Friday, January 10, 2014

Secret KGB alien civilizations project

which 1's   r the ass probers ! 
Secret KGB alien civilizations project

According information the Russians have known about alien civilizations for several decades, to many this comes as no surprise, there have been rumors floating around for many years. The first Russian contact with grey aliens allegedly took place in 1942. At that time, a series of diplomatic visits to discuss matters of mutual concern were planned, according to alleged Russian documents and a treaty was made.

According to the document 072 / E, at the meeting of 1961 there was an incident involving 3 subjects due to the violation of the agreement by the officers at the military base when they discovered that their arrival was filmed with a hidden device without their consent.
Under the treaty 23/04, the meetings would be confidential and filming or taking photographs would not be allowed.

shocking video of alien autopsy in Russia in 1969 UFO OVNI. (autpsia a alien en rusia en 1969)

In 1969 in the state of Sverdlovsky, a UFO was reported to have crashed. It is alleged that a UFO crashed, and was recovered by the Russian military. Video film is shown of the recovery, with close-ups of the UFO itself. There was one dead alien found in the craft. The remains of the alien and the UFO debris was taken to a secure Russian site, where the saucer was analyzed, and an autopsy was done on the alien.
Photo of the crashed craft that brought the small alien to Russia. The reputed event was broadcast on a TNT special, “The Secret UFO Files of the KGB.” The show was hosted by former James Bond movie star Roger Moore. Compelling video and photographic evidence were shown to support the event.
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According to Pravda, the KGB has allegedly had a special unit designed to gather and monitor all pieces of information regarding mystical and unexplained phenomena reported inside and outside the Soviet Union.
Also according to Pravda, a photocopy of the order shown in the TNT documentary by the Soviet defense minister looks authentic too. Pursuant to the order, General A. G. Ponomarnko, head commander of the Urals military district, was to ensure that KGB agents be involved in the work pertaining to the UFO at all stages. The agents’ reports were promptly forwarded to Colonel A. I. Grigoriev, chief of the KGB scientific department.
According Billy J Booth on About.com there are unsubstantiated reports that a UFO crashed or was shot down near the city of Prohlandnyi, in the USSR at on August 10, 1989. Soviet military radar tracked an unidentified flying object and the Russian attempted unsuccessfully to contact the craft.. The UFO was classified as “hostile.” Soviet defenses were alerted, and MIG-25s flew to find and identify the UFO.
There was obvious damage to the exterior of the craft. The retrieval team, wearing protective outer wear, moved to the site. There was a small amount of radiation, and some members of the team were effected.
A helicopter on the scene was hooked up to the craft, and the UFO was transported to Mozdok Air Base.
Russians entered the the UFO and discovered three alien bodies-two dead, one barely alive.
A team of doctors and other medical personnel made every effort to keep the alien alive, but failed. All three of the beings were about 3 1/2 to 4 feet tall, with gray outer wear. Underneath, their skin was a blue-green color with a reptilian texture. They had no hair, large black eyes covered with a protective lid, and web fingers ended their long, slender arms. The alien bodies were being kept in glass containers and UFO was taken to Kapustin Yar. This information was first reported by three Russian investigators-Anton Anfalov, Lenura Azizova and Alexander Mosolov who had no documentation to support their story.

GMO labeling to be outlawed? Grocery Manufacturers Association unveils deviously evil plan to silence us all

naturalnews.comfood

Originally published January 10 201

by Mike Adams, the Health Ranger, NaturalNews Editor

(NaturalNews) The Grocery Manufacturers Association (GMA) is scheming to criminalize state-by-state GMO labeling laws in a deviously evil effort to keep consumers ignorant of what they're eating. Remember, the GMA is the same organization that got caught running an illegal money laundering scheme in Washington state, secretly funneling money from big food manufacturers into a campaign to defeat GMO labeling initiative I-522.

Now the GMA is pushing legislation at the federal level to not only outlaw GMO labeling laws at the state level, but also to get the FDA to declare GMOs as "natural" so that foods made with GMOs can claim "all natural" on their labels. A petition filed with the FDA by the GMA states, "GMA will be filing a Citizen Petition early in 2014 that asks the FDA to issue a regulation authorizing foods containing ingredients derived from biotechnology to be labeled 'natural.'" (SOURCE)

"Monsanto and giant food companies are scheming behind the scenes to introduce a bill in Congress that would kill mandatory state GMO labeling efforts and replace it with a gutted version of a bill to preempt states' rights and give the illusion of serious regulation," reports Food Democracy Now, which also calls the plan "devious" in nature.

How evil can they get?

With these anti-transparency, anti-consumer, anti-American actions, the GMA now firmly puts itself in the same evil camp as Monsanto itself. Because the right to know what we are eating is a fundamental human right, the GMA's actions clearly define it as an anti-human rights group. In the history of human rights violations, we've seen a long list of evil efforts to silence certain groups of people and keep them ignorant: Women were denied the right to vote, slaves were denied the right to "personhood," and in the Holocaust, Jews were denied the right to life itself. Now the GMA joins that haunting history of human rights violators by insidious working to deny all people the right to know what they are eating.

The GMA solely represents the profit interests of dishonest, deceptive food manufacturers who sell toxic poisons, not the interests of food consumers, and it has a long established history of using deceptive tactics to make sure its members can continue to hide their toxic poisons in their food products.

The GMA is, in essence, a "pro-poison" industry group that wants consumers to unknowingly eat more poisons in their food. The GMA should not merely be ashamed of itself; it should be publicly exposed as an evil food industry group whose actions, if successful, may result in hundreds of millions of Americans being harmed by unknowingly eating unlabeled poisons in their food.

Your help is needed to stop this group from achieving its truly evil aims in Washington. Here's what you can do to help:

Actions items to defeat the evil GMA

Sign this petition at Food Democracy Now:
http://action.fooddemocracynow.org/sign/stop...

Share this story at the Center For Food Safety:
http://www.centerforfoodsafety.org/press-rel...

Share this story right here on Natural News:
http://www.naturalnews.com/043469_GMA_GMO_la...

Tweet this story, Facebook it, email it, share in whatever way you can. The GMA needs to be halted by a barrage of active consumers who rise up and shout, "ENOUGH! We demand to know whether the products we buy contain GMOs!"

After all, the right to know what we eat is a fundamental human right. Don't let the anti-human rights "GMA" group keep you in the dark over what you're eating. We must not let evil prevail in this fight for food transparency!

