Stories with Tag Horror

• 45-year mystery behind eerie photo from The Shining is believed to be solved

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  Posted: 2025-04-12 01:14:45

  Verbose tl;dr

  A long-debated anomaly in a photo from Stanley Kubrick's The Shining, showing what appears to be a person crawling on the floor in the background of a scene with Danny Torrance, is likely explained as a crew member in an unusual position, possibly operating camera equipment or adjusting the set. Film historian John Fell Ryan used behind-the-scenes photos and meticulous analysis of continuity to determine the figure's position and potential actions, concluding it wasn't a ghost or intentional directorial choice, but rather a member of the production team inadvertently caught in the shot.

  For nearly half a century, an enigmatic photograph captured on the set of Stanley Kubrick's cinematic masterpiece, The Shining, has perplexed film enthusiasts and fueled fervent speculation. The image, a still from behind-the-scenes footage, depicts a celebratory cast and crew party held at the completion of filming. Nestled within the festive throng, a solitary figure, identified as Jack Torrance's stunt double, Tony Burton, is strangely seated, apparently writing diligently amidst the revelry. The peculiarity of his posture and activity, seemingly at odds with the surrounding merriment, has long been a source of fascination and debate.

  Now, after 45 years shrouded in mystery, a plausible explanation for this puzzling scene has finally emerged. Film historian Lee Unkrich, renowned for his meticulous research and exhaustive knowledge of Kubrick's work, proposes a compelling theory. He posits that Burton, rather than engaging in some cryptic or symbolic act, was simply occupied with a far more mundane task: filling out his time card. This seemingly prosaic explanation, supported by Unkrich's careful examination of the photograph and his understanding of filmmaking logistics, effectively demystifies the long-standing enigma.

  According to Unkrich, the end of a film shoot often involves a flurry of administrative duties for cast and crew members. This includes the essential but often overlooked task of accurately documenting working hours for payroll purposes. Given the timing of the photograph, taken at the wrap party signifying the official conclusion of filming, it stands to reason that Burton was diligently completing his time card amidst the celebratory atmosphere. This pragmatic interpretation, while perhaps less thrilling than more esoteric theories, offers a logical and compelling resolution to a decades-old cinematic mystery.

  Furthermore, Unkrich's theory is bolstered by the presence of what appears to be a small, rectangular object in Burton's hands, potentially a time card or similar document. The angle of the photograph and the surrounding activity make definitive identification difficult, but the object's size and shape lend credence to Unkrich's hypothesis. This meticulous observation, combined with Unkrich's deep understanding of film production practices, provides a compelling and satisfying conclusion to a question that has lingered in the minds of The Shining aficionados for generations. The seemingly eerie image, once imbued with an air of mystery, now serves as a testament to the meticulous research and dedication required to unravel the often overlooked details of cinematic history.

  • The Shining
  • Stanley Kubrick
  • movie
  • Film
  • mystery
  • photography
  • photo
  • Behind the Scenes
  • BTS
  • explained
  • 1970s
  • Horror
  • film history
  • Cinema
  • Overlook Hotel
  • paranormal

  Summary of Comments ( 30 )
  https://news.ycombinator.com/item?id=43660419

  Verbose tl;dr

  HN commenters generally agree that the proposed solution to the photo mystery – identifying a specific extra in a similar pose at a different event – is compelling and likely correct. Some praised the meticulous detective work involved. A few expressed continued curiosity about Kubrick's intentions, wondering if the inclusion was deliberate or coincidental, and if it added another layer to the film's unsettling atmosphere. One commenter highlighted the dedication and resourcefulness of internet communities in solving such mysteries, referencing other examples. Some debated the significance of the find, with some suggesting it demystifies the film while others argue it adds to its mystique.

  The Hacker News post discussing the mystery photo from The Shining generated a moderate amount of discussion, with a number of commenters engaging with the proposed solution and offering their own perspectives.

  Several commenters expressed satisfaction with the proposed explanation, finding the detective work impressive and the solution plausible. They appreciated the detailed analysis of clothing styles, hairstyles, and the logistics of the event depicted in the photograph, noting how these details aligned with the timeframe and location.

