The Kermit Gosnell trial is about a form of live-birth murder known as infanticide, a crime that the overwhelming majority of Americans rightly oppose.
And that is what the case is about: Well formed babies that Dr. Gosnell is alleged to have removed from women by inducing delivery or “precipitating,” as he called it. Then, because they were alive and breathing, he or members of his staff would plunge scissors into the back of the neck and sever the spinal cord. He is charged with doing this seven times, but it is thought he may have done it to hundreds of infants.
The murder trial is also loaded with compelling, newsworthy moments. So why, asks documentary filmmaker Phelim McAleer, is the mainstream media largely ignoring it?
… all TV serial killers seem to collect mementos from their victims. In reality those who take trophies often take scarves, driver’s licenses, or pieces of jewelry.
But it seems that Dr. Kermit Gosnell collected babies’ hands and feet. And he kept them in jars in the kitchen of his clinic. And the jars were transparent. So when you reached up for the coffee as you heated up your panini during lunch, you would have to brush past around 20 jars with the tiny severed hands and feet stored there.
Ms Baldwin would ask Dr. Gosnell about the jars. He told her they were for research, but she never saw any researchers collect them.
I could go on and on and on. And I only spent a few days at the trial. Every minute seemed to throw up new horrors….
But the case also has a sense of unreality because there has been almost no media coverage of the evidence. There has been almost no analysis or comment regarding a man and his staff who may have taken part in one of the largest mass murders in American history. I find myself questioning my notes because there are almost no other reports verifying what I am now writing. It seems that if a mass murder occurs and no one reports on it it starts to appear as if it never really happened.
Ed Morrissey covers the debate over the media coverage and non-coverage here.