BTW, Natural News Labs is the only organization in the world now testing and openly publishing heavy metals test results for foods made by the members of the GMA. To see those results right now, visit: http://labs.naturalnews.com

Sources for this story include

http://www.centerforfoodsafety.org/files/201...
https://www.politicopro.com/story/agriculture/?id=29...
http://www.centerforfoodsafety.org/press-rel...
http://action.fooddemocracynow.org/sign/stop...
Kevin Costner in Paramount Pictures's 'Jack Ryan: Shadow Recruit'.In October of 2012, our visit to Kenneth Branagh's "Jack Ryan: Shadow Recruit" set started off cold and rainy, like most late fall days in London-town.
But a funny thing happened just before Kevin Costner showed up — on his day off no-less — to speak with Yahoo Movies and a select group of journalists about playing William Harper, Ryan's CIA handler in the Jan. 17 thriller: glorious sunshine peered down from the heavens.
Looking every bit the part of movie star, Costner rolled in and proceeded to raise the bar on what a set visit interview could be.
Some 35-minutes later, after twice shooing off the unit publicist's declaration that Mr. Costner's time was up, the 58-year-old movie star rose up from the round table and sauntered off into another fleeting pocket of sunlight.
And the group of veteran journalists agreed: That. Was. Awesome.
As it took place more than a year ago, this interview was one of our first indications that Costner has a lot more fuel in the movie-making tank. Indeed, we are currently in the midst of a Costner comeback, what with last summer's "Man of Steel" and five — count 'em, five — films slated to open this year: "Jack Ryan," "Draft Day," "3 Days to Kill," "Black and White," and "McFarland."
The interview below gives a revealing glimpse inside the shrewd and calculated move-making that led to Costner's rise and precipitated his comeback ("Waterworld" is not addressed). And it reminds us of just how happy we are to have him back.
[As Costner sits down, someone notes that the sun finally came out just in time for his arrival:]
Kevin Costner: I tell ya, that’s one of the things, there’s like universal things with people, even like a d--- in life, even a really bad guy, I always think that even a bad guy recognizes a good idea, they know it when they hear it, you know what I mean? A good idea is something like an emotion, you just can’t keep it in. “Mmm, that’s a good idea, I really like that!” And the guy who hates it, like the politician, goes, “That’s a really good idea. What am I gonna do about that? Find out who he’s sleeping with?"
So what got you on the road to join the Jack Ryan family?
KC: I don’t really know what is going to happen with this thing. I have a tendency to make one movie at a time, I always have. I wanted to work with Kenneth, I wasn’t thinking far down the road because you never know, about the time you get caught doing that, the franchise doesn’t work out or something like that. I tend to do one at a time and see if people like it, that’s really what you have to do. I think it’s okay to look — I think that’s what executives do, they look down the line, and I think you need to keep your eye on the ball and see what that can be.
You’ve been offered Jack Ryan…
KC: There’s a couple things. I might have been offered “Superman” 25 years ago, not that I was! But you can tell 25 years have passed because then they offer you Superman’s dad. I was offered the Jack Ryan series back in the very beginning, and I couldn’t do it. I think it was “Hunt for Red October” was the first one. I couldn’t do it because I had already postponed “Dances With Wolves” for one year, and now I had a chance to do this “Red October” but I had already assembled this crew and I’d put my money into it, and then they offer me really a lot of money, more than I had ever seen to do “Hunt for Red October,” and I said, “You know, ‘No’ doesn’t mean more, it’s just no.” And it was like oh, that silly little Indian movie. And then I started to think it was this silly little Indian movie! But I went off and did that, and then never caught back up with the thing. It seemed like different people played Jack Ryan or something like that. I think Jack Ryan passed me. I have to be the guy who says, “You better hurry up, I mean it, she’s right behind you!”
When you signed on for this film, and maybe we’re wrong, we were discussing this before you sat down, that the idea was for the character you’re playing to be involved in these other movies [More Jack Ryan films or perhaps John Clark films]. Can you explain that?
KC: I’ve heard that. I really, sincerely did not go into that. Call it superstition, call it whatever you want, I have not sat down with anyone and gone, “How is this going to work? How would this work?” I’ve really tried to support Chris Pine in this one the very best that I can, I’m a bit of his handler, you know, you could use the word mentor, you could use whatever it is. As you know, he doesn’t start off carrying a gun, he’s a financial guy who has military experience, military background. And the deeper it goes, he has to come up with the right movie stuff, so to speak, the guy who can defend himself, and stuff like that. I think the idea is that there would be several agents under his purview that he is able to manage. And when I say, “I think,” that’s sincerely what I mean, I haven’t really talked to anybody about how that would play out. The part would have to continue to get more interesting and more interesting, more involved, more pro-active if you will.
Producer Lorenzo di Bonaventura definitely downplayed the idea of you being a behind-the-desk mentor, he said you’re very physical in the field. Is that accurate?
KC: You know, some guys are born for management, and some guys can straddle it, can go back and forth. Some guys were never meant to be out in the field at all. And I think he’s a person that can straddle, that can go in and sometimes there’s places where you just have get information, you have to know how to do it. I think that he straddles that line.
Would your character be sort of what Jack Ryan becomes or are you a totally different beast? Will he become more like your character as the series progresses?
KC: I don’t know. I don’t know how Chris’s character will evolve. The hope is that he’ll be involved in a good story that’s exciting and that maybe you can relate your life to whatever circumstances they put in front of us.
How much do you have the Clancy books in your head when you’re playing a role like this?
KC: I don’t have the Clancy books in my head. I have the script in my head. You know, I could say it four different ways but I really have not invested yet in what would come after this. I have some things I would like to direct, I have more cowboy movies I’d like to make some day. I spent the last five years really writing a lot and acquiring material. I have three babies under five and so I’m going to start to work right now, I haven’t worked that much. I’m coming out with “Hatfields” and “Superman” and now I’m going to start working a little bit. I’m going to Paris after this and work and then hopefully I’ll be directing this summer something that I’ve written.
A lot of times with these franchise-type movies, the studio asks you to sign like a three-picture deal or a five-picture deal. I would imagine they asked you to sign something like that to be involved. Were you a little apprehensive about signing something that was for multiple pictures, or did you not do that?
KC: Well, really, I think that the second one depends on the first one, so I’m not really that apprehensive. I think they’re not going to want to make one if it’s not good, and I’m not going to want to make a second one if the first one’s not good. So I won’t be tied to something that’s not working, that won’t happen. If it’s not working, why would any of us want to do it?
Kevin Costner and Kenneth Branagh on the set of Paramount Pictures's 'Jack Ryan: Shadow Recuit.'
Working with Kenneth was one of the attractions, you said?
