Two foster children who had been living with a convicted transgender triple killer, despite authorities being aware of the situation since late December 2025, are no longer residing with the violent criminal, according to local media reports.

Reginald Arthurell — who began transitioning to a woman shortly after his release from prison in 2020 — was removed from the home after heavily armed officers raided the address on Monday, radio station 2GB reported. He had been living with a 12-year-old and a 14-year-old for several months, the outlet said. 

The minister for Families and Communities of New South Wales (NSW) on Tuesday issued an apology, saying the situation “should never have been allowed.”  

“It is entirely unacceptable for a vulnerable child in the care of the state to be living with a triple murderer,” Kate Washington told 2GB. “It should never have happened and I’m deeply apologetic for what has happened.”

VIOLENT REPEAT OFFENDER ACCUSED OF KILLING TEACHER AS 911 CALL REVEALED HER FINAL MOMENTS: REPORT

She added that “very poor decisions were made” at the time when authorities became aware of the situation and said a review is underway to determine how the “terrible” circumstances were allowed to happen, promising systemic changes.

The situation has sparked widespread backlash and calls for the resignation of authorities who allowed the crisis to continue for months. 

Late last year, Arthurell moved into an existing foster home in Sydney, where two children were already living under the care of an elderly woman, 2GB reported. He reportedly met her while she was working at a hospital, and he was a patient there.

The woman, who invited him to move in as a housemate, already had two foster children living with her under her approved placement with the New South Wales Department of Communities and Justice.

Arthurell therefore shared the household with the children. The arrangement went unnoticed by authorities until the carer’s daughter reportedly raised concerns late last year.

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Prior to moving in, Arthurell had built a long criminal history, primarily involving the killings of three people over three decades, court documents show. He was first convicted of manslaughter in 1974 for reportedly stabbing his stepfather to death in Sydney. In 1981, he fatally bashed a 19-year-old sailor during a violent robbery, and while on parole in 1995, he killed his fiancée by beating her to death with a piece of wood, local outlets reported.

After killing his romantic partner, he was caught photographing himself wearing one of her dresses, 2GB added.

All three killings involved alcohol, court documents show. Records indicate that Arthurell spent nearly 39 years of his life in custody following the murders.

After his prison release in November 2020, Arthurell began transitioning into a woman under the name Regina. The first public photos and self-introductions appeared on a transgender community Facebook page in May 2021, 2GB reported. Arthurell had also expressed plans to undergo gender-affirming surgery “as soon as possible,” News.com.au reported.

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Court documents also described that “her transition has been taking place over quite some years,” confirming the process was ongoing after his release.

Arthurell now remains in private accommodation following his Monday removal, ABC Australia reported Tuesday. 

By&nbspAnna Weglarczyk

Published on
12/03/2026 – 22:40 GMT+1

Poland’s president, Karol Nawrocki, has vetoed legislation that would have enabled the country to access nearly €44 billion in European Union defence loans, escalating a political clash with the government of Prime Minister Donald Tusk over how to finance the country’s defence spending.

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The bill would have allowed Warsaw to access funds from the EU’s Security Action for Europe (SAFE) program, a €150 billion initiative aimed at boosting defence spending and strengthening Europe’s defence industry.

Poland was set to receive around €43.7 billion in loans under the scheme, making it the largest potential beneficiary.

Government backed EU loans to speed up military investment

Tusk’s pro-EU coalition had strongly supported the legislation, arguing that the loans would provide favourable financing to accelerate Poland’s military modernisation at a time of heightened security concerns following Russia’s full-scale invasion of Ukraine.

Officials said the funding could support a wide range of defense projects, including strengthening the country’s eastern border and investing in domestic arms production.

But Nawrocki, who is aligned with the conservative opposition argued that relying on EU loans could increase Poland’s dependence on Brussels. Instead, he has proposed using domestic resources to finance defence investments, including profits from the country’s central bank reserves.

Tusk denounces Nawrocki’s patriotism over veto

The decision triggered swift criticism from members of the government. In a post on X, Polish Prime Minister Donald Tusk wrote: “The President lost his chance to act like a patriot,” referring to what he described as a missed opportunity to secure EU financing for defence investment. He also announced a special cabinet meeting on Friday morning when he’ll introduce alternative steps to approve the loan. Tusk earlier said that his government is preparing a “plan B” that would still allow Poland to access SAFE funds.

