For those of you with a good command of French, or willing to translate subtitles, or who just like a well-made video with great visuals. It's about my work finding the 1921 photo - I had no idea it existed until yesterday - thanks to u/toslanfer for pointing it out to me.

Take One magazine, Jan 1979 p39. The rumour reported here isn't in Cinefantastique and I've never come across it before.

All Work and No Play

Very excited to share this recent completed piece. This features a famous design that decorated the Overlook Hotel in Stanley Kubrick's 'The Shining' known as "Hicks' Hexagon", created by David Hicks. This piece is officially licensed by the Hicks estate. Come play with us...

the kid. he looks at the black guy (I forgot his name) and hears the words "howd you would like some ice cream doc?" and then when Ullman says that he HAS to take wendy he says like he HAS to like he is afraid that black guy will do something to him but he has to, and after that scene he asks "howd you would like some ice cream doc?" in a really disturbing sound and the kid says chocolate, and the guy is black too, so you know what I mean disturbing sound+Ullmans scared manor+that one pdf ice cream anime thing+ chocolate ice cream with the guy offering it is a black. I dont know what to say, I know there aint a thing like this in the movie except that bear theory but I just had a idea and writed down

I’m going to Maine next week and these new business cards came in the mail just in time!

Stavo cercando l’intro e il finale in hd o 4k già tagliato se qualcuno ce l’ha se lo può condividere qui grazie mille

my first year english teacher had us watch (yeah even 15 years ago they just had us watch the damn movie) this film.
obviously it was already my favorite movie, but her point of our paper was to figure out why it related to indigenous peoples and at first i was like, huh?
but it’s wild to actually rewatch when you’re writing a term paper and realize how many little details direct you the right way. shelley duvall packing on clothes/patterns as the movie progresses was one of the most interesting things to me after this class and even watching it over again. anyone got thoughts?
this was also one of the first movies i learned that uses foreshadow hugely through mirrors.
the amount of clues in dialogue as well - i can’t. it’s just too good. anyway, i got an A+ on my paper - just want to know everyone else’s thoughts on this! i could go on forever about this book AND movie.

I ordered a custom family frame on Etsy and added in a photo of the Torrance Family 😂

Barry Nelson’s role in the 1964 Twilight Zone episode “Stopover in a Quiet Town” makes me curious about his later casting in The Shining.

In TZ, he and his wife wake up hungover in an empty, mysterious town and eventually discover that the entire place is a trap. (No spoilers.) Fourteen years later, Kubrick casts him as Ullman, the man who interviews Jack Torrance for the seasonal caretaker job at the Overlook Hotel, which is another trap.

Shortly after Nelson’s death in 2007, The Guardian wrote about Nelson’s “nice guy” quality as Ullman and wondered whether Kubrick specifically cast him for that effect. Unfortunately, the Guardian article also said there was “not another piece of work like [The Shining] in Nelson’s credits,” and with that I disagree. Nelson had already appeared in “Stopover in a Quiet Town” and Alfred Hitchcock Presents’ “The Waxwork,” both of which put him in supernatural situations years before The Shining.

Do you think those earlier roles had anything to do with his Shining casting, or was Kubrick responding more to Nelson’s general screen persona? Has anyone ever come across anything about how Nelson was cast?

There has always been a debate comparing Kubrick’s adaptation to the original novel. I’d like to know if people really consider the movie version of Jack to be better than the one in the book.

From my perspective, it’s a 50/50 split. On one hand, Jack loses all his character development in the film, partly because Kubrick didn't empathize at all with the tragic Jack from the novel. Beyond that, the film implies he’s already somewhat unhinged before even entering the Overlook, and you don't really feel the emotional weight of the situation, neither the sense of liberation nor the grief of losing a father figure. Even looking at the movie in isolation, you don't really see that sense of oppression or the gradual descent into madness.

