Author Archives: Garry Rodgers

About Garry Rodgers

After three decades as a Royal Canadian Mounted Police homicide detective and British Columbia coroner, International Best Selling author and blogger Garry Rodgers has an expertise in death and the craft of writing on it. Now retired, he wants to provoke your thoughts about death and help authors give life to their words.

PROPHETIC WORDS FROM BOB DYLAN

You may hate his nasal voice, but it’s impossible to deny Bob Dylan is one of our greatest songwriters, poets, and balladeers ever to hit the folk and pop music stage. Born Robert Allen Zimmerman, Dylan (now 81) has been an icon for over sixty years and he’s sold above 125 million records—plus winning a Nobel Prize. Three of his best-known songs are Like a Rolling Stone, Blowin’ in the Wind, and The Times They are a Changin’. All have prophetic words from Bob Dylan.

The Times They are a Changin’ is timeless work. Think about the times changin’ from 1964, when Bob Dylan recorded the song, to 2022 today. Computers and the internet—soon to be the metaverse. Space flight and Mars sight. Smart phones. Amazon. Blockbuster to Netflix. Facebook and TikTok. Environmental adjustment. (I don’t say climate change or global warming because for the past 10,000 years our globe’s climate has been changing and warming.) Electric, driverless vehicles. Crazy political polarization. Wokeism. A pandemic. A new war (now in the Ukraine). And so much more change.

Bob Dylan’s words, written in 1964, are just as relevant today as they were back in the sixties. I had a life moment, recently, where I went on a long, reflective walk and thought about Dylan’s The Times They Are a Changin’ and re-read the lyrics and changed my worldview. And I thought I’d share Bob Dylan’s prophetic words with you on DyingWords along with a young lady’s cover of Dylan’s masterpiece. Reina del Cid is an exceptionally talented musician who I really admire. Her natural voice and effortless strings are so soothing.

Come gather ’round people
Wherever you roam
And admit that the waters
Around you have grown
And accept it that soon
You’ll be drenched to the bone
If your time to you is worth savin’
And you better start swimmin’
Or you’ll sink like a stone
For the times they are a-changin’

Listen to Reina del Cid’s Bob Dylan cover 

Listen to Bob Dylan’s Original Release

Come writers and critics
Who prophesize with your pen
And keep your eyes wide
The chance won’t come again
And don’t speak too soon
For the wheel’s still in spin
And there’s no tellin’ who
That it’s namin’
For the loser now
Will be later to win
For the times they are a-changin’

Come senators, congressmen
Please heed the call
Don’t stand in the doorway
Don’t block up the hall
For he that gets hurt
Will be he who has stalled
The battle outside ragin’
Will soon shake your windows
And rattle your walls
For the times they are a-changin’

Come mothers and fathers
Throughout the land
And don’t criticize
What you can’t understand
Your sons and your daughters
Are beyond your command
Your old road is rapidly agin’
Please get out of the new one
If you can’t lend your hand
For the times they are a-changin’

The line it is drawn
The curse it is cast
The slow one now
Will later be fast
As the present now
Will later be past
The order is rapidly fadin’
And the first one now
Will later be last
For the times they are a-changin’

Yes, the times are a-changin’

THE FUTURISTIC FILM INDUSTRY

The future is coming fast—especially in the film industry.  Some of it’s already here. Augmented and virtual reality. CGIs. Digital recreation. Algorithmic editing. Edge computing. 5G/6G networks. Cloned voices. Scanned actors. Non-real celebrities. Drones. Artificially intelligent screenwriting. Remote filmmaking. 3D printed sets. 3D previsualization. Real-time rendering. Sound and light tech breakthroughs. DJI Ronin 4D 6K condensed cinematic lenses. Micro cameras. Avatars & holograms. Blockchain, crypto & NFTs. The Internet of Things (IoT). And, of course, the Metaverse.

The global film industry is huge. It’s astoundingly enormous, and it’s growing massively. According to a study by Globe Newswire, the worldwide film industry grew from $271.83 billion (US) in March 2021 to $325.06 billion in March 2022. That’s a compounded annual growth rate (CAGR) of 11.4% indicating in another four years, 2026, the film-making world will generate 479.63 billion dollars. By the end of this decade, it could be worth a trillion.

