BBC, Palewood, and the Anti-Israel Propaganda Machine
Wow, finally! The BBC is under counterterrorism investigation for breaking the law by producing what amounts to Hamas propaganda. Their Gaza documentary not only whitewashed Hamas but paid the son of a Hamas commander to narrate it—without even bothering to disclose his terrorist ties.
What did they deliver? Pure fiction. Staged scenes, mistranslations, and blatant Hamas propaganda. One of the most damning examples? They translated “kill the Jews” as “resistance against Israelis”—a deliberate distortion that completely altered the documentary’s message. Because, of course, they couldn’t let the audience hear the truth.
And it gets worse. This isn’t some one-off “error.” The BBC has been mistranslating Arabic content for years—always in ways that conveniently minimise Palestinian incitement to violence and sanitise Hamas’s image. It’s not just about twisting “Jews” into “Israelis.” They also concealed outright statements of support for terrorism and glorification of terrorists. If this all sounds familiar, it’s because David Irving—the Holocaust denier—pulled the same tricks. Just like Irving “accidentally” mistranslated Nazi archives to make them sound less guilty, the BBC consistently “mistranslates” Palestinian rhetoric to make Hamas sound more palatable.
But let’s talk about where that £400,000 in BBC funds actually went. Because if you think Hamas didn’t somehow benefit from it, I have a bridge to sell you. Not only was the narrator the son of a Hamas commander, but every single child featured in the documentary came from Hamas-affiliated families. Not one came from Gaza’s unemployed population (which makes up 50% of working-age Gazans). They had to keep it in the Hamas family.
After investigative journalist David Collier exposed them, the BBC finally admitted to “serious flaws” and pulled the documentary. But not before a bunch of self-righteous celebrities—Miriam Margolyes, Maxine Peake, Jeremy Corbyn, and Gary Lineker—had a meltdown, demanding it stay on air. Apparently, they’re all very passionate about keeping Hamas propaganda on our screens.
And now, instead of writing an article about its own corruption, bias, and reckless spread of terrorist propaganda, the BBC responded by publishing an article titled "BBC criticised by 500 media figures for pulling Gaza documentary." Because, you see, the real problem isn’t that the BBC helped spread Hamas propaganda. The real problem is that famous people like Ken Loach, Mike Leigh, and Riz Ahmed aren’t happy about it being removed.
This is a tactic as old as time—“Look over here! The smart people disagree with you!” As if public opinion from a bunch of far-left artists suddenly makes terrorist propaganda acceptable. As if citing 500 media elites is supposed to cancel out the counterterrorism investigation. It’s sick.
But here’s the real danger: The BBC isn’t just any media outlet. It is the global trendsetter. When the BBC spreads Hamas propaganda, the rest of the media follows. This is why CNN parrots Hamas casualty figures like they’re gospel, why the New York Times only discovered hostages existed months into the war, and why the Guardian has been running cover for Hamas for years.
It’s not just media. US campuses are ablaze with anti-Israel hate because the BBC and its clones have been drip-feeding them a warped version of reality. It’s why Greta Thunberg—who probably couldn’t find Gaza on a map—feels qualified to weigh in on the conflict. It’s why even the supposedly “intelligent” activists, like Peter Tatchell, blindly defend a documentary that’s been exposed as Hamas propaganda. When the BBC lies, the world follows.
And Hollywood? It’s not just following the script—it’s writing it.
The Academy Awards just handed Best Documentary to yet another polished anti-Israel propaganda piece—“No Other Land.” This shameless fiction, masquerading as truth, paints a weepy portrait of Masafer Yatta, a Palestinian land grab dressed up as a noble fight against “ethnic cleansing.” The directors wasted no time using their Oscar speech to parrot Hamas talking points, shrieking “Stop the ethnic cleansing of Palestinians!”—because when it comes to Israel, Palewood’s moral compass is permanently stuck on “villain” mode.
Let’s cut through the sanctimonious haze. The film carefully omits that Masafer Yatta sits in Area C, under Israeli control per the Oslo Accords—those pesky agreements the Palestinians signed but conveniently ignore. It forgets to mention the 22 years of litigation Israel slogged through to enforce its legal rights. It skips over the fact that these “displaced” villagers shuffled off to nearby caves they’d lived in for centuries. Because why let facts ruin a perfectly good Israel-is-evil script?
Instead, the Oscars lapped it up. And why wouldn’t they? The BBC sets the tone, and Hollywood amplifies it. The BBC lies, CNN repeats it, the New York Times legitimises it, and Hollywood turns it into an Oscar-winning sob story. This is the machine—the same machine that has Greta Thunberg pontificating about a war she can’t spell and US campuses on fire with antisemitic hatred.
This isn’t just bias—it’s a coordinated industry. A system that elevates distortions to truth, launders Hamas talking points through “art,” and slaps awards on the result. “No Other Land” is just the latest cog in the machine. It doesn’t even have a US distributor—cue the fake outrage, “Political censorship!”—but that didn’t stop the Academy from crowning it.
Why? Because it fits the script. Israel = villain, Palestinians = victims. Rinse. Repeat.
And let’s be clear—this isn’t about art. It’s about weaponising storytelling against Israel. The Academy hands out awards to distorted anti-Israel agitprop because that’s the role Hollywood plays in this coordinated global disinformation campaign. The BBC and Palewood are two arms of the same beast, working hand in hand to vilify Israel and excuse terrorism.
And for saying this, I’ve probably just cancelled myself. My upcoming film, Mother of Hate, tackles this exact topic—how antisemitism thrives through media lies, political cowardice, and selective outrage. Let’s be honest: calling out the Oscars, the BBC, and the rich and famous is career suicide. But I don’t care.
I’d rather do what’s right than what’s popular. The truth is like medicine—it tastes awful, it’s hard to swallow, but if we actually want to get better as a society, we have to take it.