text:
First reactions to Richard Armitage in "Staged" (1999)
I swung by work one last time this morning to catch the mail and it was here! Yay!
I think. I watched it at lunch and now I've gotten off the road to blog about it. And get interrupted by a talkative waitress. Oh well. Tomorrow is going to be a very, very long day.
First, a thousand thanks to Denison Entertainment for making this material available to us. There've been some issues along the way with communication, but I'm really glad this material is now on the record, so to speak.
There'd been some question in advance about whether this could possibly be the student film production Richard Armitage had referred to as one of the low points of his career. I don't have time to look for the article where he said it, but the operative descriptors were "vaselined lens" and "American accent" along with something about jumping around on sofas. And he mentioned that his LAMDA tutor didn't care for it. Even if it's a bit more noirish than I care for (and allowance has to be made for it being a black-and-white film), I don't think the camera work here quite qualifies as "vaselined lens" and if Armitage is doing an American accent, I missed it (though it's not the penetrating RP that he affects for someone like Bill Chatford, nor the clearly northern accent of Mr. Thornton). A lot of sofas are involved, but no one stands on one. And there's only one scene where I think if I were a tutor, I would have intervened to say, "Don't do that, that way, under any circumstances in future, ever again."
[ETA: note my backpedaling on the accent issue here, after a few more views.]
In any case, whether or not "Staged" was what he was referring to, I don't think Richard Armitage has any need to feel ashamed of this project reappearing now. It doesn't do him any harm at all, and says some interesting things about the state of affairs in his artistry in 1999 — remember, this is the point at which he'd just left LAMDA and was embarking on his acting career under his own auspices (See Denison's description of his first encounter with Armitage here), but still before the Royal Shakespeare Company phase of his education. I discussed this phase earlier, here, but we have more data now. That is: actual data!
I think that looking at this film really raises interesting questions about the beginning of Richard Armitage's career and it definitely affects what I've understood about it so far. I'll try to detail at the end of this piece what I think those issues are.
Unfortunately, this DVD *did not* play well with my MacBook Pro. So no screen caps here. I tried three different methods of getting them, but no dice. I could probably demonstrate things better with them than I will be able to below, but we'll see what happens when I get back to a PC. Or perhaps screencaps will magically appear from elsewhere (wink).
First, however, a few bonbons, which would be better illustrated, but oh well:
Staged has answered a fundamental wardrobe question for me, that is: What would Richard Armitage look like in pants with a front pleat? (The ones he has on aren't especially well fitted, but nonetheless, I get an idea. And no, he doesn't really need a front pleat, especially not here, where his thigh musculature is relatively undeveloped. In short — Armitage looks gorgeous, but this is clearly before the level of preoccupation with the appearance of his physique that Lucas North brought into his life).
Second: A Richard Armitage character smokes! You know how I feel about that! Here it's done in a scene that makes a true statement about the character, so it's not about sexiness as much as it is about coping (which is, frankly, one mode of how I think most smokers smoke). [NB: please no smoking / smokers hate in the comments.]
Third, he still has that rear hair squidge thing, but you can see from this film a bit how his hair grows out at the hairline level. As well as — yes, as earlier commentators have mentioned — his chest and lower abdominal hair growth patterns.
In a graphic shown early in the film, you can see this photo of Armitage, which is supposed to be his character, Darryl — so now we know that image has to be from after LAMDA or after, but still slightly before the RSC.
Armitage's opening line — which starts with an "aaaaah," is amazing. The Voice was there at the beginning. Although he sounds like a very high baritone, almost a tenor, in most of this production. I see some ringtones coming once people work their magic on the data.
There are a few really eerie moments here — not just FL's notation of the discussion of actor as compelled to be the object of audience fantasy, but also a statement that echoes Armitage's own about the struggle to be monogamous, for instance, as well as statement that stage made him and it's been twelve years since he's been on stage. Wild. Life imitates art — or is this a common pattern or worry in the successful actor's life?
One of those scenes that substantiates the sweet Armitage is also totally present in this film. It's like there's something for every fangirl. Could he have been planning that back in 1999?
We get to see him doing something that looks like it could be a gesture in the direction of oral sex. That seems to be what they're signaling — albeit in a remarkable serious way, and unfortunately no one's breathing hard.
Richard Armitage likes chunky watches. Oh yes.
And now, to the main event.
In this short film, Richard Armitage plays Darryl Newman, an actor who's chasing a stage comeback (after some career problems unspecified in the script — either film flops or just a general tendency toward typecasting that's impacted his creativity negatively). Newman's acting in a play with his ex-romantic partner, Lily (Jennifer Taylor Lawrence), that he plans as a move toward rescuing his artistic creativity, and she's experiencing problems with her role, apparently out of nervousness. Most of the film deals with their hashing over their history and needs and the break in their relationship due to an apparent betrayal on Lily's part that has figured in the boulevard press.
I'm afraid that I didn't especially like this script. It seemed almost self-consciously film-schoolish to me. Moreover, the script and the film decisively prejudice the encounter captured in the work toward the male point of view — a broken relationship film that makes the man seem like the victim. On the one hand, I appreciate that for practical reasons, because I never would have paid $20 if Richard Armitage had had only a bit role. I was only watching this film for him. (Although he has solid, if not necessarily fireworkish, chemistry with Jennifer Taylor Lawrence, who does a great job — and I discovered while reading her imdb page that she, too, started her arts career as a dancer. But she's not the point for me here.) On the other, however, I am a woman myself. So, for the first two minutes, I found myself thinking, "Sigh, is Richard Armitage really going to be in one of these 'Let's hate on the woman' movies?" Really, Armitage? Mr. Quintessential Women's Favorite Actor? (I guess this was made before we gave him that title.) Particularly the childish and totally nonsensical script move at 9:16, when Darryl alleges that Lily is walking away from him because he's not good enough, reads to me like something out of a therapy session as opposed to a real dialogue. And I won't even discuss the ending of the film, which is simply not consistent with anything that happens anywhere in the script up until then.
And here the women's issue is a general script issue — one of balance and realism. I get that this is a short film intended to display a budding student's craft, and that you can't depict everything in a relationship in ten to fifteen minutes. As adults who are actually in relationships know, however, problems tend to be created or at least escalated by both partners. The script eventually backed off a little from its imbalance, but honestly, in my opinion, not enough to recover from this problem — it implies the breakup is entirely the woman's fault for being unfaithful and portrays Darryl as the victim of infidelity — even though Darryl says in the beginning in a scene that's meant to be part of the play that he/men have issues with monogamy. So maybe the script was meant to be hinting that Darryl expected Lily to be faithful while he was not? Not entirely clear — nor is Darryl and Lily's exactly relationship, as the implication that the conflict between them rests on marital infidelity seems to be placed in a scene that's actually a play rehearsal. I am not a naive interpreter of narratives, but I was confused and perhaps that was intentional.
Insofar as the script was saved, however, it was by the fact that the film editing makes it (I assume intentionally) difficult to discern at first view what scenes (or parts of scenes) are meant to be pieces of the play they're acting in, and which scenes (or parts of scenes) are intended as actual conversations between the now-separated romantic partners. That is — one tends to think of the whole piece as a dialog between Lily and Darryl and the script of the play they are rehearsing is simply another way for them to talk about their problems. But the intentional complication of the viewer perspective reads like film school.
You know, script writers, actually half of the population are women. We work at home or in the workplace, thus we make discretionary income decisions for our families, we have our hands on money and we buy film tickets. And we tend to like more intimate dramas, like this could have been … as opposed to big shoot'emups.
Cough.
