I'm rather new to the Wiki thing but I am confused by this tag that has appeared at the top of my page. It appears to threaten to wipe the page. That's rather draconian. Who is proposing doing this and why? Or is this even the correct space for me to ask this question?
The message says not everyone wd expect to have their own page in an encyclopaedia. That's a rather insulting remark. I warrant a page in Who's Who. Don't I warrant a page in Wiki? The one that was there before was a stub and had been a stub for quite some time, until I updated it. After I updated it, other pitched in and made further improvements; I have not sought to undo their changes. Now it is a factually accurate page with lots of cross-references and useful links for journalists who are proposing interviewing me.
Perhaps one of you Wiki-experts wd be kind enough to explain?
Best wishes
Peter Kosminsky ( talk) 20:36, 7 March 2011 (UTC)
Thanks for the message on my talk page! And a very big thank you to you and to everybody else involved with the RTS event last night -- it was a privilege to be able to come and listen. I can't get over that you were all prepared to take the time out of your schedule to talk to us, and then describe so candidly and in such detail all that you all went through to finally get the film to the screen -- I was completely fascinated. (No doubt I'll be adding a "development" section to the wiki-page in the next few days, with more errors for you to correct(!) -- is it okay to talk about the budgets and so forth? Was that all 'on the record' ?) Even having read all the material in the press, I still don't think until last night I had the first conception of just *how* much research had been behind this project, and how committed you were to letting that lead the path of what you showed onscreen. And such a high-quality Q&A session too -- really good questions, really interesting answers, and fascinating the comments and tributes of those who had lived first hand what you were showing, or in one case (I talked to him in the lift on the way up) the expert historian, originally from Jewish Iraq, who'd been engaging with this period all his life, talking about how you were bringing to the forefront things that had previously only been 'hidden in academia'.
There was something I said last night that was just awful though. You were kind enough to thank me for my contributions here, and I think I said something like "I did it for the wiki, not for you" -- the thought of that statement has been paining me ever since. What I was trying to say was that all I've been trying to do here was to be fair, accurate and informative about the programme, within my limited abilities, rather than to be giving you any special consideration. But it was graceless, because I am no writer, and I know the page is no better than it is, so it means a lot to be told that you're okay with what I've done, because this is your creation and something into which you have put so much of yourself. And since, in several years of occasional tinkering on Wikipedia, this is the first time that I have wanted to put together a properly thorough article on a TV series, in a sense it is because the programme -- your programme -- is so compelling and has so much depth of background to it that it is worth trying to write a proper article on (well, proper at least up to my level of competence anyway).
BTW, I don't know whether you've seen it, but the series got a really fantastic review from an online U.S. Jewish magazine called Tablet in the last couple of days -- I think quite well thought of. I don't know whether it makes any odds in the greater scheme of things, but it would be nice to think that just maybe it might encourage someone at PBS, HBO, or BBC America to feel more comfortable that it might be safe to take the plunge. The follow-up comment from "Europa" at 11:50 about watching it with friends from Tel Aviv, "one a former IDF Commander who found it moving and yes – evenhanded", is nice too. Jheald ( talk) 17:57, 17 March 2011 (UTC)
Thank you so much for your kind comments on my talk page. I'm particularly relieved if you feel I was near enough when I tried to summarise some of the things you've said about how you constructed the series, and what you were trying to achieve. I was a bit alarmed, when I added a few words trying to summarise David Cesarani's critique a few weeks ago, and two days later found a blog in German quoting a Reuters report, putting what I'd just written directly into his mouth! So it's a relief that you don't feel too misrepresented. (I've re-ordered those sections a little in the meantime to make the sequence more chronological, per WP's house style recommendations for "Production" sections, but the text is essentially unchanged).
I've seen a few of the French previews/reviews online, but more would certainly be of interest -- though I'll not be trying to reference them as exhaustively as the U.K. ones.
This is what I've seen so far (my Google-guided translation may be a bit rough around the edges, and may not fully grasp the full sense of the original):
Looking forward to finding out on Tuesday what an al-Jazeera film review audience has to say and ask about it (and then I'll stop stalking you, I promise!)