  Some questioned the certainty of the "solution," highlighting the inherent difficulty in definitively proving such historical claims based on circumstantial evidence. They acknowledged the compelling nature of the presented arguments but emphasized the possibility of alternative explanations. One user, for instance, pointed out the similarities between the identified individual and another person present at the Overlook Hotel during its opening, suggesting the possibility of misidentification.

  A few comments delved into the technical aspects of historical photo analysis, discussing the challenges of verifying old images and the importance of considering potential biases in such investigations. They also touched upon the role of online communities in collaborative problem-solving and the fascinating nature of uncovering historical mysteries.

  Several users expressed their continued fascination with Stanley Kubrick's film and its enduring mysteries, with some sharing their own interpretations of the film's symbolism and the director's intentions. The conversation briefly touched upon the nature of "viral" online content and how these kinds of stories capture public attention.

  Finally, some comments focused on the specifics of the photograph itself, such as the style of clothing and the expressions on the faces of the individuals depicted. One user pointed out the unsettling nature of the image, regardless of the explanation, contributing to the ongoing intrigue surrounding the film.

• The Biology of B-Movie Monsters (2003)

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  Posted: 2025-03-28 13:40:41

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  Michael LaBarbera's "The Biology of B-Movie Monsters" analyzes the biological plausibility of classic movie monsters. He applies basic principles of biomechanics, scaling, and physiology to creatures like Godzilla, King Kong, and giant ants, demonstrating how their depicted size and abilities often defy the laws of nature. LaBarbera explores the square-cube law, explaining why enormous creatures would crumble under their own weight and how the energy requirements for movement and bodily functions would be insurmountable. He uses humorous calculations and engaging examples to deconstruct the fantastical elements of these films, highlighting the inherent conflict between Hollywood spectacle and scientific realism.

  Michael LaBarbera's 2003 essay, "The Biology of B-Movie Monsters," published on the University of Chicago's Fathom platform, delves into the fascinating, albeit often ludicrous, world of cinematic creature features, analyzing the biological plausibility of these silver screen behemoths. LaBarbera, a distinguished professor of organismal biology and anatomy, employs his profound understanding of biomechanics, scaling laws, and evolutionary principles to dissect the often-exaggerated portrayals of monstrous life forms. He meticulously examines a diverse array of cinematic creations, ranging from gargantuan insects and arachnids to colossal apes and reptiles, meticulously assessing their structural integrity, locomotion capabilities, and metabolic demands.

  Central to LaBarbera's analysis is the concept of scaling, specifically the square-cube law, which dictates that as an object's size increases, its volume grows proportionally faster than its surface area. This fundamental principle has profound implications for the structural integrity and physiological function of any organism, particularly those of immense proportions. LaBarbera eloquently explains how the skeletal and muscular systems of a creature magnified to monstrous proportions would be subjected to exponentially greater stresses, rendering them incapable of supporting the creature's immense weight or facilitating movement. He illustrates this with vivid examples, demonstrating how a giant ant, for instance, would crumble under its own weight, its exoskeleton unable to withstand the increased gravitational forces.

  Furthermore, LaBarbera explores the metabolic challenges faced by such colossal organisms. The energy requirements of a giant creature would be astronomical, and he meticulously calculates the caloric intake necessary to sustain these behemoths, often revealing the absurdity of their depicted behaviors. For instance, he dismantles the notion of a giant praying mantis capable of rapid movements and aggressive predation, demonstrating that its metabolic demands would be so exorbitant that it would require an implausible and constant supply of prey to maintain its activity levels.

  Beyond the purely physical limitations, LaBarbera also delves into the evolutionary improbability of such creatures arising in the first place. He argues that the selective pressures that drive evolution would generally favor more efficient and sustainable body plans, rendering the emergence of gargantuan, structurally unsound organisms highly unlikely.

  Through his rigorous scientific analysis and engaging prose, LaBarbera not only exposes the biological fallacies inherent in B-movie monsters but also illuminates fundamental principles of biology, making the essay both an entertaining and educational exploration of the intersection of science and science fiction. He skillfully utilizes the fantastical realm of cinematic monsters as a springboard to discuss real-world biological concepts, demonstrating the power of scientific thinking to dissect even the most outlandish scenarios. Ultimately, "The Biology of B-Movie Monsters" serves as a testament to the importance of scientific literacy and the inherent fascination with the natural world, even when viewed through the lens of cinematic exaggeration.