If you’re a regular DyingWords follower, you might’ve noticed I haven’t published a book in nearly two years. That’s because I’m immersed in the film industry—studying screenwriting, producing film content under my new company Twenty-Second Century Entertainment (22 ENT), and generally learning what this business is about. I’ve also done on-camera work as a crime and forensic resource in non-scripted documentaries that flowed from blog posts I’ve created. Plus, I’ve made some great filmmaking friends who are teaching this old dog new tricks.

Before I expand on future film technology, I’ll give you a snapshot of what I’ve got on the go. My eight-part Based-On-True-Crime book series is contractually optioned by a producer who has it before a major film company. If this gets “Green Lit”, we have a total of thirty episodes loglined under the working title Occam’s Razor. My hardboiled, private detective storytelling concept called City Of Danger is a twenty-four-part series with a right-of-first-refusal agreement through a leading netstreamer. (See my webpage for City Of Danger—scheduled for 2024). The Fatal Shot is a film production “treatment” I wrote which is being “shopped around”, and I’m collaborating with a long-time colleague on a very interesting screen project titled Lightning Man that I believe has excellent film potential.

Enough of my BS. Let’s look at the futuristic film industry.

Everyone’s talking about the metaverse. Especially Mark Zuckerberg who rebranded Facebook into Meta. He’s betting big that this is Internet 3.0 and, from what I know, I’m sure he’s right even though he can’t get Apple to form a joint venture.

The term metaverse isn’t new. It’s been around three decades and was once known as cyberspace. Although the metaverse is already here and in its infancy or at an inflection point, it’s a hard concept to wrap your head around. Maybe it’s best to let Mr. Zuckerberg explain:

“The “metaverse” is a set of virtual spaces where you can create and explore with other people who aren’t in the same physical space as you. You’ll be able to hang out with friends, work, play, learn, shop, create and more. It’s not necessarily about spending more time online — it’s about making the time you do spend online more meaningful. The metaverse isn’t a single product one company can build alone. Just like the internet, the metaverse exists whether Facebook is there or not. And it won’t be built overnight. Many of these products will only be fully realized in the next 10-15 years. While that’s frustrating for those of us eager to dive right in, it gives us time to ask the difficult questions about how they should be built.”

Zuckerberg says the metaverse is the mobile web’s successor. First there was Internet 1.0 which was static. You could surf the pages and send emails on a desktop. Internet 2.0—where we’re at now—is mobile. It’s smartphone streaming and TikToking. If you want to call the metaverse Internet 3.0, then you need to use compatible words like immersive, interoperable, and integrated. It’s a world of shared virtual experience that can happen at home, on the go, and wherever you are with a connected device.

What the metaverse holds for the film industry is not so much technical advances in production. It’s deliverability and viewer experience. The metaverse won’t be the place you’ll be watching a movie. It’s where you’ll be fully interacting with your five senses—sight, sound, small, taste, and feel. It’ll be like you’re right there in the middle of the set.

If you’re interested in learning more about the metaverse, here are three resources I recommend:

The Metaverse: And How it Wil Revolutionize EverythingBook by Matthew Ball

Value Creation in the Metaverse 76-page pdf by McKinsey & Company

What is the Metaverse?Article at Government Technology

There are two evolving technologies that’ll give you that immersed feeling. One is augmented reality (AR). The other is virtual reality (VR). There’s a big difference between the two immersive platforms.

Augmented reality is enhancing, or augmenting, real events with computerization. AR morphs the mundane, physical world into a colorful, visual place by projecting visual images and characters into an existing framework. It adds to the user’s real-life experience.

Virtual reality creates a world that doesn’t exist and makes it seem very, very real. Think the movie Avatar. VR also incorporates sensory-improving devices like goggles, helmets, headsets, and suits.

You could say computer-generated imagery, or CGIs, is old technology and not something futuristic. You’d be wrong. Advancements in CGI development are nothing short of breathtaking. The CGIs five years from now will make today’s stuff look like a preschooler’s drawing.