All best, Jheald ( talk) 00:25, 27 March 2011 (UTC)
-- which I suppose could be interpreted as making Alduy agree with Cohen's assertions and say they were intentional; but it seems a stretch. The plainer meaning would seem to be just that Alduy wants The Promise to get people talking, which seems fair enough. Or Canal+'s lawyers might have been successful in getting something taken out. But you're probably well out of it.We can therefore expect a lively debate following its release. This is also the desired effect, says Manuel Alduy, the director of fiction at Canal+.
Thank you very much for the comments on my talk page. I'm afraid the page on Shoot to Kill is so far very thin, pulled together from the various scraps I've been able to find online. I've added a bit more about it not going out in Northern Ireland -- you were quite right, that is important; who John Thorburn is; and also a bit more about the lawsuit. I've also emailed David Rolinson at Stirling University, who wrote the write-up for the BFI, for a copy of the paper he published last year; but he seems not to have seen my email yet.
The book by Dr Paget looks interesting. The first edition had a comment about the problems of making a drama where everyone was called John, but not much more. (At least there wasn't a torque wrench you were looking for...). But the second edition I think isn't quite out yet. Manchester Univ Press says 1 February; but Foyle's, Blackwell's and Waterstone's all say 1 May.
You're right that the article really ought to have a lot more analysis of the content, and in particular what was new over and above Stalker's book, or the various things (like the phrase "Firepower, Speed, Aggression") that had come out at trial, or through papers like the Observer and the Irish Times -- though even those elements would have brought out far more to the front of your 9 million viewers' consciousness than I imagine they ever would have been before.
Inevitably I'm pretty sketchy on the details of what was already out there; so just from the film I couldn't say what was new (and unfortunately the copy I found didn't come with the post-programme discussion, so I don't know whether that would have been enlightening). My impression, just as I was watching, was that you really went out of your way to spell out the names (even including emphasising their middle names -- twice) of the two Special Branch officers who had to quit; and you certainly gave one of them quite a forthright speech defending their methods to Stalker towards the end -- to the extent that one of your IMDB reviewers commended the film for taking the RUC's part instead of being for the inquiry(!). Did you get to write up the programme in The Listener, or in the press beforehand, to let people know what was going to be new? Is that the kind of thing that might be in the cuttings?
Intriguing what you had to say about John Fairley. According to the press at the time (or at least The Independent, which has some archives online) it had been his own decision to leave, when he was passed over for group chief executive [9]... leading to the arrival of your friend Bruce Gyngell, who so didn't like anything other than the nice and the pink. It also said that Pearson were so cross about losing Fairley that they dumped their shareholding [10], selling out to Clive Hollick. The chairman at that time was G.E. Ward Thomas, who'd been in at the founding of YTV; though he'd only been a director not chairman when STK went out, so I'm not sure if he's who you had in mind. But this may be the kind of thing that's best left in the archives of Private Eye. Jheald ( talk) 23:12, 5 April 2011 (UTC)
STK article now adapted into something readable by enterprising blogger Rob Buckley ("officially the fourth most popular UK TV blog"): see Lost Gems: Shoot to Kill (1990)
Sorry not to have caught that recent edit on The Promise article, but agree with your call. (I'm away at the moment, with my laptop also in for repair, so internet access is a bit hit & miss).
Many congratulations on the BAFTA nom: good luck for the 22nd! Jheald ( talk) 19:14, 28 April 2011 (UTC)
Thank for the link! I actually added it to our bio page on you a couple of days ago [11] :-) Glad you got your technical/wardrobe malfunction sorted out!
I've struggled through most of the French dubbed version, before I found that there was a voix originale upload. But I'll have a listen through the English in the next couple of days to see whether there are some nuggets that demand to be added to some of our articles.
Question: do you know if the U.S. Navy Seals' drill is also based on "Firepower, Speed, Aggression" ? I couldn't help wondering, as the news came in about recent events... Jheald ( talk) 17:49, 2 June 2011 (UTC)
Leave it with me. I can't promise anything particularly soon, but it certainly deserves a better page. I see James Frain, who played Harvey, has a well-stocked page of press previews. [12]. The BBC also has some quotes from the next-day newspaper reviews [13], though they weren't particuarly friendly. But I think you said recently it was one of your favourite pieces; and I take it the French liked it enough, that's why they wanted a version of their own about the ENArques. Perhaps because they had a bit more distance, and could better appreciate the whole milieu being recreated with sense of fly-on-the-wall closeness, because it wasn't part of what they were being exposed to every day. I wonder if the same would be true in this country too, now that it's a door opened into the past, rather than the near present. Assuming that the BBC will include it in its eventual £3 a view download scheme. There's certainly some great stuff in it -- just for starters, the evocation of Walworth Road, and the contrast with Millbank, which all feels so incredibly real; the way Anton Lesser plays the Philip Gould-like focus-group guru; Matthew Macfadyen's final realisation of just how much he's been played... As I was watching it, with the Coalition about a year old, I couldn't help thinking of Liberal activists and wondering where many of them must now be on the same journey.
