Glenn Beck BURIES the 5 biggest Hitler myths circulating right now with original Nazi documents



The idea that Adolf Hitler was some misunderstood or even "good" figure while Winston Churchill was the real WWII villain was once confined to the extreme fringes and unknown to almost everyone else. Today, however, the idea has resurfaced with disturbing visibility — no longer limited to neo-Nazi forums but now defended or entertained on major podcasts, viral social-media threads, and platforms with tens of millions of listeners and viewers.

Glenn Beck, a lover of history and collector of historical artifacts, is appalled that this revisionist narrative is being taken seriously.

“I really don't get it. History, real history, is not a choose-your-own-adventure kind of thing. It's ink on paper, orders in filing cabinets, telegrams, diaries, bodies. It's what actually happened, not what we hope happened,” he says.

On this episode of “The Glenn Beck Program,” Glenn sets the record straight about Hitler, Churchill, and WWII.

Lie #1: Poland wasn’t part of Hitler’s conquest plan

“Let me just say this calmly, factually, and finally: Germany's plans for Poland were not reactive. They were premeditated,” he asserts.

The faulty idea pushed by Hitler rehabilitators that Britain conned the West into going to war by promising to defend Poland is easily debunked with an artifact Glenn has in his possession. “It’s called Fall Weiss,” he says. “It's Hitler's operational blueprint for the invasion of Poland, drafted in 1938, a year before [British Prime Minister Neville] Chamberlain said, ‘We're going to guarantee [Poland’s] safety."’

“Hitler's explicitly stated road map [targeted] Austria, Czechoslovakia, Poland, then the East,” he explains. “Britain didn't pull Germany into war. Germany was already marching toward war — global war.”

Lie #2: Hitler had no Western ambitions

The second WWII fallacy that demands debunking, he says, is the idea that Hitler had “no Western ambitions” and actually wanted peace with Britain.

“Really? Because we have the paper trail again,” Glenn retorts.

“How do you explain Operation Sea Lion — Hitler's detailed plan to invade and occupy Great Britain?” he asks. “You don't draw up amphibious landing schedules across the English Channel just in case.”

But before this plot was even fathomed, Hitler had already tried to tee himself up to dominant Britain. In May 1941, Hitler’s second in command, Rudolf Hess, secretly flew a plane to Scotland with a mission of trying to make a “peace deal” with Britain. The offer, Glenn says, was this: “Let Hitler dominate Europe, and Germany would leave Britain alone.”

He had Nazi sympathizers in high British society — including the ex-King Edward VIII, who had openly praised Hitler and was willing to be put back on the throne as a Nazi puppet if Germany invaded.

“The Nazi files recovered after the war show explicit German plans to reinstall him after an occupation,” says Glenn. “Hitler was not avoiding conflict with Britain; he was planning its subversion.”

Lie #3: Hitler was initially friendly toward America

The idea that Hitler admired America and never wanted to go to war with her is another idea that easily crumbles under the weight of basic logic.

Hitler’s ideology stands in contrast in every way possible to that of the United States.

“Hitler believed the state was supreme, that the German people existed for the Reich. In America, the Constitution is supreme, and it exists to limit the states. Rights come from the furor and the government in [Nazi] Germany; in America, rights come from God, and the government is the servant, not the master,” Glenn differentiates.

“The individual in Germany: expendable. The West is built on the sanctity of the individual. Racial hierarchy is destiny in [Nazi] Germany. The West, at its best, rejects racial supremacy. The Declaration starts with ‘all men are created equal’ — not ‘some races are destined to rule.’ Nowhere in our documents does it say the state must expand endlessly,”’ he continues.

Lie #4: The US should’ve sided with Hitler over Stalin — the greater evil

“People are arguing now that the Allies should have sided with Hitler instead of Stalin. No rational reading of history supports any of that,” says Glenn.

While “Hitler and Stalin were both monstrous,” the U.S. was forced to choose “survival.”

“The question for us was no longer, ‘Hey, which dictator is better?’ The question was, ‘Which outcome prevents Hitler from ruling all of Europe?’ Because if Hitler defeated the Soviet Union, the resources of the East — all the oil, all the grain, all the industry, all the manpower — would have made the Third Reich unstoppable,” Glenn corrects.

But even still, “We knew at the time Stalin was just as bad. We knew we were going to be in war with Stalin at some point.”