KC: It is! It’s really good, he’s very thoughtful. He makes a point like a coach sometimes. Maybe even if you’re not very good he says, “You were really good!” as opposed to directors who just go, “Jesus!” And you walk home and think, “Aren’t you going to say something about today?” You know, Kenneth makes a real point to say, “It was good,” he writes you a little note. It’s nice, actually, it’s kind of thoughtful if you get down to it. He’ll say, “It was very smart today, it had a good crackle to it,” or something like that. And I look at him and I’m thinking, “Really?” I just love that he’s that way, and I like a director who’s enthused, and then when he turns around and looks at somebody he says, “I’m going to have to fix it with a scissors.”
You have something in common with him in that you’re both actor/directors who have done movies where you’re also acting. As a director he kind of shies away from acting in his own movies but he’s doing that again. Have you had scenes with him so far?
KC: No, no, and I won’t, either. I mean, we met each other when we were both very young, when he had just had his big success with…um, him and Emma when they did that big movie, it’s slipping my mind for a second. He came to Los Angeles, I had him over to my house, and so we’ve been very familiar with each other but not pen pals, not phone calls or anything like that. He asked me two or three years later to do “Dead Man” something, Andy Garcia ended up doing it actually. I said at that point that it didn’t speak to me at all, I didn’t think so. But I’ve always been fond of watching what he’s up to because he’s really a classic actor and that was probably the single biggest reason why I did this.
So did this film speak to you more than that film?
KC: Actually, not really, it was Kenneth! I thought he has his mind on how this is going to work so I thought well, let’s just see.
You mentioned that you sort of took some time away and didn’t act as much and now you’re getting back into that world. What sort of roles are attracting you, what sort of things are drawing your attention now?
KC: Well, I’ve submitted a lot of things during that same time, but I tell you the roles that I’m really attracted to are the ones that I write for myself and develop. Once in a while something that somebody else does, you know, will speak out loud to you. Luc Besson has a movie that I’m going to go do called “Three Days to Kill.” I don’t know why we call it “Three Days to Kill” because it’s not three days to kill! I’m going to talk to him about that! That character really speaks out loud to me so I really want to do that.
I would really like to get back to the things that I’ve developed because I kind of know how they are, I know when they start and when they end and I know all the scenes that I like and I’m not making up any pages on the day. I’m pretty anal about my own approach. I don’t start a movie until the script is done and completed, I don’t leave room for pages to start changing, for studios to start sliding notes under the door, whatever, I really like to know what I’m doing. I like to rehearse, and so even the movies that I do I carve out almost a week and a half to two weeks for rehearsal, which is really not part of the budgets anymore these days. But I like my actors to do that because I don’t like to rehearse on the day, because I think all that is is blocking to me, I really like them to be comfortable, and I like to put them under pressure early so that when the day comes they’re more at ease. So on the day of rehearsal they say, “Well I’m not really ready.” And I say, “Well, you should be ready!” And then they drive home that night and go, “Oh, s---, I wasn’t ready!” But what happens is that three or four days or a week later, they’re really ready. So that really is the process of acting is rehearsal and somewhere along the line film, I think for the most part, doesn’t feel like they have to do that. People do not value that process anymore.
Is your relationship with Chris Pine like your relationship in the film, as a kind of mentor?
KC: Yeah, but he doesn’t lean over to me and ask for advice. He’ll want to lean over and ask about someone like Gene Hackman or something. “Have you met him?” So those will be the kind of sidebars just before we’re acting and I’ll think, “Hmm, I’m glad he wants to know about who these people are.” You knew him, you met him, you’ve worked with him, and then maybe a little story will come out. I can see that he appreciates the history of movies and the people in them.
Having been in that role yourself, the role he’s in now, do you prefer being the support, not having as much of the weight on your shoulders?
KC: Well, it’s nice in a sense, but I like to take people through a story so I don’t — you know, it’s nice to have days off, to see the sun come out! But I will continue to be leads. But I’m not afraid to play a supporting part, I don’t feel like that diminishes me, I don’t feel like “Oh, that’s a sign of the times now,” you know what I mean? I still get the girl! If it’s written!
Where has most of your filming been? Have you been shooting mostly in the New York scenes or the offices?
Kevin Costner in Summit Entertainment's 'Draft Day.'KC: We were in New York a minimal amount of time, two or three days, and then we came and shot here in London. I mean, I did a movie here called “Upside of Anger” and that movie is flat-out supposed to be shot in Detroit. There was only one shot of the Detroit skyline and we never went there. We did it all here, so London has proved pretty resourceful.
Have you been able to have creative input on your character?
KC: Yeah, and because I’ve made movies, I have to understand that this is not the William Harper movie, this is the Jack Ryan movie, so…
[The publicist interrupts to say it's time for Mr. Costner to leave]
KC: I came a long way to talk to these people. Were you saying one more question? No, we can talk a little more!
You have to understand what you’re doing. That’s what this is and that’s being set-up. If we think a couple of lines explains this better, Kenneth has allowed that input and he knows that I’ve stayed inside the lines of the movie that he wants to make, so there have been little moments. There’s going to be that, especially if there’s no rehearsal, because if you don’t have rehearsals, you haven’t tested the movie in a way. As an actor, you haven’t tested it. So, when somebody says to you, ‘here’s the script’ and you go, ‘I think it needs a couple of things here’ - you either have somebody who is willing to hear that or not willing to hear that.
A lot of times you’ve done your work with a script, like when I do my work with a script - if I’m doing "Open Range," I can hear Annette Bening talking. I know as an actress she can get from here to here with those lines, and if she can’t then I’m going to make the lines so she can. So, when Annette Bening gets a script she’s not telling me she can’t get there. I already know she can’t get there - you know what I mean? If Duvall’s there, I already know he can’t make that thing unless we do this thing. So, I try and sand the script before the actors get there because actors are usually panicked. They’re going, "Isn’t this the Tom Harper story?" Or, "Isn’t this Catherine Muller story?" Actors all think that it’s their story and you go, "No, this is the story. This is how you fit, this is how you succeed." So, it’s important with the small parts that there’s a moment that their mom’s going to like them in the role.
With "Hatfields and McCoys" you guys took an apparently major risk that paid-off in a big way and it proved to people that something they said couldn't be done actually could be done. Has this opened any doors for things that people were skeptical about?
KC: Oh yeah. We’re a whole business of perception. Now that that suddenly works, we can all do it. There was no risk in doing "Hatfields and McCoys." The risk was when I told them that I would not do it unless they did the whole story. What it was going to be was two nights, and that wasn’t the story. I could tell in my mind it was three nights — it was six hours, five and a half — whatever it is. And so, if I was going to be involved then they were going to have to do that. That forced them out of the conventions that they seem to think works, which is two nights. This was like, "Whoooaaa!" They don’t work anymore. They haven’t worked since Roots! They didn’t really say that, I thought, "Gee, isn’t this the story that you want the other actors to do?" I said, "I can look at this and you can’t get it into two nights."