  • B-Movies
  • Monster Movies
  • Biology
  • Science Fiction
  • Film Analysis
  • Film Criticism
  • Horror
  • Paleontology
  • Zoology
  • evolution
  • Kaiju
  • Creature Features
  • 2003
  • Academic Articles
  • Fathom Archive
  • University of Chicago

  Summary of Comments ( 21 )
  https://news.ycombinator.com/item?id=43505334

  Verbose tl;dr

  Hacker News users discuss the plausibility and biological implications of B-movie monster tropes. Several commenters analyze the feasibility of giant creatures, citing the square-cube law and its effects on structural integrity, locomotion, and metabolism. Discussions touch on Godzilla's improbable size, the necessary adaptations for giant insects, and the potential for alternative biological mechanisms that might enable such creatures. The impracticality of rapid growth and metamorphosis seen in many monster movies is also pointed out. Some users recommend other resources exploring similar concepts, like Haldane's essay "On Being the Right Size." Several express appreciation for the original article's engaging and informative approach to the subject.

  The Hacker News post titled "The Biology of B-Movie Monsters (2003)" links to an article exploring the (often flawed) biological plausibility of classic movie monsters. The discussion on Hacker News generates several interesting comments, revolving around the article's premise and expanding on its themes.

  One compelling comment points out that while the article is entertaining, its core argument about the implausibility of movie monsters is somewhat weak. The commenter argues that the very nature of "B-movies" embraces absurdity and doesn't strive for scientific accuracy. They suggest the article might be missing the point by applying serious scientific scrutiny to inherently fantastical creatures. This comment highlights the tension between enjoying fiction and overanalyzing its adherence to real-world rules.

  Another commenter expresses appreciation for the article's engaging and humorous approach to scientific concepts. They praise the author's ability to make complex biological ideas accessible and enjoyable for a wider audience. This highlights the article's success in using humor as a tool for science communication.

  Building on the article's analysis of giant insects, a commenter discusses the "square-cube law" which explains why scaling up an insect to monstrous size would make it structurally unsound. They provide further detail on how the exoskeleton of a giant insect would crumble under its own weight, reinforcing the article's point about biological constraints.

  Some commenters share personal anecdotes and memories related to B-movies and monster movies. One recounts watching a specific film featuring giant ants as a child, demonstrating the lasting impact of these kinds of films on popular culture.

  Finally, several comments branch off into discussing other examples of fictional creatures and their biological plausibility (or lack thereof), including Godzilla, King Kong, and various mythical beasts. This demonstrates how the article's core concept can be applied to a wider range of fictional scenarios, sparking further discussion and exploration of the intersection of science and fiction.

• Morse Code in Tubular Bells (2021)

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  Posted: 2025-01-23 20:19:59

  Verbose tl;dr

  The blog post explores a purported connection between Mike Oldfield's "Tubular Bells," famously used in The Exorcist, and Morse code. The author analyzes a specific section of the album and argues that the tubular bells play a sequence that translates to "BELLS." While acknowledging the possibility of coincidence, the author speculates that Oldfield, known for his meticulous approach to composition and interest in radio, might have intentionally embedded this message as a playful nod to his amateur radio background, potentially referencing his callsign "G3SWE." The post further links this potential Morse code to a rumored "curse" surrounding The Exorcist, suggesting the message could be interpreted as a signature or playful acknowledgement of the film's ominous themes.

  The blog post, "Morse Code in Tubular Bells (2021)," explores a fascinating, albeit ultimately debunked, theory connecting Mike Oldfield's iconic instrumental piece "Tubular Bells" with the world of amateur radio and specifically, Morse code. The author meticulously details their investigative journey, sparked by a fleeting, almost subconscious, perception of Morse code within the familiar melodies of the composition. This initial impression prompted a deep dive into analyzing specific sections of "Tubular Bells," particularly the introductory movements.

  The author employs various methods to scrutinize the music for encoded messages. These include painstakingly transcribing suspected Morse code sequences heard in the piece, converting these sequences into alphanumeric characters, and attempting to decipher any potential hidden meanings within the resulting text. The author demonstrates a clear understanding of Morse code principles, explaining the distinction between dots and dashes, and the process of translating these auditory elements into letters and numbers.