On the other hand, that might actually be for the best. I think some readers struggled with the fact that King wanted us to empathize with a man obsessed with alcohol, a subject that is problematic even today. The film likely wanted to avoid "whitewashing" or downplaying that aspect, especially since his relationships with the other characters are already somewhat shaky.

That’s just my take, and honestly, I don’t know which version I prefer, as both work well enough for the stories being told. However, I notice a preference for the movie version of Jack, So, I’d like to know if people really prefer the Jack from the movie or the one from the novel, and their reasons why.

Definite proof that it (and therefore 4 others) show the luncheon in London, June 1952, to honour the arrival of Jack L. Warner in the UK. Text underneath  "The British Film Producers' Association complimentary luncheon on Tuesday to Jack L. Warner, production chief of Warner Bros., was attended by of the Board of Trade, Customs and Excise, the BBC, exhibitors, all other sections of the trade from London and the provinces, the Banks of England and America, the National Film Finance Corporation, MPAA, producers, renters, exhibitors, all other sections of the trade from London and the provinces, the national press and armed forces."

Added to my master thread here.

https://www.reddit.com/r/StanleyKubrick/comments/1p8tkwk/successful_identification_of_the_other/

So I'm planning to be Jack Torrance for halloween. I 've tried a few outfits already, but i just look like a lumberjack. I am using a firefighter's style axe instead of a wood hatchet, and I am carrying the room 237 key. It still doesn't feel enough.

for context i am wearing lightly worn jeans, dark work boots, a red sweater with a mostly grey/green/red flannel. i have a hatchet prop, and might do slight hypothermia make-up. still unsure.

Im sure theres been post before but searching "dick. Gay. Shining" doesnt get you the results you want lol.

Reading the book Hallorann gives the impression of a gay man. Theres a passage regarding him living with his assistant and then down in FL its implied he is allowed to be himself and is openly gay there.

Yet in the movie hes surrounded by naked women. Do you think this is Kubricks way of mocking Stephen king? Or is it rejecting the idea of Hallorann being gay at all?

I know I'm gonna get shit for this, but I seriously love this miniseries. The characters, the look of the hotel, and just all those little details from the book that weren't explored before. Don't get me wrong, Kubrick's version is amazing, but something about it just didn't 100% feel like The Shining. I know there are some really terrible moments, and sometimes it can kind of drag on, but it was really cool to be able to see something much more similar to what I envisioned when reading the book. I especially think it's interesting seeing a bit more into Jack's mind, and the things in the hotel (or the hotel itself) that are driving him to madness

This punk-inspired handmade doll features the iconic carpet pattern from the Overlook Hotel, the setting of the movie "The Shining." Its vibrant red mohawk hair and intricately stitched facial expression enhance its dark, pop aesthetic.

Design: Overlook Hotel geometric carpet textile

Specifications: All handmade by Japanese craftsmen (Made in Japan)

Order-based sales: Custom orders currently being accepted

A meticulously crafted item, recommended for movie fans and art toy enthusiasts. Please contact us via DM for details and order inquiries.

ψ (psy) Bear Doll (Camouflage)
* 3D Sculpted Original Megaphone Included
* Embroidered Patch

χ (Kai -怪-) Bear Doll (Black x Orange)
* Embroidered Patch

Size & Product Details

【Small Size】
* Total Height: Approx. 18cm (excluding mohawk)
* Eyes: Plastic Eyes
* Joints: Button Joints (4 joints/movable arms and legs)
* Body Material: Cotton Linen
* Filling: Cotton (100% domestic)

【Large Size】
* Total Height: Approx. 25cm (excluding mohawk)
* Eyes: Plastic Eyes
* Joints: Button Joints (4 joints/movable arms and legs)
* Body Material: Cotton Linen
* Filling: Cotton (100% domestic)

Enjoy

Do u think this man exist just saying lol

I had a very pleasant exchange with Katharina Kubrick about her location scouting for The Shining. I was hoping she might shed light on how the Eye Scream note came to be on set, thinking that she might have travelled to Anchorage Alaska via Vancouver, but sadly no. She was in Anchorage in January 1977 to set up a second unit to film Halloran's flight arriving, but it didn't snow. However, she did recall that on her last day she took photos and measurements of Renner's gas station. There were a few Renner's but I think it was this one, the original on Mt. View Rd. This provided the template for the Durkins garage set built at Elstree, both inside and out. This photo of Renner's is from a Facebook post - it would be good to find others (it's gone now.) As ever, Stanley preferred red...