Lie #5: Winston Churchill was the real WWII villain

Nobody could see Stalin’s wickedness more than Winston Churchill, says Glenn. “He was the one saying, ‘We can't have this guy as an ally."’

Even still, it’s “not about defending Churchill, who I think is a hero; but it's about defending the record, the truth, so in our moment of confusion and upheaval and ideological extremism, we don't lose our footing on the bedrock of fact.”

“When we begin to question whether the West should have resisted Hitler, where are we going? When we entertain the idea that freedom and tyranny could have co-existed, you're not just rearranging interpretations; you're reopening a door millions died to close,” Glenn warns.

“Be very careful when someone tells you the villain wasn't really the villain. Woe unto him who makes evil good and good evil.”

To hear more of Glenn’s commentary, watch the video above.

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'Santa, I want the head of a Nazi under my tree': Masked creeps deliver Christmas cards with threatening leftist messages



Jaret McComas told KCBS-TV last week that he found a Christmas card left on his doorstep in Yucaipa, California, and was taken aback by what was written inside.

"I pick it up, open it, and it reads, 'Santa, I want the head of a Nazi under my tree,'" McComas told the station.

'When you have people roaming your neighborhood in black face masks, leaving violent notes and warnings, it's kind of disturbing.'

But he wasn't the only resident in his neighborhood to receive such a card.

Another card read, "Merry Christmas and f**k you Nazi," KCBS said.

Neighborhood resident Scott Ungar told KABC-TV that each card contained a different message: "The one over there said a date, and they said, 'You've been warned,' like they were warning something is going to happen on a specific date."

Ungar added to KABC that "all of the stuff that they were putting in [the cards was] stuff you have been hearing for Antifa."

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Doorbell camera footage from some of the homes shows masked men placing the cards in various locations, such as planter boxes and on doormats, and then blowing a kiss to the camera. Another home's surveillance camera captured the suspects spitting on a Tesla belonging to their neighbor.

Simona Stacks, another neighbor who got one of the cards, told KCBS that "it's really terrifying, to be honest with you, because we're home. I have my 14-year-old daughter — what if she was outside? What if you see four men with masks on?"

Ungar added to KABC that "when you have people roaming your neighborhood in black face masks, leaving violent notes and warnings, it's kind of disturbing."

Stacks wondered to KCBS why her home and others were targeted — and she has one theory: "Maybe it's all the American flags, Trump flags. ... It really does feel like a bit of a hate crime."

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San Bernardino County Sheriff's Department Public Information Officer Jenny Smith told KCBS that officials there are "investigating to see what that crime could lead to, or what was the purpose of those letters. We don't have a specific crime indicated as of yet."

Deputies told KCBS that at least two suspects were involved in last Monday's incident and that they ran away on foot when one of the homeowners approached them.

McComas noted to KABC that neither he nor his neighbors who received the cards display political signs or affiliations.

"I am not a heavy conservative," he added to KABC. "I'm gay, engaged to my fiancé, Roger. So it's just kind of concerning for me because I am like, 'What did I do?'"

McComas told KABC he also wondered if the American flag outside his home might have been what attracted the culprits' attention, but he said that not every targeted house had an American flag.

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Either way, the sheriff's department told KCBS that patrols in the area would increase while the investigation continues.

What's more, the neighbors added to KCBS that they are not letting the disturbing cards dampen their holiday activities.

"Gonna bring the Christmas spirit back to the street, and hopefully that cheers everybody else up," McComas told KCBS.

Investigators believe there may be other unidentified victims and are asking those who have more information to contact them at 909-918-2330, KCBS said.

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‘Nuremberg’: Russell Crowe’s haunting portrayal of Nazi evil



Say what you will about Russell Crowe, but he has never been a run-of-the-mill actor.

At his best, he surrenders to the role. This is an artist capable of channeling the full range of human contradictions. From the haunted integrity of "The Insider" to the brute nobility of "Gladiator," Crowe once seemed to contain both sinner and saint, pugilist and philosopher.

In a time when truly commanding leading men are all but extinct, Crowe remains — carrying the weight, the wit, and the weathered grace of a bygone breed.

Then, sometime after "A Beautiful Mind," the light dimmed. The roles got smaller, the scandals bigger.