As I say, I can't promise anything very soon, but I will definitely try and get back to it.
Incidentally, I see you made somebody cry for 15 minutes... and deserve a Nobel Peace Prize #LeSerment #GelobtesLand Jheald ( talk) 00:11, 3 May 2012 (UTC)
Dear Peter Kosminsky, as far as I can see the European TV-channel arte has guarded the broadcast of "Warriors" in November 2000 (in Germany at least) with a short documentary, made in the style of the geopolitical TV-magazine "Le Dessous des cartes" in arte by Jean-Christophe Victor and LEPAC. So production and first broadcasting of the film coincided round about with NATO-bombing of Belgrade, Novi Sad, Niš, ... of course. While the film itself describes the merciless advance of Serbian ("Yugoslavian") forces as well as the cruelness killings by Croatian military mainly against Bosniaks (both in combination with the inactiveness of the UN forces), the documentary obviously interprets the intention of the film in order to legitimate the war against Serbia (or "Yugoslavia") in 1999, as some excerpts of the German documentary version [translated into English] might show: "One has to see the film ‚Warriors’ in a certain context, [...]. The military and political leaders pursued the aim of creating coherent areas, for Croatia on the one side, for Serbia on the other side. To achieve this they used the so-called ethnic cleansing. Wherever a Croat was living, there should be Croatia, wherever a Serb was living, Serbia. All non-Serbs were expelled or killed accordingly. The war in Bosnia was not a civil war. And it did not broke out, because in the Balkans was a curse. [...] We were angry and powerless witnesses of what the film covers. We must therefore insist that the UN war crimes tribunal condemns Karadžić, Mladić, and Milošević. The European refusal, our refusal, to intervene in Bosnia induced Milošević, of course, to proceed in Kosovo in the same way. It raises the question whether not wanting to wage a war ultimately leads to war.".
Of course the Wikipedia article is not the right place to ask whether one can compare the actions of the UÇK with the situation in Bosnia at all, whether the NATO bombing even caused the ethnic cleansing in Kosovo in 1999 in the first place, or whether NATO actually started the war of 1999 because of its own interests in that region.
But the fact, that arte broadcasted a film about the war in Bosnia in 2000 together with a political instruction to interpret it in a current context (NATO war against Serbia of 1999), leads to one important question, which is relevant for the encyclopaedic article in Wikipedia: has arte ever contacted the BBC team, what the intention of the film has been? So to speak: was there really an intention of the film makers to support a possible intervention in Kosovo? Do film and documentary form an organic whole, as it was claimed by arte?
I would be glad for more information about the background of the film making. Best wishes, --
Anglo-Araneophilus (
talk) 12:44, 2 November 2012 (UTC)
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I'm rather new to the Wiki thing but I am confused by this tag that has appeared at the top of my page. It appears to threaten to wipe the page. That's rather draconian. Who is proposing doing this and why? Or is this even the correct space for me to ask this question?
The message says not everyone wd expect to have their own page in an encyclopaedia. That's a rather insulting remark. I warrant a page in Who's Who. Don't I warrant a page in Wiki? The one that was there before was a stub and had been a stub for quite some time, until I updated it. After I updated it, other pitched in and made further improvements; I have not sought to undo their changes. Now it is a factually accurate page with lots of cross-references and useful links for journalists who are proposing interviewing me.
Perhaps one of you Wiki-experts wd be kind enough to explain?
