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Drag artist at library event says she is victim of ‘false accusations online'

Drag artist at library event says she is victim of ‘false accusations online'

Rhyl Journal6 hours ago
Lady Portia Di'Monte said the event at Holywood Arches Library on Friday had included a reading from The Chronicles of Narnia and Dear Zoo.
The event, which featured two drag artists, was part of the Eastside Arts Festival.
The Police Service of Northern Ireland (PSNI) confirmed it had attended a report of a small demonstration at the library on Friday afternoon and engaged with those present.
Stormont's Communities Minister Gordon Lyons said earlier this week the event was not appropriate for children and should not have taken place.
Lady Portia Di'Monte said the event had become the subject of 'targeted misinformation and online abuse'.
In a statement released by Phoenix Law, she added: 'This joyful, ticketed event was held in a public library with full support from staff, parents, and festival organisers.
'It included readings of The Chronicles of Narnia, Dear Zoo, and stories celebrating diverse families.
'Children also enjoyed inclusive games, music, and a British sign language session – promoting communication and belonging for all.
'Despite its warm and educational focus, the event was disrupted by protesters whose actions created fear and discouraged some families from attending.
'The PSNI were present to maintain safety due to external threats – not because of any risk inside.'
She added: 'Since the event, I have been subjected to abuse and false accusations online.'
The drag artist said she is now seeking legal advice.
She added: 'When children see diversity reflected around them – whether it's queer people, deaf individuals, blended families, or those who feel different – it builds empathy, understanding, and resilience.
'These events are about joy, education, and creating spaces where every child can feel seen and valued.
'To the families, staff, and supporters, thank you.
'To those spreading hate – I will not be silenced. I remain committed to creating safe, welcoming spaces for all children to grow up feeling accepted and proud of who they are.'
Phoenix Law solicitor Victoria Haddock said her client had been the victim of a 'campaign of online abuse'.
A PSNI statement said: 'Two people were escorted from the building to further ensure that there would be no breach of the peace.
'At this stage, no offences were determined to have taken place.'
Mr Lyons said the event had compromised the perception of public libraries as a 'welcoming and inclusive space for all as set out in the Libraries NI policy'.
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Pictured: Hairdresser who dad-in-law Mark Gibbon 'tried to drown' near Disney World
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Pictured: Hairdresser who dad-in-law Mark Gibbon 'tried to drown' near Disney World

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Rattigan's films are as important as his plays
Rattigan's films are as important as his plays

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Rattigan's films are as important as his plays

