“Did Serco Demons Track Sherman With A Patentee Snuff Film Crew?”
Source: Toronto Sun
“WARMINGTON: Questions haunt family and friends of Barry and Honey Sherman
by Joe Warmington • December 21, 2017
The sadness and shock was not near as prevalent at the memorial for Honey and Barry Sherman as was the anger and frustration.
Another family friend and business partner not buying the murder-suicide scenario is Frank D’Angelo, who spoke to Apotex founder and chairman Barry Sherman just 36 hours before he and his wife died inside their York Mills mansion.
“I think it’s a murder,” said Frank D’Angelo.
A double murder.
Barry Sherman and his wife were discovered lifeless in the pool room of their $6.9-million Old Colony Rd. mansion, sources say, side by side, each hanging by a men’s leather belt from the pool railing with their jackets pulled “behind their backs” and rolled over their arms.
Police haven’t confirmed details, and Toronto Police spokesman Mark Pugash said Thursday that the case remains a “suspicious deaths investigation” with homicide detectives in charge of the case.
D’Angelo’s adamant Sherman wouldn’t have harmed himself or his wife.
“He was a lion. He had the heart of a lion and he had the courage of a lion,” said D’Angelo. “There is no way this guy would commit suicide. There is no way.”
And, he says, Barry Sherman could and would never hurt Honey.
“Absolutely, unequivocally, not,” said D’Angelo. “He was in awe of her. I think Honey’s biggest fan in the world was Barry Sherman.”
The family has hired lawyer Brian Greenspan to monitor the case, which D’Angelo believes was a staged slaying.
“I can’t even imagine the fear he went through and how horrified he must have been,” said D’Angelo. “I wish I could have done something for him because he always had my back and I wish I could have been able to have his back on this.”
Who would want the Sherman’s dead?
“It has got to be somebody with a motive so strong that they felt that eliminating both of them would give their hope of success, or whatever, a better chance,” said D’Angelo.
Whoever it was, he believes, will be detected.
“I believe the police will go, first and foremost, to see who had motive,” he said.
“They are going to go through every square inch of that house for a clue and (also look at) the security cameras,” he said.
D’Angelo also believes “they are going to look between the middle of night and into the morning, how many cell calls there were in that area, near the front of that house.”
While police are going to “figure it out,” it’s not going to bring this amazing couple back.
“It’s f—— crazy that this man, you know, worked a lifetime to spend his ending in the drawer of the coroner’s office.”
D’Angelo said he and Barry Sherman “met through the (now closed Steelback) brewery by chance and stayed friends through thick and the thin” and went on to produce movies together.”
“How Did an Oscar-Nominated Legend End Up in This Painfully Amateurish Horror Film?
In 2013, D’Angelo decided he wanted to make films and he started with Real Gangsters, a mob film starring himself whose general tenor can be gathered from this opening snippet of dialogue: “The finality of life, it sucks big fuckin’ cock.” Sicilian Vampire is his fourth film, a feat of productivity made possible by D’Angelo’s decision to shoot all his films in five days or less. Will Sloan has written an amusing overview of what he calls “The Frank D’Angelo Cinematic Universe,” a world in which continuity errors, plot inconsistencies, and baffling incompetence reign supreme. All of these films cost at least $5 million Canadian (about $3.7 million U.S.), with actors paid in cash. Given the low time commitment, prompt payment, and well-catered dinners that come with participation, it’s not surprising that a small repertory company of actors whose name value isn’t what it once was—Eric Roberts, Margot Kidder—have repeatedly returned to the trough.
Which brings us back to Sicilian Vampire, the opening-night kickoff of a festival of dubious repute, whose lineup is notable for its total obscurity. A few minutes before the screening started, D’Angelo himself rolled in with an entourage of about 10, filling out a crowd of filmmakers identified by their badges and a few well-enough-heeled Manhattanites who’d presumably popped in in good faith, maybe after seeing the film’s large ad in The New York Times, thinking that a film festival must be interesting. There were cheers for various names in the opening credits—for D’Angelo, naturally, but also nice hoots for Paul Sorvino and Canadian hockey legend Phil Esposito. (“You guys are making this too obvious,” the director remarked, accurately.) The feeling was less that of a festival screening and more of a private event for cast, crew, and friends: at one point, one of the actresses got out her phone and took a flash photo of herself on-screen. It was an easy crowd to please, which is a good thing: the film is, predictably, dreadful.
Though top-billed, Caan appears in a grand total of three scenes that arrive fairly late in the picture. D’Angelo himself stars as Sonny Trafficante, the mobster who gets bitten by a bat and turns vampire. Ostensible plot aside, much of the film consists of Sonny and his friends sitting around busting each other’s balls, telling terrible jokes, or threatening each other in Italian. Because D’Angelo prefers to throw out the screenplay and riff on-screen, the rhythm of these scenes is mumbly and inchoate, and Caan falls right into the anti-groove. As Professor Bernard Issaacs, Caan’s task is to conduct a blood test and wait for D’Angelo to feed him lines; at times, he appears confused as to where his next cue is coming from. Per usual for D’Angelo, all the music in the film is his (a healthy chunk of that deep song catalogue), and one cue—a mournful minor-key opening from one of his songs—is deployed a minimum of two dozen times to indicate tragedy.