Best wishes
Peter Kosminsky ( talk) 20:36, 7 March 2011 (UTC)
Thanks for the message on my talk page! And a very big thank you to you and to everybody else involved with the RTS event last night -- it was a privilege to be able to come and listen. I can't get over that you were all prepared to take the time out of your schedule to talk to us, and then describe so candidly and in such detail all that you all went through to finally get the film to the screen -- I was completely fascinated. (No doubt I'll be adding a "development" section to the wiki-page in the next few days, with more errors for you to correct(!) -- is it okay to talk about the budgets and so forth? Was that all 'on the record' ?) Even having read all the material in the press, I still don't think until last night I had the first conception of just *how* much research had been behind this project, and how committed you were to letting that lead the path of what you showed onscreen. And such a high-quality Q&A session too -- really good questions, really interesting answers, and fascinating the comments and tributes of those who had lived first hand what you were showing, or in one case (I talked to him in the lift on the way up) the expert historian, originally from Jewish Iraq, who'd been engaging with this period all his life, talking about how you were bringing to the forefront things that had previously only been 'hidden in academia'.
There was something I said last night that was just awful though. You were kind enough to thank me for my contributions here, and I think I said something like "I did it for the wiki, not for you" -- the thought of that statement has been paining me ever since. What I was trying to say was that all I've been trying to do here was to be fair, accurate and informative about the programme, within my limited abilities, rather than to be giving you any special consideration. But it was graceless, because I am no writer, and I know the page is no better than it is, so it means a lot to be told that you're okay with what I've done, because this is your creation and something into which you have put so much of yourself. And since, in several years of occasional tinkering on Wikipedia, this is the first time that I have wanted to put together a properly thorough article on a TV series, in a sense it is because the programme -- your programme -- is so compelling and has so much depth of background to it that it is worth trying to write a proper article on (well, proper at least up to my level of competence anyway).
BTW, I don't know whether you've seen it, but the series got a really fantastic review from an online U.S. Jewish magazine called Tablet in the last couple of days -- I think quite well thought of. I don't know whether it makes any odds in the greater scheme of things, but it would be nice to think that just maybe it might encourage someone at PBS, HBO, or BBC America to feel more comfortable that it might be safe to take the plunge. The follow-up comment from "Europa" at 11:50 about watching it with friends from Tel Aviv, "one a former IDF Commander who found it moving and yes – evenhanded", is nice too. Jheald ( talk) 17:57, 17 March 2011 (UTC)
Thank you so much for your kind comments on my talk page. I'm particularly relieved if you feel I was near enough when I tried to summarise some of the things you've said about how you constructed the series, and what you were trying to achieve. I was a bit alarmed, when I added a few words trying to summarise David Cesarani's critique a few weeks ago, and two days later found a blog in German quoting a Reuters report, putting what I'd just written directly into his mouth! So it's a relief that you don't feel too misrepresented. (I've re-ordered those sections a little in the meantime to make the sequence more chronological, per WP's house style recommendations for "Production" sections, but the text is essentially unchanged).
I've seen a few of the French previews/reviews online, but more would certainly be of interest -- though I'll not be trying to reference them as exhaustively as the U.K. ones.
This is what I've seen so far (my Google-guided translation may be a bit rough around the edges, and may not fully grasp the full sense of the original):
Looking forward to finding out on Tuesday what an al-Jazeera film review audience has to say and ask about it (and then I'll stop stalking you, I promise!)
All best, Jheald ( talk) 00:25, 27 March 2011 (UTC)
-- which I suppose could be interpreted as making Alduy agree with Cohen's assertions and say they were intentional; but it seems a stretch. The plainer meaning would seem to be just that Alduy wants The Promise to get people talking, which seems fair enough. Or Canal+'s lawyers might have been successful in getting something taken out. But you're probably well out of it.We can therefore expect a lively debate following its release. This is also the desired effect, says Manuel Alduy, the director of fiction at Canal+.
Thank you very much for the comments on my talk page. I'm afraid the page on Shoot to Kill is so far very thin, pulled together from the various scraps I've been able to find online. I've added a bit more about it not going out in Northern Ireland -- you were quite right, that is important; who John Thorburn is; and also a bit more about the lawsuit. I've also emailed David Rolinson at Stirling University, who wrote the write-up for the BFI, for a copy of the paper he published last year; but he seems not to have seen my email yet.
The book by Dr Paget looks interesting. The first edition had a comment about the problems of making a drama where everyone was called John, but not much more. (At least there wasn't a torque wrench you were looking for...). But the second edition I think isn't quite out yet. Manchester Univ Press says 1 February; but Foyle's, Blackwell's and Waterstone's all say 1 May.