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Osborne himself admitted as much on these very pages in 1993, writing: 'I have been intrigued by the success of the current revival of Terence Rattigan's The Deep Blue Sea. Rattigan was under the general frown when I first joined the Royal Court Theatre in 1956, and both George Devine and Tony Richardson were appalled when I confessed to being moved by the play.' Perhaps a Rattigan Theatre would indeed lay some of the ghosts to rest. But on first hearing news of the campaign, another thought occurred: Rattigan deserves a cinema as well. Film was arguably much kinder to him than theatre ever was in the low ebbs of his career. It supplied him with constant work, saw some of his best adaptations, and allowed his writing to weather the storm. Without his breakout play French Without Tears (1936), British cinema wouldn't have acquired one of its classic rogues, Rex Harrison, whose name it thrust into the spotlight. But French Without Tears was chiefly important because its adaptation in 1940 was Rattigan's first collaboration with director Anthony Asquith – and the first success of his screen career. Few could match Asquith's ability to adapt stage classics for film. The son of liberal prime minister Herbert, Asquith junior had directed an Oscar-nominated Pygmalion (1938), with Leslie Howard and Wendy Hiller, as well as the most celebrated version of The Importance of Being Earnest (1952), with Edith Evans as the definitive Lady Bracknell. Like so many British artists, Rattigan and Asquith were drafted into propaganda duties during the war. And it resulted in their first truly great work, The Way to the Stars (1945). The film had a Who's Who cast – Michael Redgrave, John Mills and Trevor Howard, all of whom would return to work with Asquith and Rattigan – and in its quieter moments, observing the grin-and-bear-it times of a British bomber base, hinted at their true creative potential. Postwar, Asquith returned to Rattigan's stage work with an adaptation of The Winslow Boy in 1948. It perfectly captured the it's-just-not-cricket mentality of the original play with its story of a boy unjustly expelled from naval college. Rattigan would take up these themes again (to lesser effect) in The Final Test (1953), but The Winslow Boy had the advantage of Robert Donat in the lead role at the height of his powers. Asquith's take on The Browning Version was another great example of his refusal to follow the growing spectacle – albeit much of it magnificent – of contemporaries such as David Lean and Michael Powell. Refraining from visual tricks or even much of a musical score, Asquith allows Rattigan's poise and melancholy to speak for itself. It may be one of the most quietly devastating English films ever made. And as the retiring classics teacher who may or may not be missed by his pupils, Michael Redgrave gives one of his most heart-wrenching performances as Crocker-Harris. Rattigan was not tied to Asquith, and pursued multiple projects outside of his preoccupation with upper-middle-class England. He created the original screenplay for Brighton Rock (1948), for example, Graham Greene's story of wide-boy knife gangs directed by John Boulting. It was reworked before reaching the screen but Greene crucially retained Rattigan's vision of the work as a thriller rather than an intellectual treatise. The Boultings kept Rattigan's change of ending, too, in which a gramophone recording of Pinkie (Richard Attenborough) jams on 'I love you…' before he lays into his love interest. Rattigan didn't generally shy away from the brutality of romantic relationships. The Deep Blue Sea (1955) is testament to that. Influenced by the relationship between Rattigan and actor Kenneth Morgan, the play's curtain-twitching portrait of a squalid postwar London is still one of his most unflinching of love stories. Vivien Leigh was cast as Hester, the spurned lover of RAF pilot Freddie, played by Kenneth More, who had transferred from the original play. More suggested that Leigh brought too much glamour to the part. Yet with Leigh's mental health deteriorating and her personal life crumbling, she appears in hindsight to have been all too right for The Deep Blue Sea. Rattigan then teamed up with Leigh's husband Laurence Olivier on The Prince and the Showgirl (1957), but Rattigan's last great screen work was his collaboration a year later with Delbert Mann on the Oscar-nominated Separate Tables. Another of his tragic ensemble pieces, the film saw a wealth of stars gathered in a run-down Bournemouth hotel, all forced to examine their lives after the revelation of a scandal involving the retired Major Pollock played by David Niven. Niven has the film to thank for the only Oscar win of his career, and Rattigan for his second nomination. (He received his first in 1952 for scripting David Lean's The Sound Barrier.) What happened next might have been the apex of Rattigan's screen career yet turned out to be the beginning of the end. In 1960 he had started working with the Rank Organisation to adapt his T.E. Lawrence play Ross. It was to star Dirk Bogarde and Asquith was slated to direct. But there was a problem: another Lawrence film was already in the works. Out of respect to David Lean – and under some pressure from Lawrence of Arabia producer Sam Spiegel – the studio pulled the plug on the project. Bogarde called it his 'bitterest disappointment'. Rattigan and Asquith ploughed on, assembling star-studded casts for two further movies, The V.I.P.s (1963) and The Yellow Rolls-Royce (1964), with all favours from friends called in. But even with Rattigan's work finding new audiences on television, the 1960s were relentlessly unforgiving. 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The lies of the land
The lies of the land