Anyway. That said. I set out wanting to discuss Richard Armitage.
What's really interesting about this performance is that (aside from one fairly severe misstep) it's so complex and naturalistic in comparison to, well — just about everything we've seen since 2003. That is — this performance is different from essentially everything we've seen Armitage do. The closest comparison is possibly Philip Turner in the Inspector Lynley episode — but this is more emotional, and better. Seriously, the first time I saw this, I had to shake my head while I was watching it.
Don't get me wrong — I am not saying Armitage's performance is unrecognizable. There's plenty of familiar Armitage to see from the prominent occipitofrontalis to his tendency to gaze in way that makes him seem both engaged with his interlocutor (in this case, interlocutrix) and some faraway horizon — and his faraway horizon gazes are entrancing as ever, because his brow seems so much more severe in this piece for some reason that I can't entirely put my fingers on. The microexpressions are definitely there and noticeable, so they must have preceded the RSC, even if they're not always incredibly prominent.
But the tendency for the viewer who thinks she knows Armitage already to be surprised starts from the very beginning, where Lily breaks the scene they're rehearsing at a crucial point because of reported physical discomfort, and Darryl tries to encourage her but then gives up in frustration. When Armitage is depicting frustration, over his entire career he shows a pattern of backing off rather than attacking, and that's how this scene starts — with Darryl trying to be understanding, and then leaving in frustration rather than escalate the scene. But what surprises here is not so much the back-off, but the relative soft-spoken tones of Armitage's delivery. This is hugely naturalistic speech in comparison to almost everything we've ever seen of Armitage's work. Maybe this has something to do with Armitage being an actor who's playing an actor (as opposed to being an actor playing some other role) and this question would bear some further reflection — as if Darryl is one of the roles that Armitage has been able to draw the most on from his own lived experience (at least at that point). But it leaves the viewer with the (always seductive, always deceptive, always illusory) frisson of thinking that one's almost seeing Richard Armitage as he might have been in 1999. The very occasional moments of character break don't refute so much as underline this possibility. And the script enhances this like crazy, especially Darryl's statement about losing himself in a character for long periods of time. (Again, I'm not saying this is Armitage's motivation, but he really sells it here and it's similar enough to other things he's said in the meantime.)
In any case, what we don't see here are the usual layers of the Armitage performance I'm accustomed to, which is in itself a bit surprising. There are moments of pre-historic Armitage, one might say — things we recognize, like the narrowing of the eye (oris orbiculari, something I have yet to write about), for instance, or the nervous muscular loosening of the jaw (as at 3:18) that sometimes looks like preening because of the angle of Armitage's jaw. But in general, another thing that surprises about this performance is that Armitage's gestural language is yet again different from what we've seen in almost all of his television roles. No tongue of concentration and although I've watched it six times, none of the typical Armitage nervous acting tics. The crossed arms are here, in at least two places, but never in bravado or scorn, only in self-defense. And the rapid blinking is used in at least once scene to reflect emotion that I wouldn't have expected that to use. The very naturalistic gestural usage here is again notably difference from the visceral broadcast of emotions that we can see on Armitage's face in his early career television roles and then again, in refined form, in North & South.
I may not be taken seriously in this, given my romp on the script (above), but I do think there was a sense in which the camera shots really favored Armitage in a lot of ways. (The director's clearly more interested in looking at his expressions than at Lawrence's, which again would be a problem for me if I weren't watching for the reasons that I am watching.) There are six or seven moments when we see him, for about one to two seconds, looking so poignant, abandoned (o:4:19 — this is a cap for the ages), angry, amused, etc. — and then these are gone. The short-shot format of most of this film really favors Armitage's skills as they were at the time.
This is not to say there are no mishaps. I don't believe him, at about 6:35, when he says he doesn't forgive betrayals. It's odd because he doesn't bring his microexpressions to bear here at all, as he would nowadays. (Well, I guess he has learned something since 1999). Similarly, his statement at 7:00 that his only issue is with Lily is simply overdelivered. Not inherently — in the sense that no actor would do it that way — but because it's really outside of the character he's set up for Darryl up to this point — who is understanding, trying to help, and whose anger about the potential flop of his play is underlain with despair — as opposed to explosive. This may be an editing issue, but Armitage's emotion here is simply too sudden, and he retreats from it almost immediately — we almost don't hear his next line, and his head is bowed in a bit of suppressed rage (although this is probably also a concession to the shorter Lawrence).
That he is capable of rage is almost immediately apparent afterwards, as one of those brief shots on his face at 7:21 shows that Darryl is truly resentful (although we don't know yet entirely about what, as it's not totally clear that Lily is his ex-wife — an intentional confusion by the script, apparently — though again this may be a moment where Darryl is shifting into his character as they resume the rehearsal of the play). The totally inconsistent ending notwithstanding, anyone who's occasionally wondered (as I have) whether Armitage could marshal the inner rage to play a naturalistic (as opposed to Guy of Gisborne) character who truly hurt or even raped a woman, should no longer have any doubts. Although Darryl's anger was undercut by the script, the scenes where Darryl appears to force himself on Lily initially (uch, I feel another objection coming here) are convincing enough to suggest that that capacity is there. Again, of course, as viewers, we have the problem that we can't tell if this Darryl or the unspecified character that Darryl is playing — but the unaccustomed tempestuousness was pretty convincing to me.
Wow. Naturalism and Richard Armitage. It was, frankly, eye opening.
So the main question that I have after seeing this, and then the TV roles that followed when his stage career began to take off — Lee Preston (Cold Feet), Paul Andrews (Between the Sheets), John Standring (Sparkhouse), Ian Macalwain (Ultimate Force) in chief, but also Steven (Frozen), which was filmed in 2003 but not released until later — is:
What the heck happened to Armitage at the Royal Shakespeare Company? All of these performances named above, with the possible exception of Steven in Frozen, are much more heavily mannerist (layered, if you like) than this role. Is that what the RSC taught Armitage? If so, I'm tempted to say that LAMDA offered an excellent education in a quite naturalistic, believable acting style, but that the RSC did something that created artistic problems for Armitage on a significant level — and I say this although I love the Baroque qualities that Armitage, in my opinion appropriately, give Guy of Gisborne — that he was not able to release himself from until he played Lucas North or perhaps even later.
Footnote to the question — I wonder if part of the issue was the way that Armitage's emotions move across his face, so very, very swiftly — that wasn't perhaps suitable for theater? There's a true unstudied volatility in some scenes here (I'm thinking of the scene where Darryl approaches Lily in the dressing room, or the scene where he laughs after drinking from her spiked beverage can) that I can see not fully catching an audience on stage simply because it passes so quickly.
In any case — definitely worth it both for students of Armitage's career and biography, and for those who are examining his acting style.
I await your thoughts.
Posted in Richard Armitage
Tags: acting, Richard Armitage, Staged
50 Responses to "First reactions to Richard Armitage in "Staged" (1999)"
What can I say that you haven't already said, Serv? Wonderful and thought-provoking piece… I've only watched STAGED once, but I superficially enjoyed it. I agree about the overdelivery of that line "My only problem is WITH you!" – that was jarring – I thought he should have put the emphasis on "you," not "with." It just seemed weird. I liked their chemistry and the coloring/lighting was interesting to me. Very… theatrical (duh).
The whole thing where we aren't sure at any given time (on stage) whether they're rehearsing lines from the play or hashing out their coupledom issues: This reminded me very much of a key scene in "Shakespeare in Love," which came out the previous year in 1998. They say imitation is the sincerest form of flattery. 🙂
AwkCelebEncounters (@AwkwardCeleb) said this on	June 26, 2013 at 1:14 am | Reply
Thanks, AwkCE. I only saw that once, and it was dubbed in German, so I'm afraid that I've totally forgotten it. However, that would totally make sense as to the narrative blurring.
