We Need to Talk About Sandy Hook [2014)

From a group called Independent Media Solidarity comes this excellent exposé concerning what was almost certainly a false flag:  the Sandy Hook Elementary school shooting of 2012.

I had researched the topic rather extensively for the simple reason that it happened on my birthday.  There I was headed over the frozen highways of Utah and Colorado and this pall hung over what should have been a more-or-less festive time for me.

The event pulled me in.  It seemed incredible.  And as I followed all of the false leads which came out about the case (espoused by all of the major American media outlets), I began to see that something was terribly amiss.

But let’s not get too far ahead of ourselves.

Back to the film at hand.

What we are talking about here is essentially a YouTube phenomenon.

The Independent Media Solidarity group have produced quite a professional piece of work.

The documentary’s setting is Newtown, Connecticut.

Ah, Newtown…

It’s sort of like Scrabble.  James Brunot.

And it’s definitely like the phantasmic “Woodchipper Murder” (the basis for the Coen Brothers’ Fargo).

Charles Ives might have called it the Housatonic at Stockbridge.

Robert Underwood Johnson.

Sandy Hook is a community within Newtown.

Newtown counts among its progeny the “Father of Robotics” Joseph Engelberger.

So too Renata Adler (who famously ripped Pauline Kael).

Perhaps most notably (as Dr. Steve Pieczenik has pointed out), the town counts among its residents Suzanne Collins (author of The Hunger Games trilogy).

Collins even lives in the Sandy Hook portion of Newtown (where our massacre ostensibly occurred).

Yet Collins has given no statement.

If this had been a real event (the “school shooting”), then Collins would have been among the first likely to be interviewed.  This seems to be the point Pieczenik made some weeks back on the esteemed Dr. James Tracy’s radio show Real Politik.

But we push on through the parade:

-Charles Goodyear (rubber vulcanization)

-Caitlyn Jenner (actually, quite an interesting angle given the media blitz surrounding her and Sandy Hook)

-Elia Kazan (the genius sell-out…and most germane to my subject)

-Mead Treadwell (very interesting angle, but he’s a Republican).

What we mostly find is a lot of power.

Newtown.

About 27,000 residents.

U.S. Congressmen.  Connecticut governors.  Dept. of Justice.  U.S. Treasury.

A well-heeled community.  A bedroom community for New York City.

Then there’s Sherman…three-time mayor of Chicago.

And, perhaps most of all, an inordinate number of children’s authors.

But the pithy name we need to understand the film under consideration is that of graffiti artist Emit.

Yes, we have to take a different logic to understand this new brand of filmmaking.

These are filmmakers who dig deep.

They seek to understand Robert Crafts and how he could put his wife Helle Crafts through a woodchipper at Lake Zoar.

Maybe hoaxing goes all the way back to Luther Meade Blackman in the town of Sandy Hook.  Blackman was accused of forging the Bat Creek inscription (an engraving on a dubious Native American artifact unearthed by the Smithsonian [actually, Bureau of American Ethnology] in Tennessee in 1889).

Our auteurs first focus on the Fairfield Hills State Hospital in Newtown.  It was the setting for the Hollywood film Sleepers in 1996 (a mere one year after the facility [of 1930s vintage] was closed).

Our auteurs further flesh out the tale of Fairfield Hills by relating the story of MTV’s Fear television show (which filmed at the abandoned mental hospital in the tunnels beneath the facility).

The point is that, for all of Fairfield Hills’ psychiatric crypticism, Sandy Hook suddenly replaced the sanatorium as the town’s defining mystery.

It is at this point which we meet the protagonist (who may or may not have actually existed):  Adam Lanza.

Dr. Steve Pieczenik asserts (elsewhere) that Lanza indeed did not exist.

Nevertheless, we are presented with the mainstream cover story (a bit like Lee Harvey Oswald’s or that of the 19 hijackers).

Adam Lanza.  Autistic.

Vs. equally dubious characters like Natalie Hammond (celebrated at a Boston Bruins’ game).

Nancy Lanza.  Dead in bed.

I will admit that the footage of Robbie Parker really started to make me suspicious.

Our auteurs point out that all of the parents (who got copious primetime news coverage) display characteristics at odds with truly grieving parents.

In other words, none of them are very good (crisis) actors.

That is the realization we are faced with:  these are crisis actors.

Valley girl reactions.

The laughing coroner.

All of these personages seem nervous.  Not comfortable in their own skin.

Is it perhaps because they are playing the roles of their lives?

They would, therefore, be breaking the law to a significant extent by helping to foist this false narrative on the American public.

Is this real world or exercise?

Ah, now we are getting somewhere.

Because once you get to the bottom of one of these false events, you are able to chop through the BS of other similar events with a metaphorical machete.

Why should you watch this film?

Because one of the parents (Lenny Pozner) has apparently been harassing Independent Media Solidarity [going so far as to hack or have hacked their Google Drive].  Oops…

Public Service Announcement from IMS: Unauthorized Access

Dr. James Tracy lost his tenured position at Florida Atlantic University for standing up to the media barrage of senselessness which narrowly-framed the Sandy Hook debate.  Tracy has made it very clear that Pozner and his HONR Network (think Jewish Defense League…terrorizing the targets of their opprobrium) are a stalking Internet gang inconsistent with grieving parents.  The dialogue between HONR Network group members (which has been exposed at Tracy’s Memory Hole Blog, the ostensible reason for his termination from FAU) can be characterized as being more like a band of hired thugs than true vigilantes.  In other words, their essence is the real terror of a fake terror event.  They are the clean-up crew.