So, the risk for me was to do something which would have fallen into conventional wisdom. I didn’t want to have the fight later, I had it right then, sitting right as close as you are to me, with the head of that channel. I said, "I’ll do this if you promise to do the whole story. Now, I’m not making you do that, but I’m not doing it unless that. So what do you want to do?" We made our agreement across the table and she lived up to it. That doesn’t make me a genius, that only makes me certain of what I believe is a complete story. I was certain that if they made it two nights that would have been the risk. The risk was thinking you have a great story, then figuring out what you are going to lose. That’s the risk. You know, there’s a lot of actors in this town that were in that movie that would have not made the final cut.
I’m curious about your process as an actor and as a director. Some people prefer two takes, the way Clint Eastwood does it, while some people prefer 50 takes like David Fincher. As an actor I’m curious what you prefer, and as a director I’m curious what you prefer?
KC: David does 50 takes?
Nearly 90.
KC: Of a scene?
He did 100 takes of the opening of "The Social Network."
KC: Which one?
Social Network.
KC: He did?
Or 99 takes.
KC: That’s Kubrick. That’s Kubrick. He’s a very talented guy. You know, I go until I think I have it.
As an actor or as a director?
KC: As a director. As an actor you have to throw yourself on. Somebody goes, "I’ve got it," so if it was two takes then, or three takes then, and they want to move on, it doesn’t matter if I think that we’ve got it. I have to trust them, or I fight for one more. When I’m directing, I’m calling the shots. I have a tendency to short-change myself. I don’t short-change other actors, but I have a tendency, when I’m directing myself to go, "Okay, I got it." And once in a while somebody close to me will go, "Why don’t you do another take? Why are you rushing yourself? Cause you’re always rushing to help the other actors and then you go, "I’ve got it." So, no Kevin take some time with your performance. Just take some more time. You know what? It’s good advice.
I’ve seen takes where the camera is back here and I’m talking to you, the actor and I’m thinking, it’s good, good, good, and I finally look back at the dailies and I go, why the f--- am I going "that’s good"? Somebody tells me I’m on camera. So that really good take’s not good anymore? And they go, "Yeah."
It’s true though. Do you guys have children?
[He gets one affirmative response.]
KC: What the f---? I have seven, okay? If you ever have a child sometimes you go to their little school, or maybe you’ve had the experience with your own parents. When they’re singing a song and you go, "Rudolph the Red Nose Reindeer," like we practiced at home. You’re helping them. You do that as a director — you love your actors — you want them to be great. I’m watching Michael Gambon and he is great and I’m thinking, "I can’t direct this f---er. He’s good! He’s just really good. Like a Cadillac, how did he just get in there. He just got out of there." He’s really good and you’re just thinking, "I’ve just directed Michael!"
You’ve been talking about having more westerns in you. What is it about the genre which keeps you coming back for more?
Kevin Costner in Relativity Media's '3 Days to Kill'.KC: You could say the same thing about people who do space, or do CIA movies: it’s like, don’t put me in a box. I like to visit it because when they’re done right, I think they’re really beautiful pieces of film. They highlight how difficult it was for your ancestors who found their way to America to make a life for themselves.
If you do them really right, you actually create these really interesting dilemmas where you go, "Whoa! I don’t know if I was that tough." I’m not talking about Spaghetti Westerns where you kill a lot of people — and people like those — I’m talking about one that orchestrates it down to how do you protect your wife from two or three guys who say they want water, but might take whatever they want. The west was very scary. This town is like one of our ancient civilizations, but in terms of modern, America had nothing until 200 years ago. And the s--- we built 200 years ago, we don’t even have. It got replaced by modern stuff. It was like the Garden of Eden there for 800 years.
Their stories are of people who made their way out west, had to wait for seven, eight days for just the buffalo to pass in front of them, because we’re talking about over a million. They were afraid, so the wagon train just waited. You don’t conceive of that, you can’t conceive of that, and that’s real. If you make a really good western, it’s not just about the shoot-out, it’s not. It’s about, "How did I get in such a bad spot here? How did it come down to me against these guys?" If you do it thoughtfully, it’s our Shakespeare. If you do it crappy, it sets the genre back.
I like to revisit it, I hope when I do it each time I’m advancing it in some way. I just like it; I like the idea of a guy, who all the possessions he owns are on his back. There’s something kind of cool about that. Look at the s--- we have. Some guy, just free to go wherever he wants and makes up his own life.
Franchises are becoming better at trying to work character beats into stories, it’s not just about the action. It sounds like that is what you guys are trying to do here.
KC: There’s actually a big difference between story and character. A great story doesn’t make a great movie. A great script, which defines its moments and characters can become a great movie. You can make a movie that makes a lot of money and it may or may not have great story or great characters. Sometimes they succeed in spite of the building blocks of storytelling.
You’ve always taken risks, when you could have made "The Bodyguard 2" or "Robin Hood 2." What is it that keeps you wanting to move forward and try different things?
KC: I always feel like I’m done with those movies. They stood a chance to get remade. I missed the era of remaking all those. I think that frustrated people: That I wouldn’t go ahead and do that. I did however, on "The Bodyguard." I was going to make that for a moment. Princess Diana was being really considered for that part. You know, people have asked me to make "Tin Cup," "Bull Durham," "Dances," you know those things. I was just always interested in what I could do next. I would have made any one of those had the script been really good. So I’m not above the idea.
Is it just really tough getting the script in place?
KC: For me the guys writing those are one-off guys too. Lawrence Kasdan, Ron Shelton, they move on in their lives. They’re very individual. It’s clearly the smart move to create something like this or that. I get that it’s a very good career move to do that.
Do you notice any difference between working with British actors or American actors? Is there a different process?
KC: Here’s the thing: The accent is cool. I know that sounds like what it is. It’s like a girl with big breasts: They get your attention first. I remember really early on in acting class and I saw a couple of British actors who were beginning too. They were beginners and they just thought that they would like to do this and they would read the same scene as other beginning actors, but the accent was hypnotic. They weren’t better actors, but easier to listen to. They sounded more elegant. I thought, "F---, he’s really good. Is it his accent, or what is it?’
Every British actor I’ve worked with has been very disciplined. I think they understand the notion of rehearsal, actually appreciate it more appropriately, a little more than American actors do. I think it’s probably because of their training. That’s a general statement. I know American actors who like rehearsal the way I do, but all in all people are like, "Hey, just tell me where to stand." You go, "Really? Right out there it’s about 40 degrees. When you come back in you should know your lines."