I think what I disliked about that moment was less the intonation (although I agree with you that it was wrong) but the sudden escalation, and the overcrease of the eyebrows. I thought that when I saw the trailer but seeing it in context didn't change my mind.
I had been hesitant to order this, but you are convincing me.
Christine (msgigglepants) said this on	June 26, 2013 at 1:35 am | Reply
$20 is about what I'd spend without thinking on a restaurant meal. So I wasn't afraid of what would happen if I didn't like it. It wasn't a major discretionary purpose for me. There are lots of things you'd like in this. Plenty of topless Armitage. Other reviewers have discussed that, though, so I left it 🙂
Like Christine, and because of your review Servetus, I might actually consider buying it. My reason for not initially was that I had this feeling that it might not actually come to be distributed. This was a fear many had, because it took so long to be shipped out. Also, I wasn't really sure this was something endorsed by Richard to be released. Some actors agree to do a film, but don't actually sign a release or contract allowing for sale or distribution. But nothing came up about that either, so that is good also. Anyway, I am so very glad that I was wrong in all respects. Thanks for taking the time to do this review, Servetus.
crystalchandlyre said this on	June 27, 2013 at 9:16 am | Reply
I wasn't worried about the permissions issue b/c Denison works in the industry. (I assume that Armitage signed a release years and years ago, but even if not, since Denison has his own entertainment company now, if he were going to move in the direction of distribution he'd have to have that managed or risk the reputation of his future endeavors). I was somewhat worried about the distribution issue, but there's no point in discussing my reasons now because they haven't been actuated. In the end, I bought it because I was curious, it was something I wasn't going to get anywhere else, and $20 wasn't enough to break me either way. I understand that it may have been different for others, but I give $20 to a beggar every now and then if I don't have a smaller bill and I'm overdue for giving tzedakah. That may not always be the case but it was just now.
Thanks so much for the review! I am full of awe at your energy and devotion…I just might have to buy this, and I only own two RA DVD's. It would make a nice book-end to the ones I have which are of a mature actor.
I'm absolutely positive he could convincingly play a role in which he injures/rapes a woman. Rape is not about sex; it is about control and rage violence, which he successfully portrayed when he was beating up that tiny little textile worker as Thornton. His face was scary there; I would definitely fear for my safety with that face coming at me, especially as it is housed in such a huge body.
chaifreak said this on	June 26, 2013 at 2:28 am | Reply
yes, I know rape is not about sex. But it's also a different emotion than the Thornton / Stevens incident. For one thing, the power differential in the typical rape is way more complex than that.
Yes, it IS more complicated. And NS was how many years ago? And how much more refined are his performances now? Think of all of the "micro expressions", as you so beautifully described, he has mastered. Still no doubt in my mind he could do this, and many more things besides.
chaifreak said this on	June 26, 2013 at 3:50 pm | Reply
I'm just saying that I don't buy that Thornton beating up Stevens is proof that Armitage had/has the chops to commit a rape on film. (And why, you ask, should I want him to? 🙂 I don't, especially). I had other concerns in making that judgment. Pure slaughter is not quite the same as the commission of active torture and humiliation of others. Bateman in S9 comes closest to what I'm thinking of, I suppose, but it's undercut with such an attempt to make us sympathize with the character that it's a bit hard to interpret.
Enjoyed the review, thanks! Is it still possible to order this? I arrived late to the party and got the impression this was a very limited run and that you had to pre-order it…
Micinlia said this on	June 26, 2013 at 4:15 am | Reply
Micinlla, thanks for the comment and welcome. I have no idea if it's still purchasable, but you could email staged@denisonentertainment.com and ask.
Thanks for the lowdown on the film. I'm very interested in getting the movie now so that I can study his chest hair–oops! **cough** I mean study that natural acting style you were describing.
dennib68 said this on	June 26, 2013 at 4:51 am | Reply
Everyone has her own reason for watching and they're all good. 🙂
Now I really regreat that I haven't bought it *sigh*
Thanks for your opinion and the detailed description Servetus!
Herba said this on	June 26, 2013 at 6:04 am | Reply
I suspect that (cough) as with many things, it will eventually become available …
I hope so, but you'll never know
Herba said this on	June 26, 2013 at 3:51 pm | Reply
I regret of course…oh my, it's early on my half of the world 😉
Thank you for the review. I didn't buy it, but may think about changing my mind.
katie70 said this on	June 26, 2013 at 6:28 am | Reply
Do keep in mind that it's 10 minutes long. So it's 10 enjoyable minutes, but …
In short, I didn't want to be responsible for anyone buying or not buying this — 🙂
Thanks for your analysis that I will read again when (IF) my dvd arrive here in this lost corner of the world 😦
micra1 said this on	June 26, 2013 at 7:17 am | Reply
yes, I realized this review comes ahead of a lot of people's chances to see it.
but it's much welcome! It mitigates the wait 😉
micra1 said this on	June 26, 2013 at 7:51 pm | Reply
Thanks for your review, Serv. I almost feel as if I have seen the short. With the few snippets, that we have seen as teasers, in mind, your post gives me a great insight into this piece of the early RA oevre.
I am not quite sure whether I fully grasp your understanding of mannerist acting. I have never found RA artificial or discernibly *acting* in his roles, so I am wondering what you mean by him being different here. In a way, it seems almost contradictory to me that he is not mannerist but consistently (?) naturalist in this play, when the two acting styles might have helped to set apart Darryl from the person Darryl is playing.
Jeeeps, this is getting complicated. I am confused myself. Hope you are driving safe!
guylty said this on	June 26, 2013 at 8:13 am | Reply
I didn't define "mannerist," so fair enough. I'm not saying that I think he's "indicating" (as the Stanislavski people used to say, I guess the term's gone out of fashion) in his early roles, but I also never would have called Armitage a primarily naturalistic actor. He definitely has a recognizable style and that style is not really visible here.
*If* he was trying to differentiate between Darryl the actor and the character played by Darryl the actor, the difference is pretty subtle. I am going to have to watch it a few more times, I imagine. For one thing, I'm really not always sure when they're switching between play and relationship.
I watched STAGED only once so far, but I loved it, imperfections and all. It was well worth the wait.
collarcitybrownstone said this on	June 26, 2013 at 10:54 am | Reply
I ordered it in the mood that I was not sure if I ever would really watch it and pry into RA's past or just put it on the RA-shelf unseen. But I at least wanted to have the option to watch it, so I mangled my food budget and ordered it. I am still not sure if I will be able to assemble the bravery to watch it when my DVD arrives. (Did not get it yet.)
Your review certainly is something to get me closer to the point to want to see it now, as when seeing the theatre excerpts of his Shakespeare works, I always wonder why he so consistently mentions wanting to go back to theatre work.
cdoart said this on	June 26, 2013 at 12:28 pm | Reply
I totally get this. I'm wrangling with the "do I finally listen the rest of LoTN" question at the moment. The reasons are different obviously but I understand the reasons why one might not want to consume something …
Armitage seems *really* comfortable here (acting here or there). Above all there's no sense of stage fright or tenseness here at all.
Thank you for your review, Servetus. I haven't bought the DVD so your description is very precious for me.
Ania said this on	June 26, 2013 at 11:04 pm | Reply
Glad to be helpful.
