Poltergeist activity is probably the most misunderstood form of paranormal activity, at least in conjunction with haunted houses. The word poltergeist actually means “noisy ghost” when translated from German and for many years, researchers believed that noisy ghosts were causing the phenomena reported in these cases. It was assumed that the things which occurred in a house that was “haunted” by a poltergeist were caused by an outside force. While some cases of real-life “poltergeists” have turned out to be both “intelligent” spirits and the work of human agents, some cases exist that lead researchers to believe that they may actually be combination of the two. But then… what if it’s possible that some locations actually attract both kinds of phenomena?
“This is the Zodiac speaking”. With those words, written in a letter to The San Francisco Examiner, a killer was christened and a mystery born that continues to this day. The letter, received by the newspaper on August 4 1969, was claiming credit for 2 sets of recent murders in the Bay Area around San Fransisco. It was the second letter from someone claiming to be the killer, but this time he gave himself his soon to be legendary name — ‘The Zodiac’. More murders would follow, along with more letters to local newspapers and police. The Zodiac’s terrible crimes were being publicly played out in the nation’s newspapers, with each twist and turn holding the American public under a grim spell. And then he stopped. Less than a year after his first murder, the Zodiac killer simply stopped killing. But did the Zodiac killer actually ever exist?
If American filmmaker Stanley Kubrick is not the greatest director of all time, as many critics believe, he is certainly one of the most mysterious. Basing himself in London from the 1960s, the reclusive Kubrick turned out a string of classic films; Dr. Strangelove, 2001: A Space Odyssey, A Clockwork Orange and Eyes Wide Shut, characterized by their dark humor, dense subtexts, and visual innovation. Kubrick’s work has exerted both an immense influence on other filmmakers and considerable impact on our wider popular culture. But as time went on, the gaps between each film grew longer, as the meticulous Kubrick begun to obsess over ever detail of his work. Each film became the culmination of years of preparation, the ostensible story and plots becoming secondary to Kubrick’s more esoteric concerns. Perhaps more than any other filmmaker, Kubrick’s work is analyzed for its hidden meanings. The director’s classic 1968 science fiction epic 2001: A Space Odyssey often appears on film critics all time best lists. It’s exploration of mankind’s evolution been guided by an alien force revolutionized film special effects. But it was more than just a technical feat, it was a work of art exploring metaphysical concepts using visual metaphors and symbolism. Of all Kubrick’s film, the one that has captured the public imagination more than any other appears to be his simplest. At its release in 1980, many wondered why the great filmmaker had chosen to adapt a straightforward horror novel by Stephen King… The Shining. The film puzzled critics and King himself hated it for making inexplicable changes to his source material. But perhaps there is a reason Kubrick made so many changes… and that is to insert hints to close watchers of the film, of a larger, incredible real-world secret. Could Kubrick have been using “The Shining” to try and expose something the government had covered up?