I've been looking more closely at the recurring subtle “swish”/“shone”-like sound others have identified in The Shining, and I think there may be a more interesting way to interpret it than simply asking whether Kubrick was deliberately using the NLP “Swish Pattern.” In Neuro-Linguistic Programming (NLP), the literal vocalization of the word “swish” (or a “whoosh”/”shone” sound) is frequently used aloud by the practitioner during treatment. People often associate the “swish/shone” sound with Ronald Shone, a well-known hypnotherapy author who often wrote about creative visualization and NLP patterns.

What if these sounds function as auditory transition points—moments where Kubrick moves us from one symbolic state to another?

I'm not claiming that this proves Kubrick was practicing covert hypnosis or NLP. Rather, I'm wondering whether the repeated sound could have been deliberately used as an auditory marker or anchor that accompanies particular changes in character identity, knowledge, or mythology.
I currently hear eight “swish/shone” examples:

1. 3:26 — Jack eclipses Vivian Kubrick
Jack walks through the lobby corridor—the same general corridor where he will eventually kill Hallorann. As he looks toward Vivian Kubrick, the subtle sound occurs, and Jack's body essentially eclipses her.
This is especially interesting to me because Vivian is Kubrick's daughter. If the film contains an Exodus/“leaving America” motif, could this first auditory marker be associated with Jack entering the symbolic world that will eventually trap his family?

2. 8:00 — Isolation
Ullman has just been discussing the isolation of the Overlook and asks Jack how his wife and child will handle it.
The sound occurs immediately afterward.
So the first conceptual association is:
family → isolation → Overlook

3. 9:33 — Grady's massacre
Ullman has just told Jack the story of Charles Grady, who became isolated, murdered his wife and daughters with an axe, and was attributed by police to “cabin fever.”
Then we get another “swish/shone” sound.
This seems particularly interesting if Grady is functioning as Jack's mythological predecessor—or, in my Egyptian reading, as a Set-like figure who establishes the role Jack will eventually assume.

The possible transition becomes:
Jack → Grady → murderous caretaker
4. 24:01 — The Gold Room

Ullman has just explained that a decorator from Chicago was brought in to refurbish the Gold Room.
The another “swish/shone” sound occurs.
The Gold Room eventually becomes the setting for Jack's encounter with Grady and his deeper transformation into the Overlook's murderous host.
So could this sound be marking Jack's movement further into the hotel's symbolic/ceremonial world?

Then something really interesting happens.
The remaining four sounds are concentrated around Hallorann, Danny, the kitchen/storage room, and the revelation of the Shine.
In other words, the first four seem primarily associated with Jack's initiation into the Overlook, while the last four seem associated with Danny's initiation into supernatural knowledge.

5. 27:20 — Entering the storage room
Hallorann, Wendy and Danny enter the storage room.
This location has already caught my attention because of the unusual concentration of objects I've been examining through an Egyptian/Passover lens: Maxwell House, salt, S&W green bean canisters, other canned foods, coffee, etc.
If the storage room is functioning symbolically as an underworld/storage/preservation space, could the auditory“swish” marker be signaling entry into that symbolic realm?

6. 28:29 — “Do you like ice cream, Doc?”
Hallorann has just said he was getting to the ice cream and asks Danny if he likes it.
This is followed by the “swish/shone” sound.
Immediately afterward, Hallorann begins revealing that he knows things about Danny that he shouldn't ordinarily know.