There were still flashes of brilliance — "American Gangster" with Denzel Washington, "The Nice Guys" with Ryan Gosling — proof that Crowe could still command attention when the script was worth it. But for every film that landed, two missed the mark: clumsy thrillers, lazy comedies, and a string of forgettable parts that left him without anchor or aim. His career drifted between prestige and paycheck, part self-sabotage, part Hollywood forgetting its own.

Exploring the abyss

But now the grizzled sexagenarian returns with "Nuremberg" — not as a comeback cliché, but as a reminder that the finest actors are explorers of the human abyss. And Crowe, to his credit, has never been afraid to go deep.

In James Vanderbilt’s new film, the combative Kiwi plays Hermann Goering, the Nazi Reichsmarschall standing trial for his part in history’s darkest chapter. The movie centers on Goering’s psychological chess match with U.S. Army psychiatrist Douglas Kelley, who becomes both fascinated and repulsed by the man before him. Goering, with his vanity, intelligence, and theatrical self-pity, is a criminal rehearsing for immortality.

The film unfolds as a dark study of guilt and self-deception. Kelley, played with that familiar, hollow-eyed tension of Rami Malek, sets out to dissect the anatomy of evil through Goering’s mind. Yet the deeper he digs, the more he feels the ground give way beneath him — the line between witness and accomplice blurring with every exchange.

Disturbingly human

Crowe’s Goering is not the slobbering villain of old war films. He’s disturbingly human, even likeable. He jokes, he reasons, he charms. He’s a man who knows how to disarm his enemy by appearing civil — and therein lies the horror. It’s a performance steeped in Hannah Arendt’s famous concept of the “banality of evil”: the idea that great atrocities are rarely committed by psychopathic monsters but by ordinary people made monstrous — individuals who justify cruelty through bureaucracy, obedience, or ideology.

Arendt wrote those words after watching Adolf Eichmann, another Nazi functionary, defend his role in the Holocaust. She was struck not by his madness but his mildness — his desire to be seen as merely following orders. Crowe’s Goering embodies that same terrifying normalcy. He doesn’t see himself as a villain at all, but as a patriot — wronged, misunderstood, and unfairly judged. It’s his charm, not his cruelty, that unsettles.

The brilliance of Crowe’s performance is that he resists caricature. He reminds us that evil doesn’t always wear jackboots. Sometimes it smiles, smokes, and quotes Shakespeare. It’s the kind of role only a mature actor can pull off — one who has met his own demons and understands that evil seldom announces itself.

It is also, perhaps, the perfect role for a man who has spent decades wrestling with his own legend. Crowe was once Hollywood’s golden boy — rugged, brooding, every inch the leading man — but the climb was steep and the fall steeper. Fame, like empire, demands endless victories, and Crowe, ever restless, grew weary of the war.

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Getty Images

A bygone breed

With "Nuremberg," he hasn’t returned to chase stardom but to confront something larger — the unease that hides beneath every civilized surface. Goering, after all, was no brute. He was cultured, eloquent, even magnetic — proof that wisdom offers no wall against wickedness. And in a time when truly commanding leading men are all but extinct, Crowe remains — carrying the weight, the wit, and the weathered grace of a bygone breed.

At one point in the film, Goering throws America’s own hypocrisies back at Kelley: the atomic bomb, the internment of Japanese-Americans, the collective punishment of nations. It’s a rhetorical trick, but it lands. Crowe delivers those lines with the oily confidence of a man who knows that moral purity is a myth and that self-righteousness is often evil’s most convenient disguise.

The film may not be perfect. Its pacing lags at times, and its historical framing flirts with melodrama. But Crowe’s performance cuts through the pretense like a scalpel. There’s even a dark humor in how he toys with his captors — the court jester of genocide, smirking as the world tries to comprehend him.

Crowe’s Goering is, in the end, a mirror. Not just for the psychiatrist across the table, but for us all. The machinery of horror is rarely built by fanatics, but by functionaries convinced they’re simply doing their jobs.

Crowe’s performance reminds us why acting, when done with conviction, can still rattle the soul. His Goering is maddening and mesmeric. He captures the human talent for self-delusion, the ease with which conscience can be out-argued by ambition or fear. "Nuremberg" refuses to let the audience look away. It reminds us that every civilization carries the seed of its own undoing and every human heart holds a shadow it would rather not confront.

Russell Crowe is back, tipped for another Oscar — and in an age when Hollywood produces so few films worthy of our time or our money, I, for one, hope he gets it.

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