Foreign Minister Radosław Sikorski also criticised the move on social media, warning that blocking access to the EU mechanism could weaken Poland’s ability to strengthen its defence capabilities.

Defence Minister Władysław Kosiniak-Kamysz defended the government’s proposal, arguing that the EU loans would allow Poland to expand military spending without placing additional strain on the national budget.

Netflix’s Diego Ávalos used a Málaga Talent appearance on Tuesday not only to explain how the streamer sources, develops and finances projects in Spain, but also to send a broader message to the local business: Netflix wants to be seen as accessible, flexible and closely connected to the creative community it hopes to work with.

Speaking to a packed room at the UNIA Puerto venue in conversation with Silvia Iturbe, an executive at Mafiz – Málaga Festival Industry Zone, Ávalos — Netflix’s VP of Content for Spain, Portugal and Turkey — offered a public snapshot of the company’s Spanish commissioning logic: multiple entry points for projects, varied deal structures and a strategy driven less by algorithm than by audience connection.

What gave the session its edge, however, was the way Ávalos handled the room. Relaxed and articulate, he moved easily between broad strategy and the practical mechanics of development. For a room full of emerging creators, many of whom likely view streamers as distant gatekeepers, the presentation suggested something more open, more personal and more plugged into the day-to-day realities of Spain’s production sector.

“There is no single moment to speak with us,” Ávalos said, stressing that projects can reach Netflix in many forms — as a bible, a script package, a rights-based pitch or a more advanced production already carrying broadcaster support or public funding.

He cited TV3 series “Génesis” as one example of a title where Netflix came in after regional financing had already been assembled, taking the series for Spain, Latin America, the U.S., Canada and much of the EU. “The Asunta Case,” by contrast, was described as a project that grew out of Netflix’s prior relationship with Madrid-based Bambú Producciones, moving from an initial idea into bible, pilot and eventual greenlight.

That contrast underlined one of Ávalos’ key points: Netflix is not operating with a single development template. Some projects arrive highly packaged. Others begin with an idea, a rights hook or an early creative conversation. The priority, he said, is less the format than whether the material clearly communicates the story, its creative vision and its audience potential.

The session also offered a revealing glimpse into the scale of Netflix’s Spanish pipeline. Ávalos said the company receives between 1,500 and 2,500 projects a year and reads all of them, adding that the team aims to respond to every submission. He also stressed the breadth of Netflix’s production relationships, noting that over the last seven years the company has worked with more than 60 Spanish production companies.

Netflix, he suggested, is not operating through a narrow circle of repeat suppliers or a single model of engagement. The company can work directly with producers, writers and directors and, when needed, help connect emerging creators with more established production partners if a project requires stronger industrial packaging.

Ávalos also praised the strength of Spain’s production sector, told the young audience that the future of the industry rests with them and treated the session less as a formal corporate appearance than as a genuine exchange. His rapport with the room reinforced the image of a Netflix executive closely plugged into the local business and alert to the ambitions of rising talent.

He also pushed back firmly on the notion that Netflix commissions by algorithm, describing data instead as a compass rather than a blueprint. That distinction sits at the center of Netflix’s local pitch. Ávalos pointed to broad local comedies, thrillers, character-driven dramas and action titles as categories that have worked especially well for the company in Spain, while acknowledging that breakout exceptions such as “Nowhere” and “The Platform” show the limits of rigid rule-making.

One of the session’s most notable clarifications concerned ownership. Of the more than 1,000 Spanish titles Netflix has launched over the last seven years, Ávalos said, the company holds the IP on less than 25%, with the vast majority structured as acquisitions or other partner-led models in which rights remain with producers, creators or writers.

That point fed into a wider argument about Netflix’s role. In Ávalos’ telling, the streamer does not replace the independent sector so much as work through it. Netflix executives do not take producer credits, he said, because the creative and industrial heavy lifting belongs to third-party producers, writers and directors.

Festivals, meanwhile, remain an important part of that system, both as launchpads for titles and as spaces where executives can identify new voices, fresh formats and shifts in creative energy. Ávalos also noted that short films remain a useful talent-discovery tool, even if short-form distribution is not central to Netflix’s local strategy. For the Málaga Talent audience, Ávalos made the case that Netflix wants to be seen not just as a buyer or commissioner, but as a partner that listens on Spain’s broader creative landscape.