Technology’s ability to recreate faces, bodies, and even dialogue is dramatically improving. It’s progressing to the point where it’ll be possible to make an exact replica of just about anyone. Would you like to meet a completely believable Elvis Presley? How about Marilyn Monroe?

Speaking of Elvis and Marilyn, cloned voices are becoming the thing. Computerized synthetization takes old audio of past people and recreates their voices into a life-like state. This process will use artificial intelligence (AI) to build a smoky Marilyn or a crooning Elvis and respond to printed dialogue. It like the current AI text-to-speech but on steroids.

We can’t talk about futuristic filmmaking without bringing up artificial intelligence. AI is moving ahead at lightning speed and it’s bringing the film industry with it. I’m fascinated with AI developments. But I’m also a bit fearful. Here’s a DyingWords post I wrote a while back titled Helpful or Homicidal — How Dangerous is Artificial Intelligence (AI)?

One thing about AI I’m really looking forward to in the film industry is this: Artificially Intelligent Screenwriting. If you’ve ever written, or have tried to write, a screenplay, then you appreciate how much work and effort goes into it, never mind the brain drain of creating unique content.

Recently, researchers at New York University built an artificial intelligence screenwriting program. They called it Benjamin who, among other things, wrote an original soundtrack for its movie after being programmed with 30,000 songs in its data input drive. Can you imagine the 2025 Academy Awards, “And the Oscars for best screenplay and soundtrack goes to… Benjamin the Bot.”

AI isn’t just real in script and score writing. Virtual actors and non-real celebrities are on the way in. It’ll soon be possible to select the movie cast and digitally scan them, then recreate their entire actions throughout the film without them being physically present. It’s well within the realm of possibility to have a virtual Ryan Reynolds or Anne Hathaway act their parts while the flesh and blood realities sit at home. After being paid a substantial sum for licensing their images, of course.

Turning real people into realistic avatars or digital images of themselves is a current technology. Take a look at the leading lady on my City Of Danger promo poster. That’s a real person (a stunningly attractive and stylish, high-status lady, by the way) who was scanned and run through a NextGen Pixlr filter. The plan for City Of Danger is to digitize the cast and set them loose in virtual reality following the human-written episodic scripts translated by AI. Fun stuff!

Drones are fun stuff, too. What used to be aerial filmed with helicopters and airplanes is now drone territory. Drones are far cheaper and much safer. With highly sophisticated controls and cameras, filming by drones will mostly replace piloted vehicles. Take a look at this drone footage of the new Vancouver Island Film Studios, twenty minutes north of my place: https://youtu.be/aTsyRrROx34

Remote filmmaking will put a big dent into on-site producing. With huge advances in film technology, internet sharing, and cost-cutting, more and more productions will happen on sound stages like the six built at Vancouver Island Film Studios. It’s realistic that a director—yes, a real person—will do their work remotely. Instead of fighting traffic and flight delays, a filmmaker will be able to do their job sitting on a yacht in the Maldives and direct their work in the metaverse.

3D printed sets are soon to be here, if not right now. It’s going to be far more efficient to create film set artifacts rather than source them. Those 3D objects can also be scanned and set into virtual reality situations.

3D filming has come a long way since the days audiences sat watching The Power Of Love back in 1922 and wearing those goofy glasses. Now, we have up-close 3D on the laptops and soon to be glasses-free for the big screen. But the big wait for is 4D filming, and it’s a promise to come through VR in the metaverse. Instead of only seeing height, width, and length, you’ll experience depth. You’ll be inside the picture—on the inside looking out at the 3D world.

There are massive changes coming in cameras, sound recording, and lighting effects. Have you seen Top Gun Maverick? That is amazing work, and that’s just the next step in futuristic filmmaking. And you know what? Very little was done through CGIs. It’s just super sophisticated camera, sound, and lighting effects. Here’s how they did it: https://www.indiewire.com/2022/06/top-gun-maverick-making-of-cockpit-1234729694/

Top Gun Maverick used a Sony Rialto Camera Extension System. Yes, it’s expensive but so were renting the jets at over $11,000 per flying hour. More reasonable in my upcoming league is the no-longer-futuristic DJI Ronin 4D $-Axis 6K Cinematic Camera that recently came online at $9,000.00, and that’s just for the lens. Think about it—a 4D, 6,000-pixel digital camera. There isn’t a 6K monitor yet made, but I bet it’s on its way.

