Problem: Rene Noel Theophile Girard (; French: [ZiRaR]; 25 December 1923 - 4 November 2015) was a French historian, literary critic, and philosopher of social science whose work belongs to the tradition of anthropological philosophy. Girard was the author of nearly thirty books, with his writings spanning many academic domains.

In Things Hidden Since the Foundation of the World, Girard discusses for the first time Christianity and the Bible. The Gospels ostensibly present themselves as a typical mythical account, with a victim-god lynched by a unanimous crowd, an event that is then commemorated by Christians through ritual sacrifice -- a material re-presentation in this case -- in the Eucharist. The parallel is perfect except for one detail: the truth of the innocence of the victim is proclaimed by the text and the writer. The mythical account is usually built on the lie of the guilt of the victim in as much as it is an account of the event seen from the viewpoint of the anonymous lynchers. This ignorance is indispensable to the efficacy of the sacrificial violence. The evangelical "good news" clearly affirms the innocence of the victim, thus becoming, by attacking ignorance, the germ of the destruction of the sacrificial order on which rests the equilibrium of societies. Already the Old Testament shows this turning inside-out of the mythic accounts with regard to the innocence of the victims (Abel, Joseph, Job...), and the Hebrews were conscious of the uniqueness of their religious tradition. With the Gospels, it is with full clarity that are unveiled these "things hidden since the foundation of the world" (Matthew 13:35), the foundation of social order on murder, described in all its repulsive ugliness in the account of the Passion. This revelation is even clearer because the text is a work on desire and violence, from the serpent setting alight the desire of Eve in paradise to the prodigious strength of the mimetism that brings about the denial of Peter during the Passion (Mark 14: 66-72; Luke 22:54-62). Girard reinterprets certain biblical expressions in light of his theories; for instance, he sees "scandal" (skandalon, literally, a "snare", or an "impediment placed in the way and causing one to stumble or fall") as signifying mimetic rivalry, for example Peter's denial of Jesus. No one escapes responsibility, neither the envious nor the envied: "Woe to the man through whom scandal comes" (Matthew 18:7).

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Background: Sutcliffe was born in Bingley in the West Riding of Yorkshire to a working-class family. He was given a Catholic upbringing by his parents, John William Sutcliffe and his wife Kathleen Frances (nee Coonan). Reportedly a loner, he left school aged fifteen and had a series of menial jobs, including two stints as a gravedigger in the 1960s. Between November 1971 and April 1973, Sutcliffe worked at the Baird Television factory on a packaging line.
Context: An application by Sutcliffe for a minimum term to be set, offering the possibility of parole after that date if it is thought safe to release him, was heard by the High Court of Justice on 16 July 2010. The High Court decided that Sutcliffe will never be released. Mr Justice Mitting stated: This was a campaign of murder which terrorised the population of a large part of Yorkshire for several years. The only explanation for it, on the jury's verdict, was anger, hatred and obsession. Apart from a terrorist outrage, it is difficult to conceive of circumstances in which one man could account for so many victims. Psychological reports describing his mental state were taken into consideration, as was the severity of his crimes. Barring judicial decisions to the contrary, Sutcliffe will spend the rest of his life in Broadmoor Hospital. On 4 August 2010, a spokeswoman for the Judicial Communications Office confirmed that Sutcliffe had initiated an appeal against the decision. The hearing for Sutcliffe's appeal against the ruling began on 30 November 2010 at the Court of Appeal. It was rejected on 14 January 2011. On 9 March 2011, the Court of Appeal rejected Sutcliffe's application for leave to appeal to the Supreme Court. In December 2015 Sutcliffe was assessed as being "no longer mentally ill". In August 2016, a medical tribunal ruled that he no longer required clinical treatment for his mental condition, and could be returned to prison. Sutcliffe is reported to have been transferred from Broadmoor to Frankland Prison in Durham in August 2016.
Question: What did he appeal?
Answer: An application by Sutcliffe for a minimum term to be set, offering the possibility of parole after that date if it is thought safe to release him,

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James Whale (22 July 1889 - 29 May 1957) was an English film director, theater director and actor. He is best remembered for his four classic horror films: Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933) and Bride of Frankenstein (1935). Whale also directed films in other genres, including what is considered the definitive film version of the musical Show Boat (1936). He became increasingly disenchanted with his association with horror, but many of his non-horror films have fallen into obscurity.
After the armistice he returned to Birmingham and tried to find work as a cartoonist. He sold two cartoons to the Bystander in 1919 but was unable to secure a permanent position. Later that year he embarked on a professional stage career. Under the tutelage of actor-manager Nigel Playfair, he worked as an actor, set designer and builder, "stage director" (akin to a stage manager) and director. In 1922, while with Playfair, he met Doris Zinkeisen. They were considered a couple for some two years, despite Whale's living as an openly gay man. They were reportedly engaged in 1924, but by 1925 the engagement was off. In 1928 Whale was offered the opportunity to direct two private performances of R.C. Sherriff's then-unknown play Journey's End for the Incorporated Stage Society, a theatre society that mounted private Sunday performances of plays. Set over a four-day period in March 1918 in the trenches at Saint-Quentin, France, Journey's End gives a glimpse into the experiences of the officers of a British infantry company in World War I. The key conflict is between Capt. Stanhope, the company commander, and Lt. Raleigh, the brother of Stanhope's fiancee. Whale offered the part of Stanhope to the then barely known Laurence Olivier. Olivier initially declined the role, but after meeting the playwright agreed to take it on. Maurice Evans was cast as Raleigh. The play was well received and transferred to the Savoy Theatre in London's West End, opening on 21 January 1929. A young Colin Clive was now in the lead role, Olivier having accepted an offer to take the lead in a production of Beau Geste. The play was a tremendous success, with critics uniform and effusive in their praise and with audiences sometimes sitting in stunned silence following its conclusion only to burst into thunderous ovations. As Whale biographer James Curtis wrote, the play "managed to coalesce, at the right time and in the right manner, the impressions of a whole generation of men who were in the war and who had found it impossible, through words or deeds, to adequately express to their friends and families what the trenches had been like". After three weeks at the Savoy, Journey's End transferred to the Prince of Wales Theatre, where it ran for the next two years. With the success of Journey's End at home, Broadway producer Gilbert Miller acquired the rights to mount a New York production with an all-British cast headed by Colin Keith-Johnston as Stanhope and Derek Williams as Raleigh. Whale also directed this version, which premiered at Henry Miller's Theatre on 22 March 1929. The play ran for over a year and cemented its reputation as the greatest play about World War I.
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In 1922, while with Playfair, he met Doris Zinkeisen. They were considered a couple for some two years, despite Whale's living as an openly gay man.