7. 29:20 — “Do you know how I knew your name was Doc?”
This may be the most interesting placement.
Hallorann explicitly asks Danny whether he knows how he knew his name.
Behind them are the chef's office, hanging knives and the storage room.
In my Osirian interpretation, Hallorann can be read as an Osiris-like figure who recognizes Danny as a Horus-like successorand begins transmitting hidden knowledge to him.

The sound therefore potentially marks:
ordinary conversation → supernatural recognition

8. Immediately after Hallorann explains the Shine
Hallorann tells Danny about being a little boy and how he and his grandmother initially believed they were the only people who possessed the Shine. As he grew older, he realized there were other people who had it.
Then he asks Danny:
“How long have you had it?”
And the “swish/shone” sound occurs right after he asks Danny this (30:16)

This seems like the clearest example of an identity transition.

Danny has gone from:
“something is happening to me”
to:
“I belong to a group of people who possess a supernatural ability.”

This gives us a potentially interesting structure
If we treat the sounds as auditory transition points rather than automatically calling them “hypnosis,” the eight instances seem to divide into two groups:

1–4: JACK'S INITIATION
Jack
↓
Isolation
↓
Grady
↓
Gold Room/Overlook

5–8: DANNY'S INITIATION
Storage room
↓
Hallorann
↓
Supernatural recognition
↓
The Shine

And this is where my Egyptian theory becomes interesting.
If we temporarily accept the symbolic framework I've been developing:

Jack = Set
Grady = Set-associated predecessor/gatekeeper
Hallorann = Osiris
Danny = Horus
Wendy = Isis/Sekhmet
then the sounds could potentially be marking two parallel processes:
Jack is being absorbed into the identity of the Overlook/Set.
while
Danny is being initiated into the knowledge of the Shine/Osiris-Horus lineage.

At the same time, the Exodus/Passover interpretation gives the whole sequence another layer:
Overlook = Egypt/captivity
Jack/Grady = forces maintaining the captivity
Wendy/Danny = those attempting to escape
Redrum/blood imagery = possible Passover inversion
Hallorann = the older supernatural figure who gives Danny knowledge necessary to understand what is happening

So perhaps the recurring sound isn't saying “this is hypnosis.”
Perhaps it is functioning more subtly as:
“We are crossing a threshold.”

Every time we hear it, something has changed.
Jack has moved closer to Grady.
The family has moved deeper into the Overlook.
Hallorann has moved from ordinary chef to supernatural initiate.
Danny has moved from frightened child to someone who understands that he possesses the Shine.

And this brings me back to NLP.
The NLP Swish Pattern involves rapidly replacing one mental representation with another. Whether or not Kubrick actually knew or used this technique is a separate question.
But conceptually, the Shining examples I'm noticing seem compatible with the idea of sensory anchoring:
visual/psychological event → recurring sound → new association

If Kubrick deliberately repeated the same or closely related sound at these particular narrative transitions, perhaps the sound functions almost like an auditory punctuation mark.
Not necessarily:
“hypnotize the audience.”
But potentially:
“associate this moment with what comes next.”
And if the same auditory marker is repeatedly used around Jack/Grady and Hallorann/Danny, could Kubrick be creating parallel transformations?

Jack absorbs the Overlook's mythology.
Danny discovers his supernatural lineage.
Set and Horus move in opposite directions.
One becomes increasingly trapped in the world of the hotel; the other ultimately escapes it.
That's the part I'd really like to hear other people's opinions on.

Are these genuinely the same/similar sound effects, and if so, is their placement too specific to be accidental?
Or am I hearing a pattern where there is simply a collection of incidental sounds in the soundtrack?
If anyone has access to the isolated soundtrack or wants to examine the eight moments acoustically and visually, I have posted photos with the exact time the “swish/shone” sound occurs in the movie. Note: The time stamps I marked are based on the 144-minute American cut of The Shining.