Micro cameras have amazing potential. The future is wide open in melding nanotechnology with filmmaking. I can’t imagine what’s happening at the molecular level.

I can imagine, however, what’s happening in the post-production level. It’s not just screenwriting, casting, set building, and cinematography that takes time and money. Editing is a huge time suck in the filmmaking process. What’s just arriving is algorithmic film editing. This is AI software that thinks through the film data and makes automatic jump cuts at precisely the right moment.

Have you heard of edge computing? I hadn’t until I began investigating the futuristic film industry. Edge computing is capturing data at its source and not having to upload it to a server for processing. That eliminates having to use an expensive and laggy “middle-man” like a cloud or a mechanical server. Using edge computing to harness and develop digital data speeds up processing time and reduces costs.

Hologram displays are in their crude evolutionary form today. That’s going to change soon, and holograms are part of the new, end-product “dimensional delivery”. By dimensional delivery, I mean the 4D technology where you’ll be able to watch a digitized hologram of your show. It will be like watching a completely realistic stage play, and you’ll have the option of joining in.

“Joining in” is a fascinating film delivery concept. In the future, algorithms will track your viewing habits/choices and will give you the option of personalizing your selection. You can make yourself into an avatar and can substitute your avatar for a cast member. On the international stage, you can change your race, gender, and language.

All this talk of high-density technology needs delivery infrastructure makeover. Internet providers today don’t have the speed or capacity to process and send out 5K resolution and totally digitized, virtual reality entertainment. But that’s changing, too, with 5G.

5G is the 5th generation wireless mobile network. It’s already happening and 6G is planned. To serve the metaverse, massively higher, multi-Gbps and ultra-low latency is crucial. The 5 and 6G networks will deliver the films of the future that today’s 4G system can’t.

One more film-world reality is money. Movies cost a lot of money to make. I’m told a show like Occam’s Razor typically budgets at around $50,000 per edited minute of film. Doing the math, a 60-minute episode would cost $3 million, give or take a fudge factor. So, a 10-episode season would cost the film’s financier around $30 million. To me, that’s a lot of coin—a lot of coin that can be saved through emerging technology.

Future technology will significantly reduce time and expenses in film making. Payment methods are changing, too. Blockchain will keep a digital trail and funds will commonly exchange in crypto currency. Non Fungible Tokens (NFTs) will probably be part of the package, though they’re going through a reevaluation at the moment.

I’m a newbie to the film industry, but everyone working in the business is a newbie to what’s coming at us from the future. My niche is making content—inventing and telling stories through characters, plots, and dialogues. But to make decent (meaning saleable) content, I must be aware of how the overall film production and delivery systems work. That’s what the past two years have been about.

City Of Danger seems to be saleable content. At least one film producer at a name-brand netstreamer thinks so. Realistically, the show is a few years away—2024 at the earliest—because the technology for what we want to portray isn’t perfected yet. Our plan is to screenwrite the 24 episodes (underway) and have it ready to be digitally produced in virtual reality by scanning the actors, turning them into avatars, and showing them as you see Susan Silverii who graces the promo poster. This should cut production costs to maybe half of today’s typical rates of filming a live actor and on-location series like Occam’s Razor.

Wish us luck. Or, as they say in theatrics, “Break a leg”.

ROBERT “WILLY” PICKTON — THE PIG-FARMING SERIAL KILLER

From the early 1990s until his arrest in 2002, Robert William Pickton (aka Willy) murdered—to his admission—49 women who he lured from the notorious Downtown East Side of Vancouver, British Columbia, to his pig farm in suburban Port Coquitlam. Willy Pickton’s modus operandi (MO) was to handcuff and rape the women, then shoot or strangle them to death. To dispose of the bodies, he’d butcher them in the same slaughterhouse or abattoir he processed his hogs in, then he fed the severed remains to his live pigs.

