network.

In 2025, Midleton Distillery celebrates 200 years of distilling excellence by unveiling stories from the Irish Distillers archives and hosting a series of special whiskey launches and events.

We employ over 800 people across our operations in Cork, Dublin and Northern Ireland.

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About Pernod Ricard USA®

Pernod Ricard USA is the premium spirits and wine company in the U.S., and the largest subsidiary of Paris, France-based Pernod Ricard SA., the world’s second largest spirits and wine company. Pernod Ricard employs approximately 19,000 people worldwide, is listed on Euronext (Ticker: RI) and is part of the CAC 40 index. The company’s leading spirits include such prestigious brands as Absolut Vodka, Avión Tequila, Chivas Regal Scotch Whisky, The Glenlivet Single Malt Scotch Whisky, Jameson Irish Whiskey, Kahlúa Liqueur, Malibu, Martell Cognac, Olmeca Altos Tequila, Beefeater Gin, Del Maguey Single Village Mezcal, Código Tequila, Monkey 47 Gin, Seagram’s Extra Dry Gin, Malfy Gin, Hiram Walker Liqueurs, Midleton Irish Whiskey, Redbreast Irish Whiskey, Aberlour Single Malt Scotch Whisky, Lillet, Jefferson’s Bourbon, TX Whiskey, Skrewball Whiskey, Smooth Ambler Whiskey, Rabbit Hole Whiskey, Pernod and Ricard; such superior wines as Jacob’s Creek, Kenwood Vineyards, Campo Viejo, Brancott Estate and Sainte Marguerite en Provence rosé.; and such exquisite champagnes and sparkling wines Perrier-Jouët

At our core, we at STM Daily News, strive to keep you informed and inspired with the freshest content on all things food and beverage. From mouthwatering recipes to intriguing articles, we’re here to satisfy your appetite for culinary knowledge.

SOURCE Redbreast Irish Whiskey

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Sensei introduces a new customer experience with democratic entry, simplified real-time basket checkout, discrepancy detection and streamlining the grocery experience for customers.

NEW YORK /PRNewswire/ — Sensei (https://www.sensei.tech/), a global leader in autonomous retail technology, is proud to announce the official debut of its groundbreaking autonomous supermarket at NRF 2025: Retail’s Big Show, taking place in New York City from January 12-14. Sensei introduces real-time basket technology and an autonomous experience with assisted sales; transforming customer convenience and operational efficiency.

“Sensei’s technology goes beyond eliminating checkout lines – it enhances the entire shopping journey while providing retailers with invaluable real-time data to optimize their operations,” said Vasco Portugal, CEO and Co-Founder of Sensei. “We’re excited to bring this transformative solution to larger scale supermarkets and challenge the retail industry with what’s possible.“

At NRF 2025, Sensei will showcase a live demo of its autonomous store concept at Booth 117 in the FoodService Innovation Zone. Attendees will experience firsthand how Sensei’s technology creates a seamless shopping experience, combining:

• Autonomous Grocery Solutions: Consumers grab items like cereal, milk, or pasta, and their virtual basket updates in real-time.
• Assisted Sales Integration: Retailers can redeploy staff from checkout lines to high-value roles, such as supporting bakery or deli operations.
• Smart Integration: Automated systems like coffee machines can be seamlessly incorporated into the autonomous ecosystem.

Pioneering Retail Innovation
Sensei’s proprietary AI technology combines computer vision, machine learning and sensors to achieve 99% accuracy in tracking consumer interactions with products, a significant improvement over existing autonomous solutions. Shoppers enjoy transparency, as purchases are displayed in real-time, eliminating the friction of scanning and lines.

Exclusive Launch Announcement
Sensei’s presence at NRF coincides with the launch of its 1,200+ square-meter autonomous supermarket in Portugal, in partnership with MC (Sonae Group), the country’s leading grocery retailer. This groundbreaking achievement sets a new benchmark for large-scale autonomous retail environments. Store features include:

• Democratic Entry: No app, card, or registration is required to enter the store. The entry is open as in any regular supermarket.
• Diverse and Comprehensive Assortment: The store offers a range of products similar to a traditional supermarket, including solutions like weighable fruits and vegetables, a fish market with service, and bakery and pastry options sold in bulk.
• Simplified Checkout: Thanks to “real-time basket” technology, customers don’t need to scan products. At checkout, items automatically appear on the screen for confirmation, eliminating the need to remove products from bags or carts.
• Discrepancy Detection: The technology identifies discrepancies between what the customer picked up (e.g., fruits and vegetables) and what was actually weighted, ensuring greater control and accuracy throughout the shopping journey.

This innovative retail environment integrates AI-powered computer vision, shelf sensors, and real-time inventory tracking to provide unparalleled accuracy and convenience for consumers while delivering valuable behavioral insights and operational efficiencies for retailers.