You're right that the article really ought to have a lot more analysis of the content, and in particular what was new over and above Stalker's book, or the various things (like the phrase "Firepower, Speed, Aggression") that had come out at trial, or through papers like the Observer and the Irish Times -- though even those elements would have brought out far more to the front of your 9 million viewers' consciousness than I imagine they ever would have been before.
Inevitably I'm pretty sketchy on the details of what was already out there; so just from the film I couldn't say what was new (and unfortunately the copy I found didn't come with the post-programme discussion, so I don't know whether that would have been enlightening). My impression, just as I was watching, was that you really went out of your way to spell out the names (even including emphasising their middle names -- twice) of the two Special Branch officers who had to quit; and you certainly gave one of them quite a forthright speech defending their methods to Stalker towards the end -- to the extent that one of your IMDB reviewers commended the film for taking the RUC's part instead of being for the inquiry(!). Did you get to write up the programme in The Listener, or in the press beforehand, to let people know what was going to be new? Is that the kind of thing that might be in the cuttings?
Intriguing what you had to say about John Fairley. According to the press at the time (or at least The Independent, which has some archives online) it had been his own decision to leave, when he was passed over for group chief executive [9]... leading to the arrival of your friend Bruce Gyngell, who so didn't like anything other than the nice and the pink. It also said that Pearson were so cross about losing Fairley that they dumped their shareholding [10], selling out to Clive Hollick. The chairman at that time was G.E. Ward Thomas, who'd been in at the founding of YTV; though he'd only been a director not chairman when STK went out, so I'm not sure if he's who you had in mind. But this may be the kind of thing that's best left in the archives of Private Eye. Jheald ( talk) 23:12, 5 April 2011 (UTC)
STK article now adapted into something readable by enterprising blogger Rob Buckley ("officially the fourth most popular UK TV blog"): see Lost Gems: Shoot to Kill (1990)
Sorry not to have caught that recent edit on The Promise article, but agree with your call. (I'm away at the moment, with my laptop also in for repair, so internet access is a bit hit & miss).
Many congratulations on the BAFTA nom: good luck for the 22nd! Jheald ( talk) 19:14, 28 April 2011 (UTC)
Thank for the link! I actually added it to our bio page on you a couple of days ago [11] :-) Glad you got your technical/wardrobe malfunction sorted out!
I've struggled through most of the French dubbed version, before I found that there was a voix originale upload. But I'll have a listen through the English in the next couple of days to see whether there are some nuggets that demand to be added to some of our articles.
Question: do you know if the U.S. Navy Seals' drill is also based on "Firepower, Speed, Aggression" ? I couldn't help wondering, as the news came in about recent events... Jheald ( talk) 17:49, 2 June 2011 (UTC)
Leave it with me. I can't promise anything particularly soon, but it certainly deserves a better page. I see James Frain, who played Harvey, has a well-stocked page of press previews. [12]. The BBC also has some quotes from the next-day newspaper reviews [13], though they weren't particuarly friendly. But I think you said recently it was one of your favourite pieces; and I take it the French liked it enough, that's why they wanted a version of their own about the ENArques. Perhaps because they had a bit more distance, and could better appreciate the whole milieu being recreated with sense of fly-on-the-wall closeness, because it wasn't part of what they were being exposed to every day. I wonder if the same would be true in this country too, now that it's a door opened into the past, rather than the near present. Assuming that the BBC will include it in its eventual £3 a view download scheme. There's certainly some great stuff in it -- just for starters, the evocation of Walworth Road, and the contrast with Millbank, which all feels so incredibly real; the way Anton Lesser plays the Philip Gould-like focus-group guru; Matthew Macfadyen's final realisation of just how much he's been played... As I was watching it, with the Coalition about a year old, I couldn't help thinking of Liberal activists and wondering where many of them must now be on the same journey.
As I say, I can't promise anything very soon, but I will definitely try and get back to it.