The Pickton Case, as it’s well known in Canada, wasn’t just about criminal sensationalism—something as grotesque as feeding human being parts to hungry animals. It’s a sad story of wasted human lives and a misguided mess made by human investigators. Fortunately, some good came from the Pickton Case and the parallel BC Missing Women Investigation / Missing Women Commission of Inquiry. That was better communicative cooperation between police jurisdictions and more efficient file management in missing persons cases.

Before looking at the Pickton Case outcome, let’s review who Willy Pickton was, how he managed to remain criminally active so long, and how he came to now serving the rest of his life in a maximum-security penitentiary.

Robert William Pickton was born on October 24, 1949. He’s now 72. His parents owned the Port Coquitlam pig farm and raised Willy on it, along with his brother, David, and his sister, Linda. Willy Pickton was a reserved boy who dropped out of school at fourteen and remained working the farm after his abusive parents passed on.

Court records show him to be of average intelligence but with a psychological perversion shaped by “Mommy issues”. He was very attached to his mother, regardless of her neglect of him. One notable point in young Pickton’s life was a recorded incident where, as a teen, Willy Pickton bought a calf with his own money and became very enthralled with it.

One day, he returned home to find the calf missing. He asked his mother where the calf was. She told him to go look in the slaughterhouse. He did.

There was his dead, bled, gutted, and skinned pet hanging from a meat hook.

Besides operating a pork processing plant on the farm, Willy and David Pickton ran a side business called “Piggy’s Palace”. They’d registered it as a tax-free, not-for-profit service club that leased the property to community events. Under the surface, it was a free-for-all, illegal booze-can that catered to wild parties filled with underworld characters.

Piggy’s Palace was part of the allure for the Downtown East Side of Vancouver subculture. This drug and disease-infested, civic fester was riddled with addicts and unstables who congregated in a bubble of immediacy and anonymity. These people lived for the moment, not for the day, and were perfect targets for the pig-farming predator.

Pickton would prowl the place—generally boundaried through East Hastings with Powell Street on the north and East Pender on the south. This is right in the heart of Vancouver’s industrial waterfront. It’s only a stone’s throw from the business hub of Downtown Vancouver proper and the uber-wealth of the West End.

Willy Pickton didn’t stand out in the Downtown East Side. He fit right in. At least 49 women thought so as they accepted a ride in his beater truck back to the farm with promises of drugs and cash and fun and an escape from the streets. A permanent escape, as it happened.

A pattern developed in the Downtown East Side. A disproportionate number of women were reported missing. They were all in similar demographics—vulnerable women who lived at-risk due to many societal issues—drug and alcohol addictions, mental illness, homelessness, victims of domestic violence, poverty, poor health, lack of education and skills, unemployable as well as being sex workers and common criminals.

The Downtown East Side law enforcement jurisdiction is owned by the Vancouver Police Department. The VPD noticed their increase in missing women reports and cautiously dealt with the matter by appointing one officer as a missing persons coordinator. Here’s where internal and external politics favored Willy Pickton.

No one in power wanted to say the “SK-Word”—Serial Killer. This would have let an uncorkable genie out of the bottle, and no one in power wanted the workload, budget drain, and social stigma/media pressure of having a serial killer running amuck in the streets of Vancouver.

So, what do good cops do in the face of bad stuff? Downplay it. Better yet, pass it off to another jurisdiction like the Coquitlam Detachment of the Royal Canadian Mounted Police—the RCMP or the Mounties.

Canadian policing structure in BC’s Lower Mainland region is rather convoluted, and this led to why Willy Pickton was hard to identify. Even harder to catch. Especially when competing jurisdictions weren’t playing for the same team.

The RCMP is Canada’s national police force They’re much like the United States FBI where they have federal responsibilities unless called or contracted by state / provincial / municipal (Muni) / civic authorities for help. Vancouver Police Department is its own LE agency, much like NYPD is or how Seattle PD operates independently of the multi-level support services like the DEA, BATF, CIA, ICE, DHLS, and a host of others.

