Five years ago, the trial and conviction of abortionist and serial killer Dr. Kermit Gosnell exposed the appalling cynicism of the mainstream media. They made fools of themselves in their clumsy, unified efforts to stifle the story rather than report on it.

Perhaps no event has done more to show up the establishment media as a hulking, one-sided political operation. That is, until now.

The release of a new film about Gosnell has made an ass of the media even more than the killer’s trial did. The film, which you can still catch in some theaters, is Gosnell: The Trial of America’s Biggest Serial Killer.

As reported at TownHall.com, “Gosnell” made it “into the Top 10 films at the box office” on opening weekend:

The team behind Gosnell told the entertainment website HiT that they made the film available for review to “every newspaper and mainstream blogger out there,” yet those efforts apparently only netted two reviews – one at Forbes.com, and the other appearing in The Los Angeles Times. (It is also worth noting that while critics gave overwhelmingly positive reviews on the Rotten Tomatoes website, there are only six reviews from critics. Most films receive hundreds.)

In other words, establishment media reacted to the film exactly the same way they reacted to Gosnell’s actual crimes—compounding and providing definitive proof that honest people’s suspicions of the media are well-founded.

“Gosnell” is Truer to Life than You Might Realize

As the movie itself shows, the story of the trial and conviction of Kermit Gosnell is a story about ordinary people from every walk of life. Their reactions to Gosnell’s crimes aren’t motivated by religious zeal or ideology, but by decency.

This goes for everyone from the impoverished inner-city kids who took the witness stand, to the blue-collar cop, the millennial blogger, and the upper-middle-class prosecuting attorney. Since these heroes of the story aren’t embedded in the cynical world of political intrigue and institutional corruption that characterizes establishment media, they do the right thing with no thought about political ramifications.

This is what the real world looks like. It’s a world where people from diverse backgrounds have a lot in common due to their basic humanity. A world where you can expect people to unite against moral monsters like Kermit Gosnell.

The Film Industry vs The Pro-Abortion Media

The production team who worked on the Gosnell film prove the same point. Writers Ann McElhinney and Phelim McAleer started out ambivalent on the abortion issue. “Gosnell” star Dean Cain was and remains pro-choice. A mixture of opinions can be found among other members of the production team.

These weren’t Christian zealots or Tea Party operatives. They were just creative people in the film industry who saw Gosnell’s trial as a compelling real-crime story that deserved to be told.

Pro-life activist and filmmaker Jason Jones (to whom the Gosnell filmmakers cleverly gave a cameo: he appears as a mainstream media journalist at the Gosnell trial) tells me that the diversity of the “Gosnell” crew isn’t much different from what he’s found in the film industry at large.

“The bias when it comes to movies has never been in the production teams,” says Jones. “The real bias comes from the political operatives in the mainstream media who make creative artists fear reprisal if they fail to burn incense to the gods of the city.”

In other words, the film industry is populated by ordinary people. The establishment media industry, on the other hand…

Establishment Media: A Whole Different Class of People

Most people don’t go around holding secret intrigues close to their chests, and carefully calculating their actions to advance powerful political interests. But the establishment media’s refusal to cover Gosnell’s “house of horrors” (right up until mounting social media pressure made it politically embarrassing not to do so) showed them to be totally different from most people.

And their reaction to the Gosnell film—going strenuously out of their way to undermine it—again shows them up as cynical bureaucrats, who ultimately serve as a PR firm for a callous abortion industry that cares more for its bottom line than for victims.

So that leaves us with two questions. One is haunting, and the other offers hope:

More Gosnells?



First, how many more Gosnells are out there, illegally torturing and killing women and children, surrounded by the protective arms of the abortion industry, the media, and local state and city bureaucrats?

After all, the mainstream media has a proven track-record of running interference for the most horrific crimes—including the sexual abuse of minors—if they are in any way connected with establishment political goals, or the reputation of the abortion industry.

More “Gosnell”s?



Second, how many more Nick Searcys are out there in the film industry? How many more Dean Cains, Ann McElhinneys, Philem McAleers, and Jason Joneses?

For all we know, many creative people in the film industry stand ready to create movies like “Gosnell” every year, but choose not to, as Jones puts it, out of fear of reprisal from the thuggish media, who have them convinced that straying from certain party lines could be career-threatening.

The only way to find out the answers to these questions is to get the mainstream media out of our way. And as luck would have it, the story of Gosnell—from his trial and conviction to his immortalization as a symbol of thwarted corruption in this terrific film—shows us just how to do that.