Incidentally, I see you made somebody cry for 15 minutes... and deserve a Nobel Peace Prize #LeSerment #GelobtesLand Jheald ( talk) 00:11, 3 May 2012 (UTC)
Dear Peter Kosminsky, as far as I can see the European TV-channel arte has guarded the broadcast of "Warriors" in November 2000 (in Germany at least) with a short documentary, made in the style of the geopolitical TV-magazine "Le Dessous des cartes" in arte by Jean-Christophe Victor and LEPAC. So production and first broadcasting of the film coincided round about with NATO-bombing of Belgrade, Novi Sad, Niš, ... of course. While the film itself describes the merciless advance of Serbian ("Yugoslavian") forces as well as the cruelness killings by Croatian military mainly against Bosniaks (both in combination with the inactiveness of the UN forces), the documentary obviously interprets the intention of the film in order to legitimate the war against Serbia (or "Yugoslavia") in 1999, as some excerpts of the German documentary version [translated into English] might show: "One has to see the film ‚Warriors’ in a certain context, [...]. The military and political leaders pursued the aim of creating coherent areas, for Croatia on the one side, for Serbia on the other side. To achieve this they used the so-called ethnic cleansing. Wherever a Croat was living, there should be Croatia, wherever a Serb was living, Serbia. All non-Serbs were expelled or killed accordingly. The war in Bosnia was not a civil war. And it did not broke out, because in the Balkans was a curse. [...] We were angry and powerless witnesses of what the film covers. We must therefore insist that the UN war crimes tribunal condemns Karadžić, Mladić, and Milošević. The European refusal, our refusal, to intervene in Bosnia induced Milošević, of course, to proceed in Kosovo in the same way. It raises the question whether not wanting to wage a war ultimately leads to war.".
Of course the Wikipedia article is not the right place to ask whether one can compare the actions of the UÇK with the situation in Bosnia at all, whether the NATO bombing even caused the ethnic cleansing in Kosovo in 1999 in the first place, or whether NATO actually started the war of 1999 because of its own interests in that region.
But the fact, that arte broadcasted a film about the war in Bosnia in 2000 together with a political instruction to interpret it in a current context (NATO war against Serbia of 1999), leads to one important question, which is relevant for the encyclopaedic article in Wikipedia: has arte ever contacted the BBC team, what the intention of the film has been? So to speak: was there really an intention of the film makers to support a possible intervention in Kosovo? Do film and documentary form an organic whole, as it was claimed by arte?
I would be glad for more information about the background of the film making. Best wishes, --
Anglo-Araneophilus (
talk) 12:44, 2 November 2012 (UTC)
Hi,
You appear to be eligible to vote in the current
Arbitration Committee election. The
Arbitration Committee is the panel of editors responsible for conducting the Wikipedia
arbitration process. It has the authority to enact binding solutions for disputes between editors, primarily related to serious behavioural issues that the community has been unable to resolve. This includes the ability to impose
site bans,
topic bans, editing restrictions, and other measures needed to maintain our editing environment. The
arbitration policy describes the Committee's roles and responsibilities in greater detail. If you wish to participate, you are welcome to
review the candidates' statements and submit your choices on
the voting page. For the Election committee,
MediaWiki message delivery (
talk) 14:29, 24 November 2015 (UTC)
Hello, Peter Kosminsky. Voting in the 2016 Arbitration Committee elections is open from Monday, 00:00, 21 November through Sunday, 23:59, 4 December to all unblocked users who have registered an account before Wednesday, 00:00, 28 October 2016 and have made at least 150 mainspace edits before Sunday, 00:00, 1 November 2016.
The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to impose binding solutions to disputes between editors, primarily for serious conduct disputes the community has been unable to resolve. This includes the authority to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail.
If you wish to participate in the 2016 election, please review the candidates' statements and submit your choices on the voting page. MediaWiki message delivery ( talk) 22:08, 21 November 2016 (UTC)
Hello, Peter Kosminsky. Voting in the 2018 Arbitration Committee elections is now open until 23.59 on Sunday, 3 December. All users who registered an account before Sunday, 28 October 2018, made at least 150 mainspace edits before Thursday, 1 November 2018 and are not currently blocked are eligible to vote. Users with alternate accounts may only vote once.
The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to impose binding solutions to disputes between editors, primarily for serious conduct disputes the community has been unable to resolve. This includes the authority to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail.
If you wish to participate in the 2018 election, please review the candidates and submit your choices on the voting page. MediaWiki message delivery ( talk) 18:42, 19 November 2018 (UTC)