British Columbia’s Greater Vancouver Area (GVA or the Lower Mainland) is a hodgepodge concoction of Mountie and Muni jurisdictions. The Munis have Vancouver, West Vancouver, Delta, Abbotsford, New Westminster, and Port Moody. The Mounties have Burnaby, Surrey, Richmond, North Vancouver, Coquitlam, Langley, Maple Ridge, and Mission. Not to mention Vancouver International Airport (YVR, which is a city of its own) and another sub-city, the University of British Columbia.

Greater Vancouver’s policing is a complex and wide-spread overlay. Vancouver’s Lower Mainland—the Fraser River Valley—population is over 3 million contained in 14,000 square miles for an average density of 214 people per square mile (PSM). That wildly ranges from 25,000 people PSM in Vancouver’s West End to practically zero on the watershed’s mountainsides.

British Columbia’s Lower Mainland has 6 municipal departments and 10 RCMP detachments. In 2002, the Munis and the Mounties had no common communication channel. Independently, they did their own thing.

The cities of Vancouver and Coquitlam-Port Coquitlam are close, distance wise. They’re 16 miles apart, as the crow flies, but Port Coquitlam is about an hour’s easterly drive in Vancouver traffic terms. Women were disappearing in Vancouver, but no bodies were being found. Vancouver women were dying in Port Coquitlam (PoCo), and their bodies weren’t being found either.

The missing persons coordinator at VPD was vigilant in her work. She knew what was going on in the Downtown East Side. But she had no idea what was going down in PoCo. Her list—a computerized spreadsheet of missing person names, dates of disappearances, and personal items associated with each woman—was detailed and available to any LE officer with access to the Canadian Police Information Center (CPIC).

The break came on February 5, 2002, when the RCMP in PoCo got informant information that something crazy was going on at the Pickton pig farm. They executed a search warrant and found items linked to several missing women the VPD coordinator listed on CPIC.

They also found human body parts including detached heads and limbs in Pickton’s freezer. In other places were severed dried skulls. They’d been Saw-zalled in half with mummified hands and feet bound inside.

The Pickton Case became a forensic first. The CSI team spent months processing dried and fresh pig manure looking for microscopic DNA profiles of Pickton’s victims. These women were:

Sereena Abotsway
Mona Lee Wilson
Andrea Joesbury
Brenda Ann Wolfe
Marnie Lee Frey
Georgina Faith Papin
Jacqueline Michelle McDonell
Dianne Rosemary Rock
Heather Kathleen Bottenly
Jennifer Lynn Furminnger
Helen May Hallmark
Patricia Rose Johnson
Heather Choinook
Tanya Holyk
Sherry Irving
Inga Monique Hall
Tiffany Drew
Sarah de Vries
Cynthia Feliks
Angela Rebecca Jardine
Diana Melnick
Debra Lynne Jones
Wendy Crawford
Kerry Koski
Andrea Fay Borthaven
Cara Louise Ellis
Mary Ann Clark
Yvonne Marie Boen
Dawn Teresa Crey

These 29 women are known Pickton victims identified through DNA. There are 13 other human female DNA profiles recovered—mired in pig shit—that haven’t been profiled to once-living women. That’s a victim count of 42. It’s 7 less than Willy Pickton confessed to killing and feeding to his pigs.

—–—

Hindsight is usually in focus. It’s been 20 years since the Pickton investigation. Learning is not just about what went wrong and improving. It’s about changing systems like communication between the Mounties and the Munis.

I was retired by the time the Pickton Case exploded. But I was a Mountie product who worked with first-rate Munis in serious crime investigations, and I have to say a murder cop is a murder cop—no matter what badge you’re wearing. We all wanted the same thing. Solve a case through admissible evidence. Bring closure to the families. And work the best we could through systematic differences.

No one in the Pickton Case investigation deliberately derailed the train. Far from it. The VPD missing persons coordinator saw the SK-Word pattern and reported it upline. Upline responded with, “Where are the bodies?” The coordinator said, “I don’t know. I just know this isn’t right and more women are going to disappear unless we dig into this.” Upline came back with, “Okay. Keep an eye, but don’t say anything to the media. We don’t need the SK-shit.”

