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This article, “This Week’s Fakes” by Miles Mathis, published on February 13, 2024, critiques several recent news stories, asserting they are fabricated. The author first dismisses the alleged arrest of Reiner Fuellmich, a German lawyer, claiming the story is illogical and intended to discredit his efforts for Nuremberg-style trials regarding Covid genocide. Mathis suggests Fuellmich was a controlled opposition figure and the embezzlement and anti-Semitic accusations against him are transparently fake, especially given his Corona Committee colleagues Hoffman, Fischer, and Templin are involved.

The author then focuses on the shooting at Joel Osteen’s Lakewood Church, labeling it as fake from the outset and suggesting osteen is an asset. The alleged shooter, Genesse Ivonne Moreno, is portrayed with contradictory details: a “Free Palestine” sticker on her gun, a legally purchased AR15, a 7-year-old son who was shot in the head, and multiple aliases including Jeffrey Carranza. Mathis questions the narrative of a mental patient owning real estate firms and marrying a Jewish individual while being anti-Semitic and pro-Palestinian. He also casts doubt on the identities and origins of Moreno, connecting her to various names like Escalante, Berg, Carranza, Parris, and Cordova, and scrutinizing her reported background from El Salvador versus a Houston family. Mathis further investigates Joel Osteen’s identity, suggesting his real name might be Olstean or Olstein, with Jewish connections. He also questions the existence of Joel Osteen’s wife, Victoria Iloff, and her alleged family connections.

The article then critiques a CBS News report about an artist, Andrei Molodkin, threatening to destroy $45 million worth of old master paintings if Julian Assange dies in prison. Mathis finds the premise unbelievable, questioning who would donate such valuable art and the logistics of the setup, comparing it to Al Capone’s vaults.

Next, a The Daily Mail report about a disk-shaped UFO shooting down a nuclear warhead with lasers over California in 1964 is ridiculed. Mathis points out the illogical nature of the story, the claim of a routine nuclear missile test over California, and the supposed advanced alien technology lacking basic detection capabilities. He dismisses the testimonies of old Jewish individuals claiming to have seen a tape as unreliable, suggesting the story is a fabrication to confirm UFOs and nukes in response to his papers and the film Oppenheimer.

Finally, Mathis criticizes a Pfizer commercial aired during the Super Bowl. He describes it as a miscalculation, given Pfizer’s alleged harm caused by Covid vaccines. The commercial’s self-congratulatory tone, comparing its founder Charles Pfizer to historical scientific and artistic figures and claiming they will cure cancer, is deemed “despicable” and “clinically insane.” Mathis interprets their slogan “LetsOutdoCancer.com” as a sinister hint at developing something more deadly than cancer, rather than a cure. He likens the commercial’s approach to Bill Gates using images of Leonardo da Vinci to sell computers. The author concludes by noting the commercial’s use of a Queen soundtrack and suggests the individuals behind it are “Phoenix” behavior, indicating a destructive and self-serving agenda.

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