Your review is waaaaay more intelligently put than mine could ever be. Love all the points you raised and I wish that it would have been longer, if only to flesh out the characters and their dialogue a bit more. All the escalating anger here and there was a bit off-putting to me but I know it had something to do with the time allotted.
I noticed that in the end credits, there are at least 3 more characters in addition to the director and the assistant whose scenes ended up on the cutting room floor.
morrighansmuse said this on	June 27, 2013 at 4:23 pm | Reply
Thanks — I still have to check that out. I did notice that the actors were doubling in crew roles in some cases.
I think the emotional lumps would have made more sense if the film had been even a teensy bit longer, but the perspective changes from script to relationship also made them hard(er) to understand.
[…] In my first series of viewings, my reaction was that I didn't notice him trying to do an American accent; after more viewings I could see places that suggest that he was trying to do that part of the time (at the very least, when he's playing Darryl playing the unnamed character in the play). If anyone's interested, I will be willing to substantiate that assertion more fully (I assume that would be boring for most readers, but if you'd like me to do it, please leave a comment). […]
Finally, link to Richard Armitage's statement about "a student film" — "Staged"? | Me + Richard Armitage said this on	July 3, 2013 at 3:38 am | Reply
So you think the RSC was a mistake?
I haven't seen this yet and probably won't until it shows up somewhere else — wasn't really interested until I read your review.
As usual, you give a very thoughtful and detailed analysis. Ever thought of a career as a movie critic?
sloan said this on	July 4, 2013 at 3:09 am | Reply
I don't have enough data to say. But I think his style was markedly different after the RSC; in a year and half or whatever it was he never got a very large role; and on at least two occasions he expressed frustration with the experience in one way or other. I suspect that the RSC probably rubbed the edges off of occasional moments of overemotionality like the ones we see here, but beyond that it's hard to say. I wish it were possible to see some of the performances of the late 1990s, esp. from the Birmingham Rep. OTOH, it's possible that the RSC was an important resume builder — one of those things it's valuable to say you've done ?
Servetus said this on	July 4, 2013 at 3:16 am | Reply
Isn't the RSC a prerequisite for most British actors?
BTW: Thoughts and prayers are with you — as always. Take care.
Other people will know better than me — but I just looked and none of the following have RSC training: Cumberbatch, McFadyen, Hiddleston, Penry-Jones.
Thanks for the thoughts / prayers. You take care, too.
Initially, the first two lines of the film completely confused me. It definitely should be watched multiple times to grasp the full extent of the story. Unsure why JTL's character changed towards Darryl, and was it before or at the end of the film/ rehearsal scenes we see? Was there conflict resolution? Did she settle?
Completely laughed at the crushed can scene. Bravo to Richard for maintaining a straight face.
He resembles a "Darryl" here. Anything better than a "John", right? 😉
LucNorth84 said this on	July 14, 2013 at 6:19 am | Reply
yeah, Darryl is a weird name to pick but better than John 🙂
Servetus said this on	July 14, 2013 at 10:59 pm | Reply
[…] after everyone else has, and after every other thought about it has been expressed. This matter has occasionally motivated me to make judgments before I'm entirely ready. This might make you stay more tuned […]
Are you ready for Richard Armitage in November and December? | Me + Richard Armitage said this on	October 27, 2013 at 10:10 pm | Reply
[…] eye-lashes, mind you. If you would like to read other reviews by other bloggers, you can find them here, here and […]
My Two Cents on Staged – Not Just the Eye Lashes This Time… | Love, Sex & Other Dirty Words said this on	December 16, 2013 at 2:41 am | Reply
[…] to that of more experienced bloggers and Armitage watchers who posted their reviews. [X] [XX], [XXX to cite a […]
Perry: Back Where She Started | Armitage Agonistes said this on	January 25, 2014 at 10:02 pm | Reply
so does he survive the film?
Kat said this on	June 1, 2014 at 2:38 am | Reply
Thanks for the comment, and welcome. In this case, yes, he does.
Servetus said this on	June 1, 2014 at 2:41 am | Reply
If anyone knows of someone who has an extra copy to sell woukd you please kindly advise? Thank you!
Lexi said this on	January 31, 2016 at 8:27 pm | Reply
Looking to purchase a copy of Staged. Yes I'm late to this party. Had a terrible three past years. Thx!!
[…] 2013. Armitage himself described this accent as "appalling." My first impressions are here with an addition here about my perception of his wobbly accent-switching at the time — Darryl […]
Richard Armitage speaking American, a retrospective (Staged, Captain America) | Me + Richard Armitage said this on	May 28, 2016 at 12:27 am | Reply


text:
FDLE claims West Palm Beach officer committed grand theft and police misconduct
March 5, 2018 June 1, 2018 alinksy Leave a comment
Michelle Quesada, Mar 5, 2018,
WEST PALM BEACH, Fla. – A Florida Department of Law Enforcement investigation into the alleged actions of a West Palm Beach police officer determined the officer committed grand theft and police misconduct, but the officer will not face charges.
The Palm Beach County State Attorney's Office said the evidence presented by FDLE did not meet the elements for prosecution. This comes despite the fact that FDLE found six occasions where the lieutenant was paid overtime and was allegedly not working.
An FDLE report says a source came forward with surveillance video from a private investigator showing Lt. Gregory Babcock at home for at least two hours of the eight he clocked in to monitor a waterway as part of the Palm Beach County Manatee Enforcement Grant on December 10, 2016.
The State Attorney's Office said the theft was a "de minimis amount" that should be handled administratively. The next day surveillance video showed Lt. Babcock worked on a car in his driveway when his time sheet said he worked eight hours of overtime on the Manatee detail. In an interview with FDLE, the senior county clerk said Babcock tried to rectify the error six months later.
"I received an email from Lieutenant Babcock stating that he had entered overtime into Telestaff for eight hours for a Manatee grant and it should have only been three hours," said Taneisha Potter in the interview with FDLE agent Antonio Mathews.
Mathews then asks Potter to clarify the date of when the incorrect overtime was paid which was in December 2016 and when Babcock sent the email which was in May 2017.
"Did you find that odd?" Mathews asked Potter. "Yes," she replied.
Babcock reimbursed the county for five hours. FDLE agents claim they found four other occasions when Babcock's time cards did not match the boat meter readings for the days he was working.
The State Attorney's Office's No File Memorandum said, "The meter readings were presented by a biased party. Evidence should be looked at cautiously when the person presenting the evidence appears to have a vendetta, motive or bias."
FDLE's source is whistleblower Lt. Frank Alonso who has filed a lawsuit against the city of West Palm Beach. His lawsuit says he filed a report of alleged misconduct with FDLE in February 2017.
The State Attorney's Office and the West Palm Beach police chief will not comment on this story because there is an ongoing internal affairs investigation.
The Palm Beach County Police Benevolent Association also said it cannot provide a comment at this time because of the open case.
Gary Lippman, a former attorney for the PBA said the State Attorney's Office may have decided the evidence did not meet the elements for prosecution, but if the internal affairs determined Babcock did commit police misconduct or grand theft, he could face de-certification and risk losing his pension.
Michelle Quesada, Mar 5, 2018, "FDLE claims West Palm Beach officer committed grand theft and police misconduct", https://www.wptv.com/news/region-c-palm-beach-county/west-palm-beach/fdle-claims-wpb-officer-committed-grand-theft-and-police-misconduct
Police MisconductFlorida, Gregory Babcock, Police Misconduct, WEST PALM BEACH
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319 NYPD employees committed fireable offenses and kept their jobs: report →

redpajama_set_name: RedPajamaCommonCrawl


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Samsung Will Soon Offer Smartphones With 64MP Image Sensor
Samsung is upping the ante in the smartphone world.
