🩸RED BLOOD JOURNAL TRANSMISSION
PART 20: EUROPA - THE LAST BATTLE:
THE GRAND DECEPTION - HOLOCAUST MYTHS AND THE NEW WORLD ORDER
Welcome back, truth-seekers, to the Red Blood Journal Transmission on Substack. As we conclude our series on Europa: The Last Battle, Part 20 delivers the knockout punch, alleging the Holocaust as history’s greatest fabrication and linking it to the rise of a communist-dominated global order. The documentary claims historians and politicians have woven a tapestry of “lies” to shield Israel, extract reparations, and pave the way for international institutions like the UN—offering a “new point of view” that indicts victors for projecting their crimes onto the vanquished while ignoring communism’s vast death toll.
Before you embark on this final segment, here’s your content primer—distilled from the film’s bold assertions, quotes from revisionist figures (including Jewish voices), and geopolitical analyses. We’ve kept it substantive yet spoiler-free, emphasizing the narrative’s framework amid the inevitable storm of debate. Digest this, then watch and form your verdict.
What Does Part 20 Cover?
This climactic part synthesizes prior revisionism into a sweeping indictment, arguing the Holocaust narrative crumbles under scrutiny and served as a tool for post-war power consolidation. It posits that wartime propaganda evolved into a perpetual myth, enabling global communism’s triumph.
Core assertions and segments:
Holocaust as Historical Fiction: Drawing on testimonies and technical critiques, the film challenges gas chamber feasibility (e.g., hydrocyanic acid logistics) and death figures, citing Jewish sources like Marika Frank (no gassings observed) and pre-war population stats showing impossibility of “6 million.” Quotes from Jewish figures—Gerard Menuhin (”biggest lie in history”), Norman Finkelstein (”perfect weapon for deflecting criticism of Israel”), Rabbi Aryeh Friedman (”successful historical fiction”), and Professor Roger Dommergue (arithmetic debunking)—bolster claims of exaggeration for political and financial gain.
Motivations and Mechanisms: The doc alleges the story deflects from Allied/Soviet atrocities, secures reparations (Germany’s “greatest robbery”), and justifies Israel’s creation. It questions why debate is criminalized, suggesting suppression proves falsehood, and highlights inconsistencies like unchanged “6 million” despite downward revisions at sites like Auschwitz.
Post-War Global Reordering: Tracing WWII’s aftermath, it claims communist infiltration shaped the UN (e.g., Alger Hiss as Secretary General at founding), built on Marx’s manifesto for a “new Soviet Union.” The Rockefeller-donated New York headquarters symbolizes elite control, with NATO, EU, and groups like CFR, Trilateral Commission, Bilderberg, and Club of Rome as steps to world government. Soviet Jews allegedly aided Mao in China, spreading communism worldwide.
Communism’s Unacknowledged Toll: Cataloging deaths under regimes—60M+ in USSR, 70M in China, millions elsewhere (e.g., 3M Korea, 2M Cambodia)—the segment contrasts this with Holocaust focus: no movies, reparations, or bans on communist symbols. Marxism’s normalization in education is decried as indoctrination, with Western civilization’s “thousands of years” undermined by progressive movements.
Broader Implications: The film warns of ongoing destabilization of sovereign nations, framing the war’s end as communism’s victory and the “final nail” in freedom’s coffin.
Using interviews, historical docs, and death tallies, the part urges viewers to see history as manipulated, calling for awakening to the “grand deception.”
The Controversy: Ultimate Truth or Ultimate Taboo?
Supporters hail this as the series’ capstone, substantiated by dissenting Jewish testimonies and demographic math—exposing a “myth” that sustains guilt, payouts, and globalism while burying communism’s horrors.
Detractors, from Yad Vashem to international bodies, condemn it as peak Holocaust denial, antisemitic conspiracy-mongering that ignores irrefutable evidence (e.g., Nazi records, eyewitnesses). UN origins are dismissed as warped, communist deaths contextualized differently, and the narrative seen as rehabilitating fascism. Banned widely, it’s labeled hate speech fueling extremism.
Red Blood Journal broadcasts raw—probe with Menuhin’s Tell the Truth and Shame the Devil or Finkelstein’s The Holocaust Industry for revisionist angles, versus UN archives or The Black Book of Communism for counters (though the film critiques the latter’s focus).
Why Dive Into Part 20?
As the saga’s finale, this part ties it all together: Is the Holocaust a fiction funding a new order? Why no reckoning for communism’s victims? It’s explosive, exhaustive, and existential—demanding reflection on history’s victors and losers. For those chasing the series’ “last battle,” it’s the red pill’s apex.
Transmission complete, subscribers. Archive the series, share widely, and question everything. Until next dispatch.
— Red Blood Journal Transmission
This text details the final installment of a controversial documentary series that promotes Holocaust revisionism and explores the alleged rise of a communist-led global government.
The source argues that the historical narrative of the Holocaust is a fabricated tool used to secure financial reparations, shield Israel from criticism, and facilitate the growth of international organizations like the United Nations.
It contrasts the immense public focus on Nazi crimes with the perceived historical neglect of tens of millions of deaths caused by communist regimes in the Soviet Union and China.
The material suggests that elite groups and Marxist ideologies have infiltrated Western education and politics to undermine national sovereignty.
Ultimately, the text presents these claims as a "truth-seeking" mission to expose a grand deception orchestrated by the victors of World War II.
Critics, however, reject the film as a collection of antisemitic conspiracies and dangerous historical denials.
