This article argues that the Blitz, particularly the events of December 30, 1940, was faked by British Intelligence. The author, Miles Mathis, claims that historical accounts, photographs, and official narratives surrounding the Blitz are full of contradictions and inconsistencies, suggesting deliberate manipulation. Mathis points to evidence such as the rapid recovery of bombed cities compared to the extensive destruction of Japanese cities attacked by the US, the use of paintings presented as photographs, inconsistencies in eyewitness accounts, and the implausibility of nighttime bombing accuracy with 1940 technology. He further scrutinizes the backgrounds of individuals involved in documenting these events, suggesting many were Jewish and connected to powerful families, implying a coordinated effort to propagate a false narrative. The author also questions the strategic logic of WWII itself, arguing that Germany’s supposed military build-up and simultaneous attacks on multiple fronts against vastly superior forces were nonsensical, and that the true deterrent against invasion was the British Navy, not the RAF. Mathis concludes that the entire narrative of WWII, including the Blitz, was a staged production, with Hitler serving as an actor in a grand theater.
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The author, Miles Mathis, argues that the Blitz was FAKE. He specifically scrutinizes the events of December 30, 1940, suggesting they were staged by British Intelligence. Mathis critiques the perceived rapid recovery of England’s cities after German bombing compared to the destruction of Japanese cities by the US. He highlights the use of a painting by Leonard Rosoman presented as a photograph titled “A House Collapsing on Two Firemen, Shoe Lane” from the Second Great Fire of London page on Wikipedia. He also points to William Sansom, described as a fireman and friend of Rosoman, whose background as an international banker from a wealthy family, and appearance in the Ministry of Information film Fires Were Started directed by Humphrey Jennings, further fuels suspicion. Jennings is described as the founder of Mass-Observation, a “government spying project.” The author also analyzes the photograph “St. Paul’s Survives,” calling it a “pathetic paste-up” and questioning the photographic evidence from Herbert Mason taken at night. Mathis notes numerology in the official accounts, such as the number of incendiary bombs and the discrepancy between bombs dropped and fires started. He disputes the casualty figures, comparing them to the everyday death rate in London. The author brings up Ernie Pyle, who was present during the “Great Fire” in London, and questions his convenient presence and poetic description of the event. Mathis also delves into the backgrounds of Pyle and his wife, Geraldine Siebolds, suggesting they were not “average middleclass people” but came from wealthy Jewish families with possible aristocratic connections, referencing the Siebolds of Minnesota and Stotesburys. He also examines Pyle’s supposed humble origins, contrasting it with his presence in Findagrave records indicating wealthy landowners. Mathis questions why German bombers would target the publishing industry in areas like Ave Maria Lane and Paternoster Row, suggesting books were used as flammable materials for staged fires. He encourages readers to examine the Wikipedia page “The Blitz” and criticizes its contradictions, referencing Corum, 1997 and Overy, 1980 as sources for conflicting information about Göring’s cooperation and Hitler’s views on air power. The author critiques Lt. Col. James Corum, an Oxford graduate and All Souls College fellow, and Overy, 1980’s alleged illiteracy. He questions the narrative of RAF rearmament following WWI and Germany’s build-up of bombers, referencing the Battle of Britain page on Wikipedia. Mathis criticizes the idea that Neville Chamberlain was naive and argues that other WWI Allies deliberately allowed Germany to rearm. He disputes the concept of “Blitz Spirit” by quoting Anna Freud and Edward Glover and highlighting the lack of “shell shock” and even enjoyment of air raids. The author dismisses the “Battle of the Beams” as a fictional explanation for night bombing runs, citing the limitations of Lorentz beams and the technological capabilities of the era. He questions the targeting capabilities of planes like the Junkers 88 (Ju 88), designed by Ernst Zindel (Jewish), and notes the involvement of Erhard Milch (Jewish) in Deutsche Lufthansa. Mathis identifies Lt. Gen. Walther Wever (Jewish) and Field Marshal Albert Kesselring (Jewish) as key figures in the Luftwaffe, questioning Kesselring’s rapid promotion and early career. He analyzes a photograph of Kesselring, Speidel, and Goring, suggesting it’s a “paste-up.” The author scrutinizes the “Hardest Day” page, questioning the damage on a downed plane and a photograph of German planes over the Channel, deeming it a “poor paste-up.” He mentions Siegfried Bethke and the potential manipulation of loss records. Mathis criticizes the concept of Operation Sea Lion as a “last resort” given the timing of the Battle of France and emphasizes the unacknowledged importance of the British Navy as the primary deterrent against invasion. He argues that the narrative deliberately omits the navy’s role and the presence of aircraft carriers. Mathis concludes that the entire plot of WWII was unbelievable, with Germany supposedly taking on the combined forces of numerous countries, and that Hitler was an actor in a “vast theater production.”