The company recently announced that they will be introducing 48-mp and 64-mp image sensors for smartphones launching in the fall of 2019.
Both sensors employ the company's Isocell Plus and Tetracell technology.
The former was designed to reduce light leakage, and the latter utilizes four pixels as one to allow for superior digital photography in low-light conditions.
Barely six months ago, the South Korean tech giant launched 32-MP and 48-MP Isocell sensors used in their Galaxy S10 smartphones. The image sensor market has been quite profitable for Samsung, and these latest product offerings will enable them to compete head-to-head with Japanese rival Sony.
In tandem with the announcement, Samsung revealed that they'd be investing more than $120 billion between now and 2030 to become the dominant player in the logic chip market. Their latest research has seen them investigating new applications for sensors to be used in autonomous vehicles in the years ahead.
This is good news and is sure to trigger several other product announcements later in the year as companies take advantage of the soon to be available technology. Given Samsung's success so far in this segment of the market, there's little reason to think that their latest releases will be anything other than a resounding success.
In an industry fraught with uncertainty, Samsung seems to be making all the right moves this year. The future certainly looks bright for them, and the markets they serve. If you're a fan of photography, you're sure to appreciate the new capabilities that these sensors enable. Best of all, if the past is any guide, you won't have to wait long to start taking advantage of them.
Flaw May Have Allowed Hacker Control Of Your WhatsApp Account
Popular Android Keyboard App Collected Private Information, Has Been Breached
Oracle Micros Point of Sale Customers Reset Your Passwords
Will We Control Computers With Our Brains Soon?
New iPhone Attack Seems Very Familiar: Watch Out For MMS


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Exploring the world's most romantic wedding venues
From a chapel with the ultimate ocean view in Jamaica to an altar made of ice in Sweden: Exploring the world's most romantic wedding venues with our holiday hero
Neil Simpson checks out some one-of-a-kind wedding venues around the world
Tie the knot in style at The Wedding Chapel at Jamaica's Sandals Ochi Beach
For a really cool venue, head to The Ceremony Hall at Sweden's Ice Hotel
By Neil Simpson For The Mail On Sunday
Published: 22:00 BST, 9 February 2019 | Updated: 10:57 BST, 11 February 2019
Every week our Holiday Hero Neil Simpson takes an in-depth look at a brilliant holiday idea, doing all the legwork so you don't have to. As Valentine's Day beckons, he checks out the world's most romantic wedding venues.
The perfect wedding deserves the perfect location – and increasingly couples are heading abroad to find it.
Tying the knot overseas can mean some extra admin and you should check the official gov.uk/marriage-abroad website to ensure your ceremony is legally binding. But don't think the planning will be harder overseas. All the photo-friendly locations here have English-speaking wedding planners on hand.
Tie the knot in style: The Wedding Chapel at Jamaica's Sandals Ochi Beach
Waterside wedding: Walk on water before taking your vows in the new 'over-the-ocean' chapel at Sandals Ochi Beach in Jamaica. The wooden chapel can accommodate 56 guests and offers 360-degree views of the Caribbean – and a crystal-clear view through the glass floor to the waters below. You choose how the chapel is decorated, and the more guests you invite to the resort, the more extras – such as room upgrades – you get for free.
Book it: The wedding venue is free if you stay at all-inclusive Sandals Ochi Beach, where seven nights in spring 2020 starts at £1,639pp, including flights. sandals.co.uk/weddings/venues
Legendary location: Head to Cyprus and marry in the birthplace of Aphrodite, goddess of love. It's hard to find a more beautiful place for a ceremony than the white-walled Ayia Anathasia chapel in the grounds of the luxury Anassa hotel. Exchange vows in the chapel, then have photos in the hotel's olive groves, gardens or on its beach.
Book it: Wedding packages and rooms at Anassa start at £2,224 a week in spring next year. anassa.comanassa.com
Cinematic choice: For a Gone With The Wind vibe plus lashings of Southern charm consider the ivy-covered chapel in the grounds of the Sea Island hotel in Georgia in the Deep South of the US. Outside you can celebrate beneath ancient oaks or alongside lines of swaying palms. Take BA's new direct flight to Charleston (from April 4) and the hotel is a scenic drive down the coast.
Book it: Weddings in the chapel start at £1,900 and rooms at Sea Island cost from £3,000 for a week this autumn. seaisland.com
So cool: For a one-of-a-kind wedding venue head to the Arctic Circle and the Ceremony Hall in Sweden's original Ice Hotel. It's unique as the hall melts every summer and is rebuilt, in a different style, each winter. Up to 40 guests can watch you exchange vows at an altar made of solid ice. If you don't fancy spending your wedding night in an igloo, there are 'warm rooms' on site.
Wow-factor: The Ceremony Hall at Sweden's Ice Hotel
Book it: Full weddings in the Ceremony Hall, including photographer, drinks and a night at Ice Hotel, from £3,750. icehotel.com
Home of romance: Italy's Amalfi Coast is one of the world's most romantic destinations, and the medieval Cloisters de San Francesco in Sorrento make a stunning location. After a ceremony amid the marble interiors, most couples have a reception on the terraces of the neighbouring Grand Hotel Ambasciatori.
Book it: Weddings at the cloisters cost from £1,925, with a week at Ambasciatori from £2,439 per room in spring 2020. perfectweddingsabroad.co.uk
Carol Burnett set to celebrate her 90th birthday with two-hour special January 26, 2023
Biden makes joke about himself being 'stupid' – then gets congressman's name wrong January 26, 2023
Cannabis helps women have MULTIPLE orgasms per sexual encounter – including masturbation January 26, 2023
Celebrity surrogacies: Inside sky-high costs, iron-clad NDAs, and watertight arrangements January 26, 2023


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ALIPAC In The News
2 Post By GeorgiaPeach
Thread: GOP Legislators Grab More Cheap Labor, Give Democrats Policy Wins
GeorgiaPeach
GOP Legislators Grab More Cheap Labor, Give Democrats Policy Wins
Feruary 14, 2019
Neil Munro
AP/Elise Amendola
GOP legislators won some extra cheap labor for their donors while letting Democrats insert many anti-wall, pro-migration and anti-enforcement policy riders into the 2019 border spending package.
"They sold out the President and their own voters because the President won't ever get the 55 miles [of border fence] he wanted," said Mark Krikorian, director of the Center for Immigration Studies.
Trump "was willing to play ball with Congress and to take less than his full demand [of $5.7 billion], but even on that, they screwed him. The broader public that wants the border enforced also got the shaft in this bill," he said.
"I don't think it is because of malice on the part of Republicans," said Krikorian. "They were duped, they were distracted by [the offer of more] H-2B visa[s] which is what they care about, and by being able to say there is some money for the fence, even if it will never be built," he said.
The pending bill is being rushed through Congress by GOP and Democratic leaders, but it is being opposed by pro-American groups, including the Federation for Amerian Immigration Reform, ALIPAC, and the small-government Club for Growth.
There's no coming back from this. No "emergency" or presidential powers will allow him to build the wall, ever, after he signs this bill. Trump has just agreed to fully open borders.
— Ann Coulter (@AnnCoulter) February 14, 2019
The GOP legislators were duped by Democrats because they wanted to be duped, Krikorian said, adding:
They fooled themselves because they said "We've got money for 55 miles of wall, and all the rest are just details and we can't be bothered with that." … They aren't interested enough in the details of enforcement to know what [the Democrats were] up to. They just don't think it is important and they did not focus on it.
