Superheroes and conspiracy theories

I need to stop wasting my time on bizarre, conspiracy-theory web sites. But, somehow, whenever I start looking into a Stanley Kubrick film, I keep on reading until I have gone down the rabbit hole of the-moon-landing-was-faked, or MK-ULTRA and Monarch, or something equally strange. For the record, Stanley Kubrick did not use the tricks he learned from making 2001 Space Odyssey to help NASA fake the moon landing. Neil Armstrong and Buzz Aldrin really did walk on the moon forty-eight years ago. Any contrary evidence is merely proof that some people fail to understand science and technology.

On the other hand, during the Cold War the United States government really did experiment with mind-control in a program that was called (among other things) MK-ULTRA. In competition with the Soviet Union and its allies, the US military and the CIA wanted to explore every possible edge that could lead to victory. The CIA really did destroy most of its MK-ULTRA files in 1973. They did so to hide evidence that they had engaged in behavior that was immoral and criminal. At the same time, they wanted to hide evidence that the experiments had failed, that mind-control is not an effective way to battle the nation’s enemies.

Most of the CIA’s mind-control experiments were chemical in nature. They had two goals: to find a chemical that could be used to affect a person’s thinking and behavior, and to find a way of delivering that chemical surreptitiously. Although a number of chemicals can change a person’s thinking—the CIA had especially high hopes for LSD—delivery proved to be a greater problem. They could get Americans to experiment with drugs voluntarily. They could find ways to dose the food or beverage of a close associate, such as a family member or coworker. Getting the poison to the enemy was much harder. Notoriously, the CIA tried several times to disrupt Fidel Castro’s career chemically, but all of those efforts failed.

Secret societies exist (most of them openly), but they do not purchase or kidnap children to torture them into compliant slavery. Manchurian candidates, programed to assassinate upon a trigger command, exist only in fiction. Not every young woman who wears a tiger-print or leopard-print garment is a programmed sex slave; many people merely find those fabric patterns attractive. Not every use of a rainbow or a bluebird in visual art or cinema is a reference to mind-control; both symbols have a variety of meanings which have nothing to do with evil manipulation of the mind.

Perhaps some adult somewhere has used Alice in Wonderland or The Wizard of Oz or some Disney cartoon to mess with a child’s mind. All of these stories are entertaining, while at the same time they operate on several layers of meaning, conveying interesting messages about perception and reality. None of these stories was created with evil intent, and no secret society has used them to entrap thousands of children in a network of evil.

According to conspiracy theories, Monarch treatment tortures children to achieve in them a condition called Dissociative Identity Disorder (DID), formerly known as Multiple Personality Disorder. DID is a real disorder. Often it results from childhood abuse, causing the child to create several personalities to escape the reality of abuse. Tragically, many children have been horribly abused, not to train them for secret missions, but only at the whim of a monstrous adult. Formerly, child abuse was a taboo topic in polite society, but concern for the victims of abuse has made people more willing to talk about abuse.

In recent years American society has become aware of a culture of abuse within the entertainment industry. Various figures—some famous actors and directors, others more behind-the-scenes figures—have used their access to young and ambitious boys and girls to satisfy their own evil cravings. They are not Monarch trainers; they are simply bad people. Undoubtedly their predatory ways have damaged their victims. Some of these children are abused sexually or physically; all of them must cope with an abnormal life, a life high in stress and anxiety, a life with lofty goals but also a high probability of failure. When Justin Bieber and Miley Cyrus behave badly, they are not proving to be victims of Monarch programming. They are merely coping (poorly) with the transition from child star to adult, a change that is hard enough for the rest of us who were not child stars.

In their hunt for evidence of Monarch programing based on MK-ULTRA experiments, some conspiracy theorists have noted the prevalence of superhero stories in which a person carries two identities. One is an ordinary person living an ordinary life; the other has special powers and abilities, generally used to help others. Supposedly, this double life portrays DID, the splintering of a personality to create a willing but hidden servant to the powers that secretly rule the world. Diana Prince is Wonder Woman; Clark Kent is Superman. Yet, in this theory, these stories are parallel to the several identities created by Monarch programing.

Poppycock! All of us wished, when we were children, to be special, to have powers beyond the ordinary, and to know that the world somehow depended upon us. Superhero stories build upon this common dream, pulling us into a story in which the heroes have extraordinary powers (but in which they must also defeat extraordinary villains). Perhaps the source of this dream is the messianic theme—the promise that a Savior would come on schedule to defeat evil and to rescue its victims. Not only is this promise delivered overtly in the Hebrew Bible and confirmed in the New Testament; it also has subtle roots in creation, which depicts the history of salvation in many ways, such as the conversion of caterpillar to butterfly.