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The lies of the land

You can gauge the fragility of an ideology by the blind fury with which it reacts to questioning. So it is with neo-liberalism. Teacher Simon Pearson, for example, was sacked for suggesting that the jailing of Lucy Connolly – who said very nasty things about asylum seekers – was an example of two-tier justice and that, while her words were indefensible, she should not have been sent to prison. One could counter that opinion, but only at the risk of coming into collision with hard facts concerning sentencing – hence the sacking. Best to get shot of your political opponents, especially when he or she is demonstrably correct. Only by doing that can the ideology cling on. The other form of defence, if you are the adherent of an ideology which is palpably on its way out, is to lie to people, or to withhold information from them. Just shrug your shoulders and say: 'Search me, mate – we don't have any information on that, I'm afraid.' For a good 60 years the British public have been lied to about immigration and had information withheld from them. The reason that information was withheld is because the authorities know full well that possession of it would infuriate the great mass of people. And so, when some deranged jihadi murders somebody, we are not given his ethnicity, or we are told a lie (that he is a Norwegian, say), or a truism – that he is mental. If the police released the ethnicity of the suspect every time a serious crime was committed, the public would be even more averse to continued mass immigration from cultures dissimilar to our own than they are at the moment. I still suspect that Crimewatch was taken off air a decade or so ago because the gallery of criminals displayed each week revealed a remarkable dearth of white folks in it. The programme is back, by the way, with diverse presenters and they don't do the rogues' gallery thing any more. The lying, or obfuscation, about immigration has included withholding crime figures from us. Until recently we were un-aware that foreign nationals living in the UK were 70 per cent more likely to be convicted of sexual crimes. Meanwhile Algerians were 18 times more likely to be convicted of theft. The proportion of the under-18 prison population which is of black heritage is 30 per cent, compared with 5.5 per cent of under-18s in the general population. These figures are all comparatively new to us and they have been released for the simple reason that the dominant paradigm, the guff we've been fed for decades – that multiculturalism is terrific and immigrants commit no more crime than do the locals – is increasingly rejected as being not merely untrue, but absurd. The only comeback you will hear from the left on the issue of, say, young black offenders is that if they constitute 30 per cent of the under-18 prison population, then the majority of underage crime must be committed by white youths. This is what I call the Dave Allen argument, and it has been deployed over and over again in the case of the Pakistani rape gangs, despite what we might agree are its obvious flaws. So we have been lied to about crime rates among immigrants, or simply not told. But we have also been lied to about how many immigrants are here, how many will continue to flood in and what benefit they will be to society. It is quite common for the left to insist that an influx of 900,000 or so every year will not have any impact upon our crumbling infrastructure – housing, schools, the NHS and so on – despite the epic denial of reality that this involves. More recently, however, the truth has begun to leak out. While we are continually told that immigration boosts the economy, a report last year from the Office for Budget Responsibility showed that a low-skilled migrant costs the British taxpayer an average of £150,000 by the time he or she has reached pensionable age, and £500,000 if they make it to 80. This is the first time we have been given such information, and my suggestion is that in future the OBR breaks it down by individual ethnicity. Meanwhile, at the beginning of this year it was estimated that by 2063 white British people will be a minority in their own country. For decades anti-immigrant groups and right-wing politicians have warned of this and their claims were laughed off as ludicrous. Nope, not ludicrous: the truth. And of course any time conscientious politicians raised the issue of mass immigration, the liberal authorities wheeled out the great wicker man of Enoch and set it on fire, while denouncing all those who questioned the avidity with which this country yearned for suicide as 'racist' and 'far-right'. The slightly better news is that the public no longer buys this rubbish. For a long while, attitudes towards immigration among the general public seemed to soften, the consequence of being kept in the dark, being lied to and not wanting to seem 'racist' to the nice researchers. Not any more. The latest YouGov poll shows that a whopping 45 per cent of Brits are in favour of admitting precisely zero new migrants and wish for large numbers to be persuaded somehow to leave the country. That would have been an unthinkable proportion even ten years ago. Meanwhile, only a small minority believe that immigration has been mostly good for the country, and three-quarters oppose greater numbers still coming here. The lesson from this is that the centre cannot hold, that the disinformation no longer works – and that people are angry. Here, as in continental Europe, the indigenous populations have roused a little from their enforced slumber. A shame, really, that it's too late.

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