Top Ten Reasons: Sandy Hook Was an Elaborate Hoax http://memoryholeblog.com/2014/01/10/top-ten-reasons-sandy-hook-was-an-elaborate-hoax/

by Vivian Lee, Sofia Smallstorm, James Tracy, Jim Fetzer and the Sandy Hook Research Group
“[T]he names and ‘contextually identifying information of involved children’ were withheld, including descriptions of the children, their clothing and their belongings”–Reuben F. Bradford, Commissioner, Department of Emergency Services and Public Protection
Everyone must check inThe New York Times, our nation’s newspaper of record (which records the “official history” of the United States), has reported that, with its “final report,” the criminal investigation of Sandy Hook by the State of Connecticut is over. 
Remarkably, the report does not even include the names, the ages or the sex of the alleged victims of the shooting. There is no actual identification of any of the dead. Even the Danbury, CT, Newstimes found it unsatisfying.

Even the 52 “autopsy photos” that accompany the report are redacted. The Times itself appears to be responsible for a stunning display of journalistic incompetence on a matter of enormous public concern. 
Anyone with the inclination can comb through hundreds of years of American crime reports and will not find an instance in the which the names, the ages or the sex of the victims is not given–with the exception of victims of sex crimes.  Withholding this information is part of a pattern of deception and deceit that extends to the Clerk of Newtown making secret arrangements with the state legislature to avoid releasing death certificates to the public, attempts to withhold the 911 calls and gag orders imposed upon those responsible for tearing down the building itself:
In a letter accompanying the report, Reuben F. Bradford, the commissioner of the state’s Department of Emergency Services and Public Protection, said the names and “contextually identifying information of involved children” were withheld, including descriptions of the children, their clothing and their belongings. “All visual images depicting the deceased have been withheld,” he added, “as well as written descriptions whose disclosure would be highly offensive to a reasonable person and would violate the constitutional rights of the families.”
The commissioner said that balancing the “often competing interests of government transparency and individual privacy has been difficult,” but the situation is completely absurd.  This appears to be only the latest in a series of obscene measures being adopted to conceal from the public that the Sandy Hook “massacre” was in fact an elaborately staged hoax, which no one who takes a serious look at the evidence can reasonably deny because, in view of what we have now proven about the event, no alternative explanation is reasonable.
The basic principle that applies here is inference to the best explanation. Consider the totality of the evidence in this case.  Is the evidence more probable on the hypothesis that Sandy Hook was a real event or that it was instead an exercise (or a “drill”) , which was presented as though it had been a real event?  The hypothesis that confers the highest probability on the evidence is the preferable, which, when the evidence has “settled down,” is acceptable as true in the tentative and fallible fashion of science. Here are the “top ten” reasons that support the conclusion that Sandy Hook was staged and not real, where no children or adults appear to have died there.

1. Proof of death has been suppressed

UntitledTwenty-eight people allegedly died: 27 children and adults, including Adam Lanza,  at the school, and his mother, Nancy Lanza, in her home at 36 Yogananda Street, Newtown. However, there is no direct proof of their death: no photographic evidence or video footage was released to confirm the official story that these 28 persons actually died. In fact, no video surveillance footage shows anything—not even Adam shooting out the front plate-glass window or walking through the halls like Rambo, even though this is a school that had updated its security system at the start of the 2012-13 academic year.
The best the authorities could come up with was a heavily redacted report that includes numerous photos of the inside of the school, with a few dings that look like bullet holes, several bullets on the floor, and many black images with white numbers, which we are supposed to associate with dead people. One photo (left) shows the blown-out glass window through which Adam Lanza presumably entered the premises. But how did he get past the furniture, with all his weaponry, without moving anything out of position?
Compounding the situation, the parents were not even allowed to view their children’s bodies to identify them. Instead, they were reportedly shown photographs of the deceased. This was done, according to the Medical Examiner, Wayne Carver, in order to “control the situation.” But what was there about the situation that required “control”? No parent of our acquaintance would have agreed to accept the death of a child without viewing the body. James Tracy has published a discussion of the medical examiner’s performance.  According to Carver:
Uh, we did not bring the bodies and the families into contact. We took pictures of them, uhm, of their facial features. We have, uh, uh—it’s easier on the families when you do that. Un, there is, uh, a time and place for the up close and personal in the grieving process, but to accomplish this we thought it would be best to do it this way and, uh, you can sort of, uh … You can control a situation depending on the photographer, and I have very good photographers. Uh, but uh—
Remarkably, the state has done its best to avoid releasing the death certificates and even recordings of the 911 calls. Death certificates were eventually “released” but not to the public or those who might want to investigate the case further, where only a short, general summary was available. According to The New York Times, in relation to the 911 calls, “no children are identified by name, no callers indicate that they can see a child being shot, and the only injury described is that of an educator’s being shot in the foot.”
Moreover, the funerals were all “closed casket,” with one exception—that of Noah Pozner. As recounted in interviews with the families, the circumstances of their last encounters with their children (or with their caskets) are strange to say the least. The “love fest” at the white coffin of Grace McDonnell was detailed on CNN for Anderson Cooper:
Veronique Pozner gave her account of her last look at her son Noah to the Jewish Daily Forward on 26 December 2013.
Veronique asked the medical examiners not to autopsy her son; she felt that his body had suffered too many indignities. At his funeral, Noah was dressed in a suit and tie. A Jewish friend of Veronique’s at work enjoined Rabbi Praver to allow him to be wrapped in a blue tallis, even though he had not yet had a bar mitzvah.The family placed stuffed animals, a blanket and letters to Noah into the casket. Lastly, Veronique put a clear plastic rock with a white angel inside — an “angel stone” — in his right hand. She asked the funeral director to place an identical one in his left, which was badly mangled.
Just before the ceremony, Connecticut Governor Dannel Malloy came to the funeral home to pay his respects. Veronique took him by the arm and brought him to the casket. Noah’s famously long eyelashes — which she spoke about in her eulogy — rested lightly on his cheeks and a cloth covered the place where the lower half of his face had been. “I just needed it to be real for [the governor],” she says. “This was a live, warm, energetic little boy whose life was snuffed out in a fraction of a second because our schools are so defenseless.”