The business-first Republicans "keep stepping on rakes and they are surprised every time it happens," he said. "They will pay a price," he added.
The Republicans on the 17-member panel include Alabama Republican Sen. Richard Shelby, West Virginia Sen. Shelley Moore Capito, North Dakota Sen. John Hoeven, Missouri Sen. Roy Blunt, Texas Rep. Kay Granger, Tennesee Rep. Chuck Fleischmann, Georgia Rep. Tom Graves, and Mississippi Rep. Steven Palazzo. Most of them are business-first Republicans who normally defer to business claims about claimed shortages of workers.
On Tuesday, Shelby touted the pending bill to Trump, who announced via tweet:
Was just presented the concept and parameters of the Border Security Deal by hard working Senator Richard Shelby. Looking over all aspects knowing that this will be hooked up with lots of money from other sources….
Trump did not say if Shelby told him about the paragraph which gives Texas Democrats a veto on the $1.4 billion on wall spending until September 2019.
The cheap labor H-2B expansion sought by Republicans was added in the last ten pages of the 1,169-page border security bill, and it pressures the Department of Homeland Security to raise the annual inflow of cheap H-2B workers, which are used to cut pay to seasonal and full-time employees by the owners of resorts, hotels, landscapers, and forestry companies.
The GOP's H-2B gain said:
Notwithstanding the numerical limitation set forth in section 214(g)(1)(B) of the Immigration and Naturalization Act (8 U.S.C. 1184)g)(1)(B)), the Secretary of Homeland Security …may increase the total number of aliens who receive a visa under section 101(a)(15)(H)(ii)(b).
The business groups pushed hard for the cheap labor because they are being forced to raise wages to Americans amid Trump's booming economy and his "Hire American" low immigration policy. In 2013, nationwide wages rose by three percent. Wage raises were low in areas with lots of migrant workers but were higher in areas with fewer migrants. For example, wages rose in the Minnesota region by 5.2 percent.
Conference Report to H.J. Res. 31 would nearly double the available FY 2019 H-2B low-skill visas. Wages in H-2B industries have only barely begun to increase after many years of stagnation. Americans need jobs and a raise!
Tell your Senator to vote NO.https://t.co/gidlDsKVmU
— NumbersUSA (@NumbersUSA) February 14, 2019
In 2017 and 2018, similar language caused the Department of Homeland Security to add 15,000 extra H-2B work visas.
Republicans have worked with Democrats and business allies to import a resident population of roughly three million cheap visa workers. Roughly 1.5 million of the visa workers work in white-collar jobs sought by U.S college graduates. Those 1.5 million visa workers will accept less pay than U.S. workers, partly because they hope to get a deferred bonus of green cards from the U.S. government.
Sen Mitch McConnell just announced @realDonaldTrump plans to sign the nightmarish budget deal Amnesty bill and then declare a state of National Emergency probably because Trump's own voters are going to politically riot over #Trump's betrayal + our taxation without representation
— William Gheen (@ALIPAC) February 14, 2019
Democrats approved the H-2B payroll cut to smooth the closed-door negotiations, Krikorian said.
The Democratic wins in the 2019 spending package include a de-facto amnesty for migrants who say they will "sponsor" the teenagers and children who are being smuggled to the U.S. border by cartel-backed coyotes. That section of the law creates a legal reward for Central American illegals who smuggle their own children into the United States.
"If this bill is enacted, expect the largest surge of unaccompanied minors this country has ever seen. If this bill is passed by Congress, President Trump must veto it." – Dan Stein, president of FAIR. https://t.co/6GEW7xAMWQ
— FAIR (@FAIRImmigration) February 14, 2019
The draft also gives Texas city officials a de facto veto on the construction of Trump's border wall until at least September 2019. Krikorian said:
Extra fencing is only in South Texas and the local governments — which are monolithically Democratic — have a veto over any fencing that is built, so there won't be any fencing that is built. The claimed 55 miles is a fake — there won't be anything built because the local government will veto construction. If this goes through, it will be the starting point for the next year's budget bill, and the Democrats will argue that [the local government veto] has to stay in place.
The Democratic wins also deliver hundreds of millions in spending to encourage migrants to cross the border, plus rules which constrict and stigmatize ICE enforcement.
The 2019 DHS spending bill provides $1.4 billion for the border wall – and also encourages migrants by promising aid, busses & legal advice/shields, plus favorable future media coverage & Dem cheerleading. Overall, GOP gains on $ and Dems gain on policies https://t.co/rxFzl8Fas0
— Neil Munro (@NeilMunroDC) February 14, 2019
In contrast, "there are no policy wins for people who are concerned about controlling the border," said Krikorian. "None."
There is no evidence, Krikorian added, that GOP staff experts on immigration were allowed to advise the GOP members of the spending panel.
Democrats win these closed-door immigration fights because they really want to expand immigration, while the business-first Republicans really want to aid donors and are not interested in developing an immigraiton policy which helps ordinary Americans, he said, adding:
The Democrats want to maximize the number of Central Americans who can move to the United States … They do not think the numerical caps in the [immigration] law should apply to people in Central America, They will do whatever it takes to enable every Central American who wants to move here. [They see] this as payback for the civil war in Central America, that we 're obliged to every Central American who want to move here because we funded the contras, the anti-communists in El Salvador and Guatemala. In other words, they think those people have a right to move here.
Gallup reported in February 2019 that five million Central Americans want to move to the United States in 2019.
The 2019 border security bill gives Trump & GOP an apparent win on the border wall $ — but it also chokes ICE enforcement with a wide variety of curbs, rules and exemptions while it also encourages offers of migration with offers of aid and lawyers. https://t.co/DfZZJE3SwN
https://www.breitbart.com/politics/2...ins-on-borders
Last edited by ALIPAC; 02-14-2019 at 09:21 PM.
But Jesus beheld them, and said unto them, With men this is impossible; but with God all things are possible.
Join our efforts to Secure America's Borders and End Illegal Immigration by Joining ALIPAC's E-Mail Alerts network (CLICK HERE)
The American people are again betrayed by Congress and a president. From 1986 forward, all we have gotten is more amnesty and increased immigration in general. We never see real interior enforcement or have secure borders. Cartels, smugglers, whoever can cross the border can still cross and continue to cross. Send for a child and you may get immunity.
On Laura Ingraham's (Ingraham Angle - FOX News) show last evening, it was mentioned the possibility of 30,000 being encouraged to caravan our way, including Cubans, those from Venezuela, others. What is seriously stopping anyone? All come.
Last edited by GeorgiaPeach; 02-14-2019 at 08:39 PM.
MW and Beezer like this.
This says it all:
"The only thing necessary for the triumph of evil is for good men to do nothing" ** Edmund Burke**
Support our FIGHT AGAINST illegal immigration & Amnesty by joining our E-mail Alerts athttps://eepurl.com/cktGTn
Gheen, Minnesota, United States
Trump Vows To Sign Budget Bill He Hasn't Read With Hidden Mass Amnesty for Illegals
For National Release | Valentines Day 2018
Share & disucss this press release & meme by email and on (FACEBOOK HERE) .. (TWITTER HERE) .. (GAB HERE) .. (ALIPAC HERE)
https://www.alipac.us/f8/trump-vows-...legals-369977/
Stop Trump From Signing Amnesty Bill at 10am that will kill more Americans
Call and share rapidly by email and on (FACEBOOK HERE) .. (TWITTER HERE) .. (GAB HERE) .. (ALIPAC HERE)
register your opposition to the budget Amnesty bill with the White House at (202-456-1414) and (202-456-1111) and in Trump's direction on (Twitter HERE) and (FACEBOOK HERE)!
https://www.alipac.us/f8/stop-trump-...ricans-369989/
Who Is Alexander Acosta? Trump Labor Nominee Supports Amnesty, Cheap Foreign Labor
By Jean in forum General Discussion
Democrats Want Votes; Republicans Want Cheap Labor
By Newmexican in forum General Discussion
Open border policy seeks unlimited access to cheap labor
By Shadow in forum illegal immigration News Stories & Reports
Swift finds out, cheap labor is not so cheap
By BetsyRoss in forum illegal immigration News Stories & Reports
Democrats want votes, Repubs want cheap labor, what does...
