This article, “More Proof the War in Israel is Fake” by Miles Mathis, published on June 21, 2024, argues that the ongoing conflict in Israel is staged and fabricated. The author claims there was no real attack, no hostage-taking, and no rapes or murders, asserting that Hamas is a fictional entity created by the Israeli military and other intelligence agencies like the CIA and Mossad. Mathis posits that the conflict is a scheme to enrich military contractors through taxpayer dollars.
Evidence for this claim is presented through Israel’s record-breaking arms exports, which have doubled since 2018, with 70% of these weapons originating from the US. The author questions why Israel would sell arms if it were engaged in a genuine war, suggesting they are using computer-generated imagery (CGI) and Hollywood-style staging to create the illusion of destruction. This strategy, according to Mathis, is designed to drive the global war economy.
Mathis contends that the surge in arms sales, including to Germany, indicates a laundering operation for US arms, circumventing direct oversight. He critiques media outlets like MiddleEastEye and NaturalNews for reporting on arms sales without drawing the conclusion that the war is fake.
The article also discusses Donald Trump’s stance, accusing him of labeling critics of the war as anti-Semitic and equating them to Holocaust deniers. Mathis criticizes Trump, Ron DeSantis, and Mike Johnson for echoing “Jewish propagandists” and mentions Glenn Greenwald as an example of someone purportedly controlling opposition by taking a position that appears to question the narrative but still validates much of it.
Mathis highlights discrepancies in reporting, questioning the thoroughness of LifeSiteNews’s investigation into claims about the October 7th attack. He asserts that his own research on the falsity of the attack has been censored by Google but remains popular on Yandex. The author concludes by raising numerous unaddressed questions about the visual evidence presented in the conflict, implying its artificiality.
Summary with Marked Entities:
The article, “More Proof the War in Israel is Fake” by Miles Mathis, published on June 21, 2024, argues that the ongoing conflict in Israel is staged and fabricated. The author claims there was no real attack, no hostage-taking, and no rapes or murders, asserting that Hamas is a fictional entity created by the Israeli military and other intelligence agencies like the CIA and Mossad. Mathis posits that the conflict is a scheme to enrich military contractors through taxpayer dollars.
Evidence for this claim is presented through Israel’s record-breaking arms exports, which have doubled since 2018, with 70% of these weapons originating from the US. The author questions why Israel would sell arms if it were engaged in a genuine war, suggesting they are using computer-generated imagery (cgi) and Hollywood-style staging to create the illusion of destruction. This strategy, according to Mathis, is designed to drive the global war economy.
Mathis contends that the surge in arms sales, including to Germany, indicates a laundering operation for US arms, circumventing direct oversight. He critiques media outlets like MiddleEastEye and NaturalNews for reporting on arms sales without drawing the conclusion that the war is fake.
The article also discusses Donald Trump’s stance, accusing him of labeling critics of the war as anti-Semitic and equating them to Holocaust deniers. Mathis criticizes Trump, Ron DeSantis, and Mike Johnson for echoing “Jewish propagandists” and mentions Glenn Greenwald as an example of someone purportedly controlling opposition by taking a position that appears to question the narrative but still validates much of it.
Mathis highlights discrepancies in reporting, questioning the thoroughness of LifeSiteNews’s investigation into claims about the October 7th attack. He asserts that his own research on the falsity of the attack has been censored by Google but remains popular on Yandex. The author concludes by raising numerous unaddressed questions about the visual evidence presented in the conflict, implying its artificiality.
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