  The investigation focuses on isolating melodic phrases from "Tubular Bells" which exhibit rhythmic similarities to Morse code transmissions. The author provides detailed descriptions of these phrases, even specifying timestamps within the musical piece for reference. They then present their interpreted Morse code sequences alongside the corresponding decoded text. Despite the meticulousness of this approach, the deciphered messages ultimately yield incoherent and seemingly random strings of characters, suggesting no intentional coded communication.

  Furthermore, the blog post delves into the historical context surrounding the creation of "Tubular Bells," including the recording equipment used by Mike Oldfield. The author explores the possibility that unintended electromagnetic interference, perhaps from nearby amateur radio transmissions, might have inadvertently imprinted Morse-like patterns onto the recording. However, this hypothesis is also deemed unlikely, given the controlled studio environment and the nature of the recording process.

  Ultimately, the author concludes that the perceived Morse code in "Tubular Bells" is likely a product of pareidolia, the psychological phenomenon of perceiving meaningful patterns within random or ambiguous stimuli. While the initial suspicion of hidden messages proved unfounded, the author emphasizes the value of the investigative process itself, showcasing the power of curiosity and the analytical approach applied to unraveling a musical mystery. The investigation serves as an interesting example of how our brains can sometimes create connections where none actually exist, even within the intricate tapestry of a musical masterpiece.

  • Morse Code
  • Tubular Bells
  • The Exorcist (1973 film)
  • Soundtrack
  • Mike Oldfield
  • Music
  • Film
  • Horror
  • Amateur radio
  • Hidden Message
  • Easter Egg

  Summary of Comments ( 19 )
  https://news.ycombinator.com/item?id=42807653

  Verbose tl;dr

  HN users discuss the plausibility and technical details of the claim that Mike Oldfield embedded Morse code into "Tubular Bells." Some are skeptical, pointing out the difficulty of discerning Morse within complex music and suggesting coincidental patterns. Others analyze specific sections, referencing the provided audio examples, and debate whether the supposed Morse is intentional or simply an artifact of the instrumentation. The use of a spectrogram is highlighted as a method for clearer analysis, and discussion arises around the feasibility of Oldfield's equipment and knowledge of Morse at the time. Some express appreciation for the in-depth analysis of the blog post while others remain unconvinced, citing the lack of definitive proof. The comment thread also diverges into discussions about Oldfield's other work and general discussions on musical analysis techniques.

  The Hacker News post titled "Morse Code in Tubular Bells (2021)" has several comments discussing the linked article about potential Morse code hidden within Mike Oldfield's "Tubular Bells."

  Several commenters express skepticism about the claims made in the article. One points out that the supposed Morse code appears in a section of the piece with heavy phasing effects, making it unlikely that a deliberate, clean Morse signal could be embedded without being distorted. They also highlight the unlikelihood of Oldfield, known for his meticulous studio work, allowing such imperfections. Another commenter echoes this sentiment, suggesting the perceived Morse code is likely an auditory illusion or pareidolia, where random patterns are interpreted as meaningful information. This commenter further notes the lack of any known motive for Oldfield to include such a message, strengthening their skepticism.

  One commenter questions the methodology used in the analysis, suggesting that the author should have compared the audio to a known recording of the Morse code sequence they claim to have heard, rather than relying solely on their subjective interpretation. They also propose the possibility of the sounds being unintentional artifacts of the recording process or the instruments used.

  Another commenter delves into technical details, suggesting that the described sounds are more likely due to phasing between two slightly detuned oscillators rather than deliberate Morse code. They explain how such phasing can create rhythmic patterns that might be misconstrued as coded signals.

  One commenter recalls a similar experience listening to a different piece of music, where they perceived a Morse code-like rhythm, but ultimately attributed it to the natural rhythms of the music itself. This further emphasizes the potential for misinterpretation of musical patterns.

  Finally, some comments express general interest in the topic, even while remaining skeptical. They appreciate the exploration of the idea and the technical analysis provided by other commenters, demonstrating the engagement of the community with the topic despite the lack of definitive proof of hidden Morse code. There's a general sense of appreciation for the mystery and the discussion it generated.