By mrrabbit in forum General Discussion
alipac, amnesty, ann coulter, border spending bill, center for immigration studies, cis, dan stein, fair, h.j. res 31, h2-b visas, illegal immigration, mark krikorian, sponsors, uac children, unaccompanied alien children


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Manning Clark
Rick Amor
pencil on paper (sheet: 24.0 cm x 18.0 cm)
Manning Clark AC (1915–1991), historian, lectured at the University of Melbourne from 1944 to 1949, when became Foundation Professor of History at Canberra University College. This institution became the Australian National University, where Clark was Professor and Head of the History department and later first Professor of Australian History. He left ANU in 1975. In 1981, while still at work on his monumental, controversial, six-volume A History of Australia (1962–87) he was named Australian of the Year. In his autobiographical works The Puzzles of Childhood and The Quest for Grace (1989–90) Clark wrote that he had 'learned that Australia did not have to belong to the tough; that Australia could and should belong to the lovers and believers'. Since his death, there has been lively public debate about Clark's legacy as a historian – the disagreement, in itself, helping to keep interest in the national narrative alive. Mark McKenna's brilliant biography, published in 2012, adds to the complexity of Clark's case.
Rick Amor was acquainted with Manning Clark through his father-in-law, Mick Williams, who lectured in history at the ANU for twenty years. He drew Clark while Clark was sitting to Clifton Pugh for an Archibald portrait. Later, he translated his drawings into a print for Overland. The location of Pugh's portrait of Clark is unknown.
Gift of the artist 2005
Donated through the Australian Government's Cultural Gifts Program
© Rick Amor/Copyright Agency, 2022
Listen: Manning Clark
Rick Amor (age 37 in 1985)
Professor Manning Clark AC (age 70 in 1985)
Rick Amor (20 portraits)
1. Self portrait, 2005. 2. Two portraits of Manning Clark (seated recto), (head, verso), 1985. 3. Self portrait, 1999. 4. Manning Clark, 1990. All Rick Amor.
'The person who is the writer'
Portrait story
Australian author David Malouf discusses the creation of his portrait by artist Rick Amor.
Shane Maloney and Rick Amor
'Big canvas, small head'
Artist Rick Amor and author Shane Maloney relate divergent experiences of the creation of Shane's portrait.


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info@transparencyproject.org.uk
Ellie Butler – the missing judgment about her sibling
by Lucy R | Jul 29, 2016 | Cases, Explanation, Notorious | 0 comments
We have previously written about the tragic case of Ellie Butler a number of times on this blog :
Ellie Butler – drawing together some strands and discussions
Ellie Butler – some useful resources
Lessons from the Ellie Butler Case
Lucy Reed also wrote a post on Pink Tape called What Price Transparency? about some of the difficulties she faced in reporting this case.
As each piece of new information emerges our perspective shifts. Today an appeal judgment from the Court of Appeal was published, explaining why a primary judgment of Mrs Justice King from 2014 should now be published : C (A Child) [2016] EWCA Civ 798 (29 July 2016). The Court of Appeal decided that a decision earlier this year blocking publication of the 2014 judgment was wrong, and preferred the public interest arguments in favour of publication over suggestions that there might be a risk of prejudicing any criminal appeal that Ben Butler or Jennifer Gray might launch against their convictions (news reports today suggest Ben Butler has applied for permission to appeal). You can read Suesspicious Minds' blog post explaining that appeal decision here : Ellie Butler Court of Appeal overturn decision to keep family court judgment from press.
The 2014 judgment is one we have known about for some time – the fact that its publication was being withheld has itself been reported. From that coverage it has been possible to work out that the judgment must have related to a sibling of Ellie's (Ellie was by then dead, the court can have been performing no other function than the protection of a sibling) but we did not know exactly what went on in that case. Now that the Court of Appeal has ruled the 2014 judgment has been made available (although it has yet to reach BAILII, we have managed to secure a copy) it is possible to gain a clearer picture of this case, with the benefit of hindsight.
The 2014 judgment is lengthy and detailed and very distressing to read. It contains graphic descriptions and language. This post merely attempts to summarise it. [Update We will publish a link to it on BAILII when it becomes available. You can read the judgment here.]
From the judgment we can see that :
The case was about long term plans for Ellie's younger sibling, who had been removed from his/her parents' care around the time of Ellie's death.
Ellie's sibling was subjected to physical and emotional abuse
There was a background of really very severe physical and probably sexual violence perpetrated by the father on the mother
Post mortem evidence tended to suggest that the original injuries suffered by Ellie had, after all, been the result of a shaking injury. Had that post mortem evidence been before Mrs Justice Hogg in 2012 she might well not have concluded that the father should be exonerated (and likewise in terms of the evidence of domestic violence). King J was asked by the siblings' guardian to reopen (again) the findings that the father was NOT responsible for the original 2007 injuries – but the judge declined, saying that this was not necessary / proportionate to resolve the case about Ellie's sibling – clearly the other matters, in particular the death of Ellie surpassed the earlier injuries and were enough in themselves to form the basis for a decision that Ellie's sibling was not safe at home.
The family judge was satisfied to the criminal standard (satisfied so she was sure – often described as "beyond reasonable doubt") that the father had inflicted the injuries that led to Ellie's death, and that he had caused a fractured scapula.
The father refused to cooperate with the family court process, and when the judge threatened to use its powers of compulsion to require him to give evidence it was said the father would not answer any questions. Latterly the mother also refused to cooperate. The judge characterises the fathers behaviour in the course of proceedings as controlling.
The judge describes a "highly dysfunctional and abusive relationship" and says that this was "on any view, a very challenging rehabilitation programme, albeit carried out with the assistance of an Independent Social Worker" (pa 51). Others have called for publication of the ISW reports in this case – it would certainly be very illuminating to see their perspective on things at the time.
Ellie's sibling is recorded as saying to his/her carer that ""my house" is a "bad house"" and speaks of his/her father hurting Ellie and mummy
A probation report prepared not long before Ellie's death described him as medium risk (BBC news report tonight that Sutton the Local Authority assert this was not shared with them at the time)
The mother was significantly implicated in covering up Ellie's injuries
The text messages passed between the parents and other electronic records were significant pieces of evidence in building up a picture of what was going on in the home and the state of the parents' relationship
There was a range of other significant forensic and eyewitness evidence – of the location of the various family members' blood around the home, of the parents' movements and behaviour around the time of Ellie's death etc.
The judgment describes the Grandparents' position being that they had cooperated with reluctance with the rehabilitation of Ellie to her parents' care, but after Ellie's death had not felt able to put themselves forward to care for her sibling.
The copy of the judgment we have is redacted and annotated by hand by Lord Justice Burnett, one of the Court of Appeal judges. This appears to reflect the urgency with which the redaction was carried out given the very obvious public interest in this information becoming available. There will probably be some small delay before a redacted copy is made more widely available with the redactions done electronically.