Visit Sensei at NRF 2025
Sensei will host autonomous store demo at its booth (#117) in the FoodService Innovation Zone at NRF 2025. Explore how autonomous solutions can revolutionize grocery stores, convenience stores, and beyond.

About Sensei
Sensei is the leading European provider of autonomous retail technology, a pioneer in the industry, it was the first technology company to open fully autonomous stores in Europe, Latin America and Brazil. Through an advanced infrastructure that combines AI, computer vision, and sensor fusion, Sensei builds experiences that make shopping more intuitive and generate unprecedented store metrics and performance insights for businesses. www.sensei.tech

SOURCE Sensei Tech

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David Arditi, University of Texas at Arlington

When members of a reality TV show’s cast sign a contract to participate in a show, they typically do so more for the exposure than the pay – and in many cases they do not earn a dime.

Employers get away with what may appear to be a violation of basic labor laws because those contestants are classified as independent contractors, not employees. In the eyes of the law, they do not have the same protections most workers get with just about any other kind of job, such as the freedom to join unions.

It also means that the National Labor Relations Board does not have jurisdiction over them. This may soon change after the government agency filed a complaint against Delirium TV and Kinetic Content, the producers of “Love Is Blind.”

The NLRB complaint states that reality TV contestants are employees and therefore have the right to join a union. Former “Love Is Blind” contestants Renee Poche and Nicholas Thompson had filed a petition requesting this action. In addition to not being able to join a union, they couldn’t even discuss the terms of their contracts due to nondisclosure agreements.

As a sociologist who studies popular culture and labor, I have argued for years that reality TV stars and musicians should be classified as employees.

Reality TV participants, including many of the stars of those shows, are essentially the unpaid interns of the entertainment industry, even though it’s their stories, personalities and talent that attract and hook viewers.

Offering contestants paltry pay

Today’s economy is saturated with precarious employment practices where many corporations classify workers as independent contractors. From musicians to influencers, people work gig jobs where there is no guarantee of pay or employment.

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“Cupcake Wars,” “Love Is Blind” and other reality TV shows thrive thanks to a simple business model: They are cheap to produce. One reason for that is most participants are independent contractors who work for free or earn paltry pay under the guise of chasing their dreams or gaining exposure.

This arrangement might change after the new NLRB complaint. The NLRB was created during President Franklin D. Roosevelt’s New Deal as an independent government agency tasked with protecting and regulating workers’ rights.

One of its key responsibilities is regulating unions and determining workers’ right to strike. It determines who can join a union and whether a strike is legal.

Providing a gold mine for networks

To conduct research for my book “Getting Signed: Record Contracts, Musicians, and Power in Society,” I interviewed contestants on “The Voice.”

Former contestants repeatedly told me that the television exposure did little to help their careers.

Prior to joining the show, many of the musicians were trying to scratch out a living through touring or performing. They put their developing careers on pause to chase their dreams.

However, the show’s contracts have stipulated that contestants cannot perform, sell their name, image and likeness, or record new music while on “The Voice.”

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Furthermore, viewers might not realize just how profitable these reality shows are.

Take “House Hunters.” The show follows a prospective homebuyer as they tour three homes. Homebuyers featured on the show have noted that they earn only US$500 for their work, and the episodes take three to five days and about 30 hours to film.

The show’s producers don’t pay the real estate agents to be on it.

The low pay for people on reality TV shows matches the low budget for these shows. A former participant wrote that episodes of “House Hunters” cost about $50,000 to shoot. Prime-time sitcoms, by comparison, have a budget of up to $3 million per episode.

Organizing unions within reality TV

That massive budget gap between reality TV and sitcoms is not simply due to an absence of star actors.

Many scripted television shows are based in Los Angeles, where camera crews, stunt doubles, costume artisans, makeup artists and hair stylists are unionized. But shows like “House Hunters,” which are filmed across the country, recruit crews from right-to-work states.

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Employees in those places cannot be compelled to join a union or pay union dues as a condition of employment. For these reasons, unions have far less power in these states than they do in places traditionally associated with show business, such as California and New York.

I think reality TV might become the next show business labor battle. If the NLRB forces “Love Is Blind” to treat its stars and other on-screen participants as employees, it could cascade.

Reality TV production companies could someday be required to pay all contestants wages and limit the hours they work. The Screen Actors Guild-American Federation of Television and Radio Artists, the union known as SAG-AFTRA, could begin to recruit those workers as dues-paying members.

But it’s not certain that any of this will happen. There are many hearings, court cases and appeals in store before it becomes enforceable. And since President-elect Donald Trump will take office before the hearing is scheduled to occur, his appointees could change course.

Still, I think the NLRB’s action demonstrates that reality TV contestants are finally becoming recognized as workers who deserve to be treated better by their employers.

Some portions of this article first appeared in an article published on Sept. 21, 2023.

David Arditi, Professor of Sociology, University of Texas at Arlington

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This article is republished from The Conversation under a Creative Commons license. Read the original article.