Lenny Pozner’s HONR Network: The Fine Art of Online Stalking and Harassment

The mastermind of Independent Media Solidarity appears to be a YouTube user named “mrstosh314”.  “MrStosh” pops up again as one of three credited producers of the follow-up to We Need to Talk About Sandy Hook (that being The Life of Adam [another great documentary which I hope to review soon enough]).

Other excellent contributors to We Need to Talk About Sandy Hook include:

-Sherrie QuestioningAll

-Swan Song (editor of insanemedia.net) [whose voice sounds a lot like that of David Knight from infowars.com]

-TyrannyNewsNetwork

-Odinrok

-FreeRadioRevolution

-Sandy Hook Research

-Professor Doom1

-QKUltra

-UpNorthOfThe49th

[keep in mind that these are all YouTube “handles”]

To clarify, the end credits list MrStosh314 as writer and director of this film (which is slightly at odds with the ad hoc structure presented).  Regardless, his efforts are much appreciated.  I wasn’t sure (until I checked further) whether he was the same person as Peter Klein (another of the listed producers for The Life of Adam).  [It seems he is not.]  As even Lenny Pozner acknowledged in a pilfered series of messages, Klein “has skills”.  Of course, Pozner doesn’t entirely break character.  Talented but “evil”.

That’s the pot kettle black.

 

-PD

SNL Season 1 Episode 13 [1976)

Peter Boyle had an unmistakable face.

The name might have been unfamiliar to most, but run that clip of “Puttin’ On the Ritz” from Young Frankenstein and you have a strange bit of film immortality.

Mr. Boyle was, of course, the tap-dancing Frankenstein monster who so gracefully delivered his one and only (repeated) singing line at sporadic intervals [“puttin’ on the riiiiiiiitttttzzzzzzz…”].

Irving Berlin, the song’s composer, published it barely more than a month after the stock market crash of 1929.  Aw hell…I don’t often do this, but it’s important you see this laugh-out-loud clip if you’re unfamiliar with the “super dooper” Mel Brooks moment:

Now then…

That’s Peter Boyle.  I suppose he had TWO lines in actuality.

Well, he’s here as the host of Saturday Night Live on Valentine’s Day 1976.

Ah, Valentine’s…or as the beautiful, genius Sophie Crumb (30 years later) called it “valentine-wanna-kill-myself-day!”  Yeah…

Sometimes it feels about like that.

So this episode of SNL has an occasionally sappy, lazy, wrist-slitting sentimentality to it.  Ok, I admit:  the Gary Weis film is cute.  But God…that Simon & Garfunkel music…  It’s such a tearjerker.

Really, it peeves me when SNL recycles footage.  I mean, hello!  We’re only 13 episodes into this thing.  First season!  Are they really out of material?  Hell, we’d seen ’em do it earlier with an Albert Brooks film.

At least the repeated faux commercials are usually funny.  And they’re tolerable because they’re 30 seconds long (I’m guessing) [give or take].

So, yeah…

This episode has some good parts.  Samurai Divorce Court is pretty good (mainly due to John Belushi and Jane Curtin).

Really, this episode is pretty strong until the back half.

Al Jarreau is surprisingly good as the musical guest.  I wasn’t really familiar with his stuff (just his name), but he really is a musical freak!  The guy really nails it on both of his performances…going from a simmering Valentine’s romantic tone to savant bebop scatting.

Wikipedia has a very sparse sketch of the events in this episode.

Some, admittedly, aren’t really worth mentioning.

The wrestling skit with The Bees and The W.A.S.P.s (white Anglo-Saxon Protestants) is pretty underwhelming.

Really, the most-improved (and continually improving) portion of the show was the Weekend Update with Chevy Chase.  The writing was pretty free and wild.  And think of all the great cultural references we get.

The description of Dorothy Hamill’s Olympic routine is frankly hilarious.  Also, by this time George H.W. Bush was director of the CIA.  One particularly funny question posed by the show’s writers was, “Is America a front for the CIA?”

Such humor evinces politically-aware writers.  We must remember that the Church Committee had just met the previous year (1975).  It was one of the few times (perhaps the only time) that the American intelligence community came under any sort of actual scrutiny by Congress (and, by extension, the American people).

CIA, NSA, FBI…no one was completely spared from this investigation occasioned by Watergate.

Which reminds me.  Perhaps the most classic bit in this episode is Dan Aykroyd doing a Nixon impersonation in a rubber monkey mask.  The surreal act of breathing (which causes the entire mask to be sucked in and, alternately, blown back out) perfectly sums up the bizarre nature of American politics at that time.

It was a time when Reagan was but a former “fascist” governor (and yet to be President).  Yes, Weekend Update uses the word “fascist”.  (!)  How far SNL has sunk now.

But, to be fair, SNL was projecting the humor of the American liberal movement.  At least that’s the impression I get.

One final note.  The trial of Patricia (Patty) Hearst was also big news about this time.  Obviously, her case captured national attention for quite a while.  [An earlier episode with Lily Tomlin involved a fictional sorority sister [Tomlin] writing a letter to the imprisoned Hearst while, in an aside, asking another sister to return her Carpenters records.  Ahh, the 70s…]

Perhaps the greatest coup of the episode under consideration is the montage of art photos which purport to be an “Artist Rendering” of the Hearst trial.  From Hieronymus Bosch’s The Garden of Earthly Delights to  Dalí’s La persistencia de la memoria, the effect is both highbrow and ridiculous.

And it is for nuggets just such as these that we continue to be enthralled with America’s most storied variety show.

 

-PD