Nowadays many people are familiar with the legend of the Philadelphia Experiment — but how did it all begin?
By Ali Gray via yahoo
Stanley Kubrick was one of the greatest and most fastidious directors to ever live – but because he died in 1999, he wasn’t around to debunk the ridiculous conspiracy theories that his finest works would end up attracting. Thus, the Kubrick canon is a breeding ground for insane alternative viewpoints, including but not limited to alien sex cults to fake Moon landings. Now, as ‘2001: A Space Odyssey’ enjoys a re-release, we present the strangest Stanley Kubrick theories out there – and they certainly are out there…
‘2001: A Space Odyssey’ proves the existence of aliens
This one requires you to make the small suspension of disbelief that Stanley Kubrick faked the Moon landings for the US government – no biggie. The reason he’d agree to such a thing, however, was because apparently, aliens beat us to it: there really was a Moon landing, but the version the public saw was shot by Kubrick to cover up the fact that the Apollo 11 mission was to cover up to the retrieval of alien technology. Gnostic scholar Jay Weidner suggests that ‘2001: A Space Odyssey’ – released one year before the Moon landing – was actually a “research and development project” that gave Kubrick the tools he needed to create the fake Apollo footage. And… exhale.
‘Dr Strangelove’ was a warning about flouride
If you’ve seen Kubrick’s cold war comedy – which actually started life as a deadly serious drama, before the actual Cold War ended up being stranger than fiction – you’ll be familiar with insane American general Jack D. Ripper (played by Sterling Hayden, above), who waxes lyrical on the Russians being behind fluoridisation: “the most monstrously conceived and dangerous communist plot we have ever had to face”. Some viewers think this is as straightforward as Kubrick warning about the dangers of fluoride (in high concentration it can be poisonous) but other theorists go even deeper down the rabbit hole, suggesting that the director intentionally made the character of Ripper insane to discredit those who believed fluoride was a serious threat. We’re not sure why he’d bother with all that, but there you go.
We know now that in the early years of the twentieth century this world was being watched closely by intelligences greater than man’s and yet as mortal as his own.
So began one of the most famous radio broadcasts of all time: the October 30, 1938 adaptation of H.G. Wells’s The War of the Worlds. Whenever Halloween rolls around, I always get in the mood to listen to the so-called “Panic Broadcast”. It’s one of my favouite radio shows. Not only is it a great program by itself, but I’m also fascinated by the story around it. Not the story that’s usually told, however, but the far more interesting truth behind what we all think we know about the “Panic Broadcast.”
Most people know the broad strokes of the popular story. On the evening before Halloween, the Mercury Theater on the Air starring Orson Welles performed a radio version of the popular science fiction story. What set the War of the Worlds broadcast apart from other shows the Mercury Theatre produced was its script, written by Howard Koch with input from Welles. Koch and Welles decided to use what was at the time an uncommon trick for creating realism: they framed the audio play as if it were itself a totally different radio broadcast experiencing a series of journalistic interruptions to the normal nightly entertainment.
What happened next is widely told today in books, in television documentaries, and online: many people tuned in after the show began and, lacking the context of the intro, assumed they actually were listening to news reports about New Jersey being invaded by Martians. This triggered a night of chaos as listeners panicked about the arrival of the interplanetary menace. People fled their homes; people flocked to churches; people called the police; people grabbed their guns; people contemplated suicide; all because of a fake news broadcast about Martian invaders.
The event created a social and political firestorm that threatened the radio industry’s very existence. Within a few days, newspapers were reporting that “literally MILLIONS OF PEOPLE understood the broadcast to be REAL”. A flurry of lawsuits was filed against CBS. Congressional hearings were declared, and regulations were imposed forbidding stations from airing fake news broadcasts. The Panic Broadcast has since become a morality tale for broadcasting, a warning against the misuse of the great power that media wields over the public.
At least, that’s the way it’s told. But how could reasonable people accept a fantastic event like Martian invaders as real? Before we answer that question, we need to ask a different question, one often asked here on Skeptoid: did it really happen the way it’s told?
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