2. Emergency protocols were not followed

There is no evidence of any frantic effort to save lives or to remove bodies to hospitals; instead the scene outside the school looked calm and largely bloodless—with police and other personnel milling around casually and a severe shortage of dead or injured victims. One Sandy Hook researcher decided to call Lt. Paul Vance to ask who cleaned up the blood, which would have been considered to be a bio-hazard, and got the reply, “What blood?” Here is Jim Fetzer’s interview with Kelley from Tulsa on “The Real Deal” where she discusses this, which also includes several of the 911 calls.
Kelley was onto a real issue. Under the CT Medical Waste Tracking Act of 1988, a paper trail must kept by all parties involved in the clean up and must be tracked all the way to the incinerator with names and dates.
In a Mass Casualty Incident (MCI) like Sandy Hook, the proper protocol is START triage (Simple Triage and Rapid Treatment) using tarps of different colors with the aim being to save lives and get the injured to the hospital for treatment.  Not even the black tarps for the dead were used, much less the red ones for those who needed immediate treatment.  As Sofia Smallstorm has documented, nothing at all like this occurred at Sandy Hook: the appropriate protocols were not followed:
Sandy Hook Fire Chief Bill Halstead was ready to help the victims but could recall only two wounded people. A few survivors were reportedly taken to the hospital, but, oddly, these people were never interviewed. There were no first-hand accounts that proved anyone was killed or injured. Nonetheless, according to Lt. Vance, 18 children were pronounced dead at the scene, two children were removed to “an area hospital” and were pronounced dead at the hospital, and seven adults were pronounced dead at the scene, including the shooter (NBC).
No emergency vehicles were present at the school or even lined up in the fire lane for a rescue attempt—the parking lot was filled with parked cars, police cars and possibly media vehicles. Such rescue activity as occurred was centered, not on the school premises, but at the nearby Firehouse. Emergency vehicles at the Firehouse were jammed together impeding access to the school, in case anyone might have thought about attempting a rescue. The scene at the Firehouse was quite peculiar, with people milling around and circling through the building, walking out one door and into another, to give the impression of lots of people and lots of action:

3. Drill protocols were followed instead

We are now living in a security state, and the school system is among its beneficiaries. While we used to have “fire drills” from time to time, we now have “lockdown drills” implemented by school districts, with some states requiring a set number of drills by law. Private security firms, which operate for profit, now conduct “crisis preparedness assessments” at the tax-payer’s expense.
Larger scenarios are also developed as active-shooter drills, in which local law enforcement can take part in storming a school in pursuit of an active-actor-shooter. One such plan available on the web is “Operation Closed Campus” developed in Iowa following guidance set forth by the Homeland Security Exercise and Evaluation Program (HSEEP) of the US Department of Homeland Security.
According to protocol, everyone at the drill must check in, identification badges are issued to personnel and observers, and drinking water and restrooms are available. Personnel include the director, staff, controllers, evaluators, actors, media personnel and “players” (agency employees) both in uniforms and civilian clothes. This protocol appears to have been followed at Sandy Hook, where many participants wore ID/identification badges on lanyards, a huge check-in sign is visible and even Porta Potties are at the ready.
An emergency preparedness drill took place on 14 December 2012, 9 AM to 4 PM/ET, in Bridgeport, CT, which is a 20 minute drive from Sandy Hook. The course was run by the Connecticut Department of Emergency Services and Public Protection/Emergency Management and Homeland Security, entitled “Planning for the Needs of Children in Disasters.”
The Sandy Hook “shooting” appears to have been an Integrated Capstone Event (ICE), an exercise run by FEMA to coordinate federal, state and local emergency response teams in the case of a mass-casualty event. As such, it would have utilized actors and media partners to simulate a tragedy in order to train participants, and also in order to observe the reaction of the citizenry.

4. There was foreknowledge of the event

The Connecticut state emergency system was taken over long before the “massacre” occurred, with a frequency change implemented five hours in advance of the “shooting.” Normal police and EMS dispatch protocol, using the Alpha Phonetic System for communications between officers and dispatchers, was replaced with staged transmissions by non-trained personnel. 
In addition, tweets about the shooting began before it occurred, a tribute was apparently uploaded one month before the event, and web pages honoring the victims, including a Facebook page R.I.P. Victoria Soto, were established before they had “officially” died. 
A Sandy Hook timeline has been reconstructed at memoryholeblog.com, detailing major developments and highlighting the numerous inconsistencies in reports by the media.

5. There were contradictory reports about the weapons

According to initial reports in the media, weapons used in the shooting included four handguns recovered at the scene, the only guns taken into the school (NBC). Then an AR-15 was said to have been found in the trunk of Lanza’s car (NBC). Then it was reported that Lanza may have carried only two handguns and that a rifle was also found in the school (NBC).
Dr. Carver's bizarre presss conference
Wayne Carver, the Medical Examiner, said that all the victims were shot with the “long weapon.” Lt. Paul Vance then said that a Bushmaster AR-15 assault weapon with high capacity magazines was used “most of the time” and that Lanza was carrying “many high-capacity clips” for the weapon (Huffington Post).
In January 2013, Connecticut state police released a statement indicating that they had found four guns inside the school: a Bushmaster .223 caliber XM 15-E2S semi-automatic rifle with high capacity 30 round clips, a Glock 10-mm handgun and a Sig-Sauer P226 9mm handgun. They said they also found an Izhmash Canta-12 12-gauge shotgun in Lanza’s car (NBC).
This shotgun is also shown in a video aired on the night of 14 December 2013  by NBC. An evidence collection team and a policeman find the gun in the trunk of Lanza’s Honda Civic—the policeman handles the gun without gloves and ejects the ammunition on the spot. Some have seen two long guns in the trunk in the NBC video: the 12-gauge shotgun and the Bushmaster rifle.
Lt. Vance then asserted that Lanza had killed all his victims with the .223-caliber semi-automatic rifle (ctpost.com). Regarding the confusion, Vance told reporters, “It’s all these conspiracy theorists that are trying to mucky up the waters.” Perhaps “The Top Prize for Fantastical Reporting” goes to Fox News, however, which announced that a 12-gauge shotgun along with two magazines containing 70 rounds of Winchester 12-gauge shotgun rounds had been found in the glove compartment of Adam Lanza’s Honda Civicthat’s right, in the glove compartment.