In due course we will probably write about this judgment in more detail. We will cross link posts and will add a link to the judgment when available.
The Transparency Project, Charity Number 1161471.


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News from Central Austin
Austin aims to smooth out tangled web of complex building permit process
This home on Haskell Street is being built by Riverside Homes. Company owner Scott Turner said the slow development permitting process in the city presents a barrier for small building companies like his.
By Jack Flagler | 2:00 PM Dec 3, 2018 CST
CTA-11-18-3-1
Around 8 a.m. on Sept. 28th, Felicia Foster, a custom homebuilder and owner of Barron Custom Design, arrived at the city of Austin offices at One Texas Center with a plan to submit permit applications for four different projects. This type of visit is common in her line of work—but this time she had an audience.
Jennifer Turnbow, business process consultant for the development services department, or DSD, shadowed Foster alongside members of the city's office of performance management.
Foster went from office to office, hurdling some minor stumbling blocks, including a delayed opening for Austin Energy at 10:30 a.m. due to mandatory staff training. She presented her stacks of paperwork and eventually finalized her application submissions around 1 p.m. The complex process is not unusual, according to Foster.
"Every single thing that could have come up during that process, did. All the roadblocks were there. All of the challenges," she said.
Permitting an old Austin problem
Builders have long criticized Austin's permitting process. But Turnbow's presence that morning is a sign the city is listening. Her visit, which came about a month after she was hired with DSD, was a result of meetings the department had with members of the building community in January, which resulted in 64 recommendations to improve the process.
DSD Director Rodney Gonzales says those recommendations are part of an effort to build trust, improve customer service and show the city is hearing concerns builders feel have gone ignored in the past.
In October, DSD added 52 new positions for the upcoming fiscal year and increased its annual budget by $10.4 million to a total of $63.7 million. Those changes, Gonzales said, will give the department adequate resources to increase its efficiency.
"We really feel like we've got that baseline of staff to at least deal with Austin's growth that comes into the future—deal with it in a way that it can be a measured response versus trying to swim upstream," he said.
Builders say the mix of factors that created inefficiencies in Austin's permitting process go back decades.
Geoffrey Tahuahua, vice president of Policy and Government Affairs at the Real Estate Council of Austin, said hundreds of amendments to the city's land-development code have been written without explanation of what should take priority.
"If there's an equitable process in the city of Austin it's permitting. Everyone's treated equally unfairly, and it's equally slow," Tahuahua said.
Stuart Hersh, an former city employee who now works as a consultant to help nonprofits with permitting and housing, said permitting was not always an issue in Austin, but revenue from the city's growth beginning in the 2000s was not filtered back into development services, a mistake he says set the city back.
"We lost our way," Hersh said.
Whatever the sources of the problems, Austin's rapid residential growth in the early 2010s put the building permit issues into greater focus. According to a 2018 report from Charles Heimsath of Capitol Market Research, Austin added 41,672 apartment units between 2011 and 2015, more in four years than the number of units the city absorbed in the 10 years prior.
Then, on May 8, 2015, national consulting firm Zucker Systems released a damning 800-page assessment of Austin's Planning and Development Review Department. The Zucker Report found the survey responses had "the most negative scores we have seen in our studies of 170 communities in 31 states;" and the department should receive an immediate $4.25 million in resources to turn around the issues.
Gonzales, who was the city's deputy director for Economic Development and became the director of the newly created DSD after the Zucker Report was released, said the report was "a personal blow" to city staff. While many builders said they appreciate DSD's efforts to improve in the years since, they say hurdles remain that make the process is as complex as ever.
Solutions are not one-size-fits-all
One significant stride DSD has made is the creation of the Expedited Building Plan Review program, which began last year. Expedited review, modeled on a program in Dallas, allows developers to pay an increased fee to have reviewers from multiple city departments together in one room, speeding up the permit process.
According to Brenda de la Garza, consumer services manager of the program for DSD, early numbers are strong. The expedited team has reviewed 720 total projects in its first year—357 residential and 363 commercial. Sixty-two percent of those projects have been approved in one cycle. However, the program has become so popular, that it has created a queue. For commercial projects de la Garza said the wait to meet with the expedited plan team is about eight weeks.
According to Tahuahua, many builders are willing to pay the expedited program's fees in exchange for a better predictability. Next, he said, the city must translate that success to the department as a whole.
"We have to pay extra to get to the place where the process should exist today," Tahuahua said.
While the expedited program may help builders willing to pay more, the development process remains a barrier to many homeowners and residents. Foster has created color-coded spreadsheets that outline the fees for projects her clients have completed in the past. One, for a client who built a 1,000-square foot accessory dwelling unit, shows a 390 percent increase in fees over the course of two years. She said another client who wanted to add a second bathroom and 54 square feet to a house faced $1,200 in permitting fees.
David Glenn, director of Government Relations and Policy with the Home Builders Association of Greater Austin, said challenges are different for builders of all sizes, but homeowners are hurt the most.
"The general public, the person who just wants to renovate their home, add a deck or build a pool, or what have you—they don't stand a chance," he said.
The process can be so intimidating for homeowners and small builders that an entire industry of experts—called permit expediters—exists to help those unfamiliar with permitting navigate the process.
Not all DSD's fees went up Oct. 1. However, DSD did adjust its fees to match what it says is the cost of service for the work staff provides. That means the department projects it will take in $10 million more in revenue than it did last year to fund its services, including a second team on the expedited plan review.
Advocate for builders: 'The ship has not yet turned'
While DSD's mission is to facilitate development in Austin, it is not the only city department involved in the process. There are staff members from 15 different city departments involved in permit review, from Austin Water to the Austin Fire Department to public works and the law department.
Scott Turner, owner of Riverside Homes, said it has been an unwritten rule in the development community that whenever the city's six-digit "512-974" phone number comes up, a builder has to drop whatever he or she is doing and answer the call because a missed call might mean a lengthy delay. The involvement of so many inspectors and plan reviewers, he said, is a major reason for Austin's struggles.
"That process is so complicated, and it involves so many different approvals that aren't managed under one roof at all. That's what needs to change first and foremost in order to be able to then streamline the process without sacrificing policy or code, or health and safety," Turner said.
Gonzales acknowledged that communication among each partner department in the development process is key. In 2020 many of those departments will move to a new building on Austin Community College's Highland Campus. The new four-story building will have 60,000 square feet of space on each floor, helping to consolidate more city departments into one area.
The move is one step in what the city says is progress over the last three years. According to data from Capitol Market Research, the average building permit review time from the first permit processed to the final inspection dropped for both commercial and residential projects from 218 days in 2015 to 192 in 2016. That time period then fell again in 2017 to 137 days.
Glenn likened the place Austin is in now to the difficult task of altering the course of a cargo ship.
"We want to make it clear the ship has not turned, but there's an effort underway. The captain's giving orders now, and we're waiting to see if the wind is going to turn the ship," he said.
By Jack Flagler
Jack is the editor of Community Impact Newspaper's Central Austin and Southwest Austin editions. He began his career as a sports reporter in Massachusetts and North Carolina before moving to Austin in 2018. He grew up in Maine and graduated from Boston University, but prefers tacos al pastor to lobster rolls. You can get in touch at jflagler@communityimpact.com
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Legality of ranked-choice voting prompts disagreement between supporters, Austin city attorneys
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Austin-area school districts advocate for teachers to receive COVID-19 vaccines
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In its first week, the center offered 120 coronavirus patients an antiviral antibody treatment.
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Potential strong-mayor system in Austin would be 'weakest of any big city in the country,' supporters say
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Central Austin Edition | December 2020 View All >


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