In 2009, conspiracy theorist Jay Weidner wrote up an interesting article on how the moon landings may have been produced and directed by the enormously talented film director Stanley Kubrick. And that Stanley Kubrick’s later horror movie The Shining had been filled with clues about his role in the moon landings. As readers may be aware, Hollywood movies do contain subtle clues about what’s going on in the real world, but these are mainly to poke fun at the naiveté of the masses. The clues in The Shining were not about poking fun at the naiveté of the masses. They were apparently left behind for those who would seek answers in the future, long after Kubrick had died. This would be like the secret codes left behind by Leonardo Da Vinci in his works, in which he indicated the presence of a secret society working tenaciously to undermine the power of the Catholic Church. Da Vinci faced a problem similar to Kubrick. He had sold his talents to The Powers That Be. But he later developed regrets, and instead of risk opting out, he left behind clues as to who these people were and what they sought.
This website has always steered away from the topic of the moon landings. My opinion was that most of the theories were speculative, and relied too much on going CSI on the photographs of the moon landings. But there are two theories that still hold some water.
The theory that the Van Allen radiation belt surrounding this planet high up in space prevents human life from passing through it.
- The theory of the late Jack White that the twelve Apollo 11 astronauts could not have taken 5771 photos in 4834 minutes (one exposure every 50 seconds), while lugging around chest-mounted Hasselblad cameras that lacked viewfinders and automatic exposure settings (The photos were carefully composed shots).
The documentary film Room 237 clubs Weidner’s narrative with others who claim to have found hidden messages in Stanley Kubrick’s The Shining, for instance, that of Professor Geoffrey Cocks, who claims to have found references to the Holocaust in The Shining. Weidner’s narrative still overshadows all of them. But the combined effect of these brilliant minds produces a new multi-layered interpretation of The Shining.
Long conspiracy theory short, the main character Jack Torrance and his family (Kubrick and his family?) arrives at the Overlook hotel (America?) which was built on the blood of native populations and meet with the manager at his office (President Kennedy?) for his new duty as caretaker of the hotel. At the hotel, mysterious things seem to be going on in Room 237 (The moon is 237,000 miles from the earth; was this some kind of studio for the moon landings?). Jack is also preparing some kind of script on a typewriter (a script for the moon landings?). In room 237, Jack encounters a woman/witch, while his son keeps having visions of twins (NASA’s Gemini Project?). Jack starts going mad, and his wife discovers the script he is preparing. He has to kill a staff member (who finds out about the script?) and his relationship with his wife and child deteriorate.
Add to that Professor Geoffrey Cocks narrative that The Shining also has sumptuous Holocaust imagery. Was Kubrick trying to tell us that the genocide of the native Americans, the Holocaust and the Moon landings were all the work of the same perpetrators? Cocks notes that the typewriter Jack uses to prepare the script mysteriously changes to a German one in the middle of the film. Was this a reference to the Powers that Kubrick was working for being Germanic in origin? During that time, NASA was dominated by German scientists, many of whom had worked for Nazi Germany.
Update: It looks like the band Imagine Dragons are fans of Jay Weidner’s interpretation of The Shining!