Since March, 2010 we have posted analyses of four Stanley Kubrick films: Eyes Wide Shut, A Clockwork Orange, 2001: A Space Odyssey, and Lolita. This fifth analysis is a continuation of our study of Kubrick and of our January, 2012 post: “Kubrick and Apollo,” wherein we reaffirmed our certainty that Apollo 11 was a successful mission to the Moon, but that Stanley Kubrick apparently assisted in the creation of staged versions of the Apollo missions in order to mask scientific data gathered in space and on the Moon. As the “race for space” was central to the Cold War, his work also would have provided valuable backup in the event of a failed mission. As presented in “Kubrick and Apollo,” we believe that Apollo 12 was one such failure necessitating cover-up.
In “Kubrick and Apollo” we said that a clue to the fact that Apollo 12 was hoaxed was planted in one of Kubrick’s films. That film was The Shining, the entirety of which appears to have been Kubrick’s occulted revelation of his involvement in the clandestine side of the Apollo program and related freemason cabal. PluribusOne™ is not the first to break that news to the public, but our analysis is fresh, thorough, and well documented. Prime insights never before revealed are shared here, including the clue to the truth about Apollo 12. In The Shining, Kubrick is shining a light on dark truths.
First, we want to reveal that the fictitious Overlook Hotel, secluded n Colorado, symbolizes a Grand Lodge of Freemasonry. Every room represents a secret operation of the organization. Hotel manager, Stuart Ullman, describes the place as host to “all the best people” and mentions that the hotel’s construction began in 1907. Interestingly, the Masonic “Rocky Mountain Consistory,” listed in the National Register of Historic Places as the Mosque of the El Jebel Shrine, was built in Denver in 1907. The connection is one of many intentional breadcrumbs, or synchronicities, found sprinkled throughout the movie.
The nameplate on Stuart Ullman’s desk is a work of multivariate cryptography—a combination of jumbled letters of a word or words plus abbreviations, acronyms, and/or phonetic spelling. This kind of cryptogram eludes detection through use of ordinary anagram decryption software. The word in this case serves as a placeholder alerting the decoder to the fact that non-word elements are to follow. The clear placeholder here is LUNAR, followed by ATT (attention), US (United States), and LM (lunar module). There is a miniature American flag adjacent to the nameplate on the desk, and behind the seated manager’s head is a statuette of an eagle. Apollo 11’s LM (“lem”) was named “Eagle,” as in freemason Buzz Aldrin’s famous words: “The Eagle has landed.”
Kubrick used one of the guest rooms to symbolize space program secrets: Room 237. Numerologically, the number, 237 reduces to 12 and to 3 (2+3+7=12; 1+2=3). Film footage of Apollo 12 on the Moon was staged in a room or other contained area. The psychically-gifted chef, Dick Hallorann, cautions young Danny to “Stay out!” of that room. When Danny/”Doc” sees the room while riding his trike in the hallway, he discovers that the room’s dual doorknobs are locked, and in a moment of psychic shining “Doc” glimpses the dead twin girls, an allusion to NASA’s Gemini program and to the three deaths in Apollo 1’s fire.
Later we see Danny playing on hexagon-patterned carpeting, an abstract beehive. His toys are cars and trucks, including a delivery van and a cement mixer truck, and a bulldozer. The beehive is a Masonic symbol representing industry and we note that the beehive carpeting is in the section of the hotel where room 237 is located. While “Doc” is playing, a ball suddenly rolls up from out of nowhere—an invitation to “play ball,” the way we imagine Kubrick perceived the Masonic powers-that-be governing NASA calling on him from out of the blue to perform a patriotic duty perhaps in exchange for film-making assistance (national security enjoys the leading edge of technology). In any case, when Danny stands up we see him wearing a sweater that, oddly, commemorates the unmanned Apollo 2—an exaggerated II is shown, not 11—the test that followed the Apollo 1 disaster. Kubrick was apparently recruited about the time of Apollo 2’s launch.
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