6. Adam Lanza cannot have done the shooting

Adam Lanza, reportedly a frail young man weighing 120 pounds with Asperger’s Syndrome, is said to have carried massive weaponry on his person when he shot his way into the Sandy Hook school and proceeded to kill 26 people and then himself. This after he supposedly killed his mother before driving to the school.
Adam Lanza
According to State’s Attorney Stephen Sedensky, Lanza killed his 26 victims with the Bushmaster .223-caliber rifle and then killed himself with his Glock 10-mm handgun. Lanza was also supposedly carrying three 30-round magazines for the Bushmaster as well as a Sig-Sauer 9 mm handgun (see above). The victims were shot multiple times each in a fusillade of bullets from these military-style weapons. In order to wreak this havoc, he fired more than 150 rounds, and he must have carried more rounds in addition. Lanza was reportedly found dead wearing a bulletproof vest and military-style clothing (AP).
As Mike Powers, a professional military investigator and ballistics expert, has observed, this young man of slight build could not have carried all these heavy, bulky weapons and ammunition on his person. Furthermore, since first responders were supposedly inside the school within seven minutes, there was not enough time for Lanza to have carried out the shooting as reported. In an interview with Joyce Riley, Powers states that Lanza could not have fired so many times continuously without destabilizing himself from the intense noise from the Bushmaster. As a novice, he could not have shot an AR-15 with such speed and accuracy, supposedly changing magazines 8-10 times without a stoppage.
According to Lt. Vance on the night of the shooting, one victim survived. So in less than seven minutes—or less than five minutes according to the media—Lanza killed 26 people and then himself, producing only one injured victim. This is a 96% kill ratio, which is unheard-of accuracy among the most experienced marksmen. Powers thinks the whole scenario is a physical impossibility. He is not even convinced that Adam Lanza was a real person. The story of the shooting should not be taken seriously.
The final travesty involves the weapons and other paraphernalia that were allegedly found in the Lanza house. The “arsenal” supposedly included guns, Samurai swords, knives, a bayonet and more than 1,000 rounds of ammunition, according to search warrants released. Other items of interest were ear and eye protection, binoculars, holsters, manuals, paper targets, a military-style uniform and Lanza’s NRA certificate (Fox). Lanza had reportedly compiled a spreadsheet 7 feet long and 4 feet wide in 9-point type detailing 500 victims of other mass murders (CBS). We are supposed to believe this, and, at the same time, that Adam Lanza was a shy, quiet kid who didn’t like noise and chaos, as promoted by the PBS Frontline Special, “Raising Adam Lanza.”

7. Key participants displayed inappropriate behavior

There are many bizarre media reports and interviews of those associated with the “shooting.” Some examples:
Wayne Carver—Medical Examiner Wayne Carver’s surreal press conference is one of the most startling of all the media offerings. Widely available on youtube, this event shows H. Wayne Carver II, a public official of some standing, clowning and acting outlandish—grinning strangely, making irrelevant comments, and basically appearing unknowledgeable and unprofessional.
Robbie Parker—Perhaps the most famous press conference is that of Robbie Parker, the alleged father of victim Emilie Parker, speaking on a CNN report of December 15, 2012. He chuckles as he walks up to the camera, then gets into character by hyperventilating, and finally feigns distress as he talks about his daughter—and about the fund set up to help raise money “for Emilie.”
The families—In addition to Robbie and Alissa Parker, other parents and family members take their turn in the spotlight, including (but not limited to) Mark and Jackie Barden, Jimmy Greene and Nelba Marquez-Greene, Ian and Nicole Hockley, Neil Heslin (alleged father of Jesse Lewis), Chris and Lynn McDonnell, Veronique Pozner, Carlee Soto, and David and Francine Wheeler. Anderson Cooper is the interviewer in two notable instances: his conversation with the McDonnells mentioned above, and an interview with Veronique Pozner, remarkable for its green-screen effects such as Anderson’s disappearing nose.
The school nurse—Numerous reports offer detailed and totally fictitious information, some of which was later abandoned in favor of more tenable versions. On the evening of December 14, a USA Today reporter said she had spoken with the school nurse, whom she had met on the street. The nurse told her that the gunman had come into her office, “they met eyes, she jumped under her desk,” and he walked out.  The nurse said that the gunman was the son of the kindergarten teacher, who was known to her and “an absolutely loving person.” It later developed that Nancy Lanza had not been a kindergarten teacher at all, and that neither Nancy nor Adam had any connection to Sandy Hook school whatsoever.
Dawn Hochsprung—In an embarrassing fiction, The Newtown Bee reported on 14 December 2013  that Dawn Hochsprung, the Sandy Hook school principal, told the paper that a masked man had entered the school with a rifle and started shooting multiple shots – more than she could count – that went “on and on.” Of course, Dawn Hochsprung was allegedly killed by Adam Lanza and so could not easily have provided this statement. In fact, Dawn was said to have acted heroically, dying while lunging at the gunman—although one wonders who witnessed and reported this act of heroism. On 17 December 2013, The Bee retracted the report and apologized:
An early online report from the scene at the December 14 shootings at Sandy Hook Elementary School quoted a woman who identified herself to our reporter as the principal of the school. The woman was not the school’s principal, Dawn Hochsprung, who was killed in the Friday morning attack. The quote was removed from subsequent online versions of the story, but the original story did remain in our online archive for three days before being deleted. We apologize for whatever confusion this may have caused our readers and for any pain or anguish it may have caused the Hochsprung family.
Gene Rosen—Gene Rosen is one of the most prolific of the Sandy Hook media stars, giving animated and conflicting statements to a series of reporters (in English and Spanish). Considered a “good Samaritan” by the mainstream media, Gene supposedly harbored six children who ran away from the school, rode to his house on a school bus, sat down on his lawn and proceeded to cry and tell him that their teacher, Miss Soto, was dead. Strangely, Rosen took the children inside and gave them some toys to play with, instead of calling 911 like any normal person.
The Gene Rosen videos are important for the official narrative, in that they corroborate many of its details: the staccato gunfire (and thus a semi-automatic weapon) and heresay evidence from the children (Lanza had a big gun and a little gun, Vicki Soto was killed, etc.).These incriminating videos are some of the best evidence that the Sandy Hook shooting was a hoax.

8. Photos at scene and of victims look staged or fake

The only photo we have seen of any children being evacuated from the school was apparently taken earlier in the fall during a drill (no coats, smiling faces). Shannon Hicks, a photographer for The Newtown Bee, took the photo and claims to have taken many others of the event—which have not been released.
Shannon Hicks
Hicks reportedly took this photo “as an associate editor” and then, when another editor arrived, “changed into her firefighting gear and tried to help.” The account was promoted by NPR.
Parker family
Perhaps more insidious are the photographs of the children who allegedly died at Sandy Hook, many of which are concoctions prepared on Photoshop. Some of the most problematic involve the Parker family, with Emilie’s red-and-black dress supposedly worn by her younger sister for the visit with Obama.
The photograph of Victoria Soto’s class of students has been shown to be an elaborate composite:
And many of the individual images of the children released to the media are peculiar—some look outdated and may be old photos.  In a very sloppy slip-up, a photo of a real child, Lily Gaubert (right, below), who is alive and well, was promoted in the media as an image of Allison Wyatt (left, below), an alleged victim. Lily’s mother discovered the error and made it public.
Allison Wyatt vs. Lily Gaubert
And the ridiculously fraudulent photographs of Adam Lanza clearly do not depict a real person:

9. The crime scene was completely destroyed

As with Ground Zero after 9/11, Sandy Hook Elementary and all the evidence have been completely obliterated; $50 million in CT state funds were allocated for the demolition and rebuilding of Sandy Hook school. This would never have been tolerated if an actual crime had been committed—at least one that was meant to be investigated. The demolition of the school has now been declared complete.
Sandy Hook demolition
Employees who worked on the project were required to sign non-disclosure agreements. They were not only prohibited from removing anything from the site, but they were forbidden from discussing publicly anything they may have observed or not observed during the demolition, such as an absence of bullet marks on the walls or blood on the floor of the classrooms.

