' I was actually wearing a giant paper mache frog mask because I suspected that Mr Sendelbach might show up to the exhibit and I didn't want him to recognize me. " ~Catherine Hennessey, official court testimony Dec 1, 2025, on the day she lied about a dozen times to the judge....after he read the charges being brought on her and Broken Boat. She tried to get a HPO on me to cover the asault and battery they committed the night before. This is peak priveledge, and a cynical way to handle legal matters, lie after lie after lie lie by hennessey. She lies on the fly....evidenced by the hearing transcript. That's multiple felonies....all under the guise of hiding as Pepe the Frog.
As we all know, wearing a frog mask is the best way to hide. LOL.
As early as 2015, a number of Pepe variants were created by Internet trolls to associate the character with the alt-right movement. Some of the variants produced by this had Nazi Germany, Ku Klux Klan, or white power skinhead themes.
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Pepe began as Matt Furie's 2005 laidback comic character ("Feels good man"), spreading innocently on 4chan and Reddit. By 2014–2015, alt-right users weaponized it with Nazi variants, swastikas, and racist caricatures, earning Anti-Defamation League hate-symbol status in 2016 after Trump's retweet of a Pepe caricature. It became a tool for coded bigotry—hiding malice behind "ironic" humor while signaling in-group supremacy.
Hennessey, who leveraged BLM rhetoric to frame Sendelbach as a "racist disruptor," appeared in a frog mask during another provocation: blocking public space with Floodwater Brewing's truck, then mocking him derisively and walking away. The parallel is stark—the mask anonymizes harassment, much like Pepe's alt-right use or the Klan's hoods enabled exclusionary violence under plausible deniability.
Hennessey's deployment launders aggression through absurdist theater, reproducing exclusionary contempt while claiming moral superiority.
The irony unmasks her pattern: beneath progressive camouflage lies the same remorseless dynamic—five years of false reports, perjury, assault—now costumed as "art." The frog didn't hide intent; it broadcast the continuity of radical exclusion she claims to oppose. In Shelburne Falls, where institutions once ignored burning crosses and now overlook serial inversions, the mask becomes prophecy: the klavern croaks on.