———

Pickton was charged with a total of 27 counts of first-degree murder. First degree, in Canada, requires the prosecution prove Pickton acted in a planned and deliberate manner on each count. If the planning point isn’t proven, but the intentional killings are still established, then the charges fall to second-degree which allows the convict an earlier parole eligibility to a mandatory life sentence, regardless of first or second.

The trial judge severed the charges into two groups. Group A were 6 women whose evidence was materially stronger than the other 21 in Group B. The trial went ahead dealing with Group A. Group B was set aside pending the first trial’s outcome. (Note: The Group B trial never proceeded.)

A jury convicted Robert William Pickton of 6 counts of second-degree murder. How 12 jurors could think a pattern of murders was not planned but still deliberate, I can’t fathom. But whether first or second, planned or deliberate, or how many counts, is a mute legal point. Canada doesn’t have the death penalty, so Willy Pickton is going to spend the rest of his natural life in prison. There is no way this guy will ever get parole, although the law allows him to apply after 25 years of incarceration.

In the aftermath of conviction, the Pickton Case led to a lawyer-fest of appeals and inquiries. Some were cash grabs. Some were feel-goods. And some led to necessary improvements in legal and investigation procedures.

Interjurisdictional cooperation and communication were the big ones. It wasn’t just a Muni vs. Mountie thing. Munis weren’t talking to other Munis, and Mounties weren’t talking to other Mounties. In fact, the entire Vancouver Lower Mainland cop shops were acting alone. Automatously, you could say, and this was the result of years—decades—of independent police department growth in overlapping Lower Mainland communities.

Retired BC Supreme Court Justice Wallace Oppal headed the Missing Women’s Commission of Inquiry. Wally Oppal, or Stone Wally as he’s known by the police and the media, was the right man for this job. He was a highly experienced trial judge who went on to be the Attorney General of British Columbia. His 2012 report on the matter ran 1,448 pages and came back with 63 recommendations. The number 1 item, rightfully so, was amalgamating all Lower Mainland police jurisdictions—Mountie and Muni—into one regional police force.

Ten years later, this hasn’t happened. And it shows no sign of happening given the City of Surrey, the fastest growing Lower Mainland area, is forming its own police force and getting rid of the RCMP.

However, one major intercommunication and cooperation change did occur, and it was for the better. That was forming the Integrated Homicide Investigation Team (IHIT) that makes  secondments of select detectives from each department—Muni and Mountie—and has the team take over homicide cases throughout the Lower Mainland. Except for the Vancouver Police Department who still do their own thing.

The Pickton Case was a tragedy of mass proportions. It wasn’t just a fact of police failure to communicate or cooperate. It was a sad situation where a marginalized segment of vulnerable women were victimized by an unchecked demon. Here are some quotes from the Oppal report:

“The police investigation into the missing and murdered women were blatant failures.”

“The critical police failings were manifest in recurring patterns that went unchecked and uncorrected over many years.”

“The underlying causes of these failures were themselves complex and multi-faceted.”

“Those causes include discrimination, a lack of leadership, outdated police procedures and approaches, and a fragmented policing structure in the Greater Vancouver region.”

“While I condemn the police investigations, I also find society at large should bear some responsibility for the women’s tragic lives.”

“I have found that the missing and murdered women were forsaken twice. Once by society at large and again by the police.”

“This was a tragedy of epic proportions.”

Outside of the trial and commission of inquiry, the Vancouver Police Department did an extensive internal review. Honorably, they owned the problem and vowed to change procedures in missing persons cases. Deputy Chief Doug LePard, who headed the probe, had this to say at a public news conference:

 “I wish from the bottom of my heart that we would have caught him sooner. I wish that, the several agencies involved, that we could have done better in so many ways. I wish that all the mistakes that were made, we could undo. And I wish that more lives would have been saved. So, on my behalf and behalf of the Vancouver Police Department and all the men and women that worked on this investigation, I would say to the families how sorry we all are for your losses and sorry because we did not catch this monster sooner.”