Identifying secret societies that enslave thousands of children to do their will only places the problem of evil on a different level. It allows an us-v.-them mentality which diminishes the consequences of our sins by comparing those sins to greater, more pervasive evil. It replaces Satan with human plotters who still seem to have supernatural powers. Worse, it reduces the saving power of the cross of Jesus Christ by shifting attention from spiritual reality to political, social, and economic forces.

We enjoy superhero fiction. Some of us even enjoy conspiracy theories. A healthy dose of reality is necessary, though—awareness that the real enemy has been fought and has been defeated. Christ is risen! We need fear no power. J.

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The privilege of genius

Last weekend I saw Stanley Kubrick’s movie The Shining for the first time. Two nights later I saw it for the second time. I’ve also done some reading on the Internet about this movie and how it was made, as well as biographical information about Kubrick.

I’ve seen about half of the movies Kubrick made, and I’d like to see the rest, except for maybe his earliest work. Kubrick is acknowledged a genius in the making of movies, with classics such as Spartacus and 2001: Space Odyssey to his credit. He is famous for shooting each scene dozens of times to achieve the best possible result; also, he is famous for detailed and meticulous planning of his filming, so that everything in each frame contributes to the story that the movie is depicting.

For example, in one of his movies, two characters are having dinner, and they are seen from various angles while they eat and drink. Yet the amount of food and wine in front of them fluctuate irregularly rather than disappearing steadily, as one would expect during a meal. Any other director would have been accused of continuity errors, but Kubrick says that he mangled the continuity purposely to make viewers share the feeling of disorientation that the main character was feeling.

The Shining has similar distortions of continuity which Kubrick’s fans consider deliberate and meaningful. During one conversation, Jack pulls a sheet of paper out of his typewriter and rips it to pieces; minutes later he is typing again—paper is in the typewriter, even though he never added another sheet. In the same conversation a chair is seen behind Jack at first, but it has disappeared later. In the pantry cans of food appear mid-scene on shelves that were previously emptier. In other scenes items are rearranged from moment to moment without ever being touched. Even light switches and electrical outlets appear and disappear during the course of the movie.

One might assume that all these distortions are simply continuity errors, but with Kubrick’s reputation for genius and for meticulous planning, his fans are certain that every one of these distortions was done for a reason. Because The Shining is about haunting and supernatural abilities, some viewers assume that moving chairs and lamps reveal telekinetic abilities of the characters. Others think that the hotel itself is inhabited by malignant spirits that steal light switches and provide paper for Jack’s typewriter. Because the cans of food which appear out of nowhere have a Native American as their logo, some viewers think that the entire movie contains a message about Native Americans.

Of course it is also possible that by filming each scene dozens of times, Kubrick left himself vulnerable to continuity errors. Maybe after filming the conversation five or six times, Kubrick decided he didn’t like the chairs behind Jack and had them moved, but when he edited the footage he found that Jack’s best delivery of a certain line happened before the chairs had been taken out of the set. Perhaps he rearranged props in the pantry, not to make a point about Native Americans, but to achieve a certain proportion of shape and color in the background. Since the light switches and outlets were props, perhaps they were installed after some scenes had already been filmed.

Stanley Kubrick was a genius. Therefore, what would be a mistake for any other director is part of his deliberate plan to film a masterpiece. People have tried to make maps of the Overlook Hotel, the setting for The Shining, only to discover that the layout seen in the movie is impossible. Interior and exterior windows do not match, interior rooms have windows that show outdoor scenes, stairways lead to dead ends, and journeys through the passageways are inconsistent from scene to scene. Of course the movie was filmed on a group of sets, not in an actual hotel. Other directors would have been blamed for these inconsistencies, but Kubrick is assumed to have created an impossible hotel for dramatic purposes.

The privilege of genius is that mistakes don’t happen. A good explanation can be found for everything a genius does, even if it looks like a mistake. Of course people study the work of geniuses far more carefully than the work of average people—most movies set in a hotel don’t compel viewers to draw maps of the hotel. Ordinary people make ordinary mistakes that most of us don’t even notice. Only geniuses can make what seems to be a mistake and send people searching for its meaning.

By the way, the thought that Stanley Kubrick made The Shining to confess that he helped fake film footage of Apollo 11’s trip to the moon is ridiculous. J.