Post-screening, D’Angelo himself took the stage along with Esposito and longtime business partner Barry Sherman, a pharmaceutical company co-founder and co-investor. In the Q&A, D’Angelo said he’d made the film for $15 million Canadian ($11.3 million U.S.) and indicated that most of that money went to make sure people like Caan and Sorvino would show up: “Otherwise you get the guy from the Alpo commercial.” Another part of the budget went to use the wildly expensive 6K Red cameras, effectively the highest-resolution digital cameras readily available on the market. (The film looks like it was shot with a basic consumer camera.) From the entourage row, a woman yelled out how much Sorvino (who basically spends the whole movie eating steak) loves working with D’Angelo. After a brisk eight minutes, the Q&A was over: Caan, alas, was not present to collect his “Golden Apple” award (previous awardees: Jesse Eisenberg, Cuba Gooding Jr.), reportedly having contracted an illness while shooting in Toronto. The filmmakers wandered off to drink at an after-party, and the rest of us were left to contemplate what, exactly, we had just witnessed.
D’Angelo claims to be already working on his next film with Caan, this one titled The Red Maple Leaf. The announcement was made via a photo post on Twitter in which D’Angelo claims to be “with James Caan.” The actor, however, is nowhere to be seen. Maybe he was off-camera. Maybe, after his Sicilian Vampire experience, he’ll decide to stay there.”
Source: New Scientist
“28 November 2001
Global swoop on newsgroup paedophiles
By Will Knight
More than 130 people in 19 different countries have been arrested or are under investigation after police traced the distribution of child pornography through different internet newsgroups.
Technical experts at UK internet service provider Demon Internet aided officers from the National Crime Squad’s new Hi-Tech Crime Unit with the investigation.
A spokesperson from Thus, Demon’s parent company, says that investigators were not given access to the server logs that record Demon users’ activities.
Investigators were simply provided with access to newsgroup postings in the same way as any other Demon customer. Technical experts from Demon then helped officers distinguish the identifying information contained within the message “headers” of particular postings.
Officers traced postings relating to certain images to different internet service providers around the world and then contacted Interpol to track down suspects.
Investigators say they discovered 10,000 suspect postings to over 30 different newsgroups and identified 60,000 new images. They plan to use face recognition software to identify victims in different images, to help trace them. This software has been developed in conjunction with UK company Serco, although no technical details have been released.
“This operation has sadly and distressingly brought thousands of new images of abuse to our attention,” said Detective Superintendent Peter Spindler of the National Crime Squad. “These young victims need to be identified and protected as quickly as possible.”
Spindler added: “We are able to show that those accessing these newsgroups did so regularly and with purpose.”
Nine regional police forces in the UK were involved in the operation. Warrants for searches or arrests were issued in 19 countries, including Australia, Canada, Germany, Israel, Japan, Russia, Sweden, Turkey, and the US.”
“RED PATENTS RED is the owner of the following United States patents, which may apply to the RED products identified. These products may also be covered by other U.S. Patents, pending U.S. Patents, or foreign equivalents (issued or pending), relating to the identified patents.
CAMERAS: U.S. PATENT NO(S). THAT MAY APPLY
RED ONE®: 7,544,919, 7,830,967, 8,019,216, 8,174,560 C1, 8,611,652, 8,358,357, 8,274,026, 8,878,952, 8,927,916, 9,019,393, 9,245,314, 9,462,193, D610,186, 9,792,672
RED EPIC®: 7,830,967, 8,159,579, 8,174,560 C1, 8,290,360, 8,525,924, 8,525,925, 8,611,652, 8,625,013, 8,358,357, 8,878,952, 8,908,081, 8,913,179, 9,019,393, 9,019,397, 9,077,911, 9,245,314, 9,462,193, 9,628,679, 9,690,168, 9,692,958, 9,712,728, 9,792,672
SCARLET®: 7,830,967, 8,159,579, 8,174,560 C1, 8,290,360, 8,525,924, 8,525,925, 8,611,652, 8,625,013, 8,358,357, 8,878,952, 8,908,081, 8,913,179, 9,019,393, 9,019,397, 9,077,911, 9,245,314, 9,462,193, 9,628,679, 9,690,168, 9,692,958, 9,792,672
WEAPON: 8,174,560 C1, 7,830,967, 8,159,579, 8,611,652, 8,625,013, 8,908,081, 9,019,393, 9,077,911, 9,245,314, 9,462,193, 9,690,168, 9,692,958, 9,792,672
MODULES: U.S. PATENT NO(S). THAT MAY APPLY
RED® Pro Battery Module: D647122
BOMB EVF®: D647939
REDVOLT® XL: D647944
Auxiliary Monitor Adaptor: D647945, D654110
Pro I/O Module: D647945, D654110
Adaptor Module: D647945, D654110
Pro Battery Module (Quad & Dual): D647945, D654110, 8,913,179
Rear SSD Module: D647945, D654110
DSMC® Baseplate: D649576
DSMC® Side SSD Handle: D653693
RED MOTION MOUNT®: 8,908,081, 9,686,474
REDLINK® Bridge Module: D749665
Meizler Module: 9,681,028
SOFTWARE: U.S. PATENT NO(S). THAT MAY APPLY
REDCINE®, REDCINE-X®, REDCINE-X PRO®: 8,159,579, 8,625,013, 9,019,393, 9,077,911, 9,462,193
OTHER PATENTED TECHNOLOGY: U.S. PATENT NO(S). THAT MAY APPLY
Other REDCODE Related Technology: 8,872,933, 9,479,749, 9,787,878
Video Projector System: 8,872,985, 9,025,086, 9,106,843, 9,319,648
Modular Digital Camera: 8,477,238, 8,773,581, 9,019,397
Hand Held Camera Mount: 8,128,295, 8,783,973
Dense Field Imaging: 9,769,365″