10. Deceased children sang at the Super Bowl

Recent research has resulted in a “Sandy Hoax Surprise,” a convincing youtube video identifying eight alleged Sandy Hook victims and six of their brothers singing in the Newtown children’s choir at the 2013 Super Bowl.
One more victim has been identified since the original video, making a total of 15 out of the 21 children in the choir who were from the Sandy Hook “families.” The newly recognized “victims” are all older than they appear in their photos, giving credence to the theory that the children’s photographs were outdated images.
The Newtown children, whoever they are, seem quite happy to be singing at the Super Bowl, smiling and running across the field after the event—giving no sign of the trauma they had been through less than two months prior. So are these children actually alive? One can only hope. 

Cui bono?

The evidence demonstrates (1) that proof of death has been suppressed, (2) that emergency protocols were not followed, (3) that drill protocols were followed, (4) that there was foreknowledge of the event, (5) that there was confusion over what weapons were used, (6) that the suspect cannot possibly have carried out the shooting as claimed, (7) that strange behavior was displayed by officials, witnesses and relatives, (8) that there are many odd photos of participants, (9) that the crime scene was destroyed under conditions of secrecy and (10) that some of the children appeared at the Super Bowl.
With the possible exception of (5) and (9), all of these features would have low probabilities had Sandy Hook been a massacre but high probabilities were it merely a drill.  Some of them are decisive by themselves, such as (1), (2), (3), (4) and (6)–not to mention (10).  EMTs cannot make determinations of whether a victim is dead or alive, so there should have been a surge of EMTs into the building to rush those little bodies off to hospitals where doctors could determine their condition.  But that was not done–and nothing else about this event supports the conclusion that it was real. On the contrary, virtually everything indicates that this was a drill.
Going in circles
The probability of the evidence on the hypothesis that this was a drill is overwhelmingly greater than on the hypothesis that it was an actual massacre. And the evidence appears to have “settled down” and point in the same direction. No alternative is reasonable, which means it has been proven beyond a reasonable doubt. So who did it and why? This is the final question. If the perpetrator had been Adam Lanza, then he had no apparent motive, as even “the final report” acknowledged.  When considering cui bono (who benefits), a large amount of money is at stake–and much of it has already been distributed.
Follow the Money
First of all, the construction industry got a boost, with the $50 million in Connecticut state funds allocated for the destruction of Sandy Hook School and to rebuild a new school on the premises. And this from a state with a projected budget deficit of $1.1 billion for the coming year.
The Sandy Hook School Support Fund has raised approximately $12 million and distributed it to the Newtown-Sandy Hook Community Foundation, overseen by Ken Feinberg, “a victim compensation master with a national reputation,” according to United Way Western Connecticut. And the Support Fund posted its condolences on 11 December 2013, which was three days before the actual event.
Premature announcements
The estimated payout was $281,000 paid to each of the victims’ families, who have raised additional funds from their own websites—some of which were apparently advertised on the web in advance of the shooting. At present, all of the victims, both children and adults, have memorial funds that are currently collecting money.
“Sandy Hook Promise,” which actively solicits money for family members and others “impacted by this tragedy,” as well as for lobbying for “mental wellness and gun safety,” currently boasts over 300,000 people who have made the “Sandy Hook Promise” to turn the “tragedy into a moment of transformation.”
The federal government has also forked over a lot of taxpayer money, including a $150,000 federal grant to Newtown to pay for two “school resource officers” (aka police), and $2.5 million in federal funds to compensate the local entities for their trouble: $663,444 to the Connecticut State Police, $602,293 to the town of Newtown, $882,812 to the town of Monroe and $296,838 to other partner agencies. This hush money is sure to keep the lid on things for now.
Gun Control
The families have been out in force, appearing on television and in print, lobbying for gun control in the states and the US capitol. By now, their stories are known to everyone in America. This has created an impression that the Sandy Hook hoax was about gun control. Meanwhile, however, the gun industry has benefited immensely.
Efforts to increase security in schools—and even arm teachers—are underway. The New York Times reports that around 1,500 state gun bills have been introduced since the time of the shooting, and 109 have become law. However, nearly two-thirds of these laws ease legal restrictions and support the rights of gun owners. 
This may well have been an unintentional consequence of an intentional plan. Nonetheless, it is not clear that the Sandy Hook event was carried out solely with the aim of disarming the American public. Perhaps we are seeing a kind of Homeland-Gladio—implementing a strategy of tension with real and simulated events. Remarkably, one of the earliest school safety/gun control proposals came from the family of Noah Pozner:
New Proposal from Noah Pozner family
Both the gun industry and the already immense and rapidly growing “security industry” have also benefitted from the Sandy Hook “shooting,” as we, the citizens of the United States, lose more of our Constitutional rights. A more subtle but nonetheless insidious effect relates to the promotion of mental health screening and the consequent medication of the “mentally unstable” in our society, based upon an event that did not take place, where President Obama has signed an on-going series of executive orders to implement a political agenda. For the latest, check this one out.
The emergence of the Department of Homeland Security as a major threat to democracy cannot go without comment. Even though a subcommittee of the Senate Committee on Homeland Security and Intelligence released a report on 3 October 2012 establishing the virtual non-existence of domestic terrorist threats, DHS has acquired more than 2 billion rounds of .40 calibre hollow-point ammunition. Sandy Hook appears to be part of a complex and evolving scenario, beginning with 9/11, to establish an enhanced Police State. Whether or not it succeeds depends on public awareness and political action.
Vivian Lee, Ph.D., is a Sandy Hook researcher and professor at an East Coast University. Sofia Smallstorm is an independent researcher, who produced and directed “Unraveling Sandy Hook.” James Tracy, Ph.D., maintains a web site at memoryholeblog.com. And Jim Fetzer, Ph.D., a former Marine Corps officer, is McKnight Professor Emeritus at the University of Minnesota Duluth.
This article originally appeared at Veterans Today on January 8, 2014. Republished with permission.