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  • If (in the novel) Tony is Danny from the future, does that mean he came from a timeline where Jack succeeded in killing his family? In other words, where did Tony come from and why is he there?
    • In the other movie (miniseries?) Danny from the future helped himself in the past, sort of a closed time loop, but went by the name Tony to avoid confusing young Danny.
      • In the novel and the mini-series adaptation King did, Tony is Danny's future self. In the Kubrick film, he's not.
      • The movie never reveals just what Tony is, in the novel, Tony is Danny's future self sending mental projections into the past.
      • Maybe some of this is explained in Doctor Sleep?
      • No. In fact, it gets more baffling as Abra starts interacting with Tony when she's very young (she thinks Dan is Tony's father for a while).
  • Also something of a What Happened to the Mouse?: In the novel, Ullman (the manager) doesn't want to hire Jack because of what happened to Grady. He mentions, in passing, that he's more comfortable hiring a student or single guy as they have in the past. This must mean there have been OTHER caretakers. What happened to them? Did they just not "shine" enough? Were they too smart/not alcoholics/too strong for the hotel to get them?
    • It's possible they either didn't have the same susceptibility Grady and the Torrances had, or that them being there alone meant there weren't other people around to exasperate their cabin fever. Remember, thousands of people stay at the Overlook yearly, and only a handful are ever confronted with any of the hotel's nasty secrets.
  • Why did the family move to Boulder in the first place? I mean, lovely town and I'm very fond of it, but it's a long damn way from Vermont. Al Shockley got Jack the Overlook job. Was the idea that they would move to Boulder explicitly so Jack could take the caretaker position a few months afterward?
    • Re-reading the first part of the book, IMHO it seems like they moved due to the loss of income when Jack lost his teaching job at Stovington. Jack's pride wouldn't let him take any money from Shockley, so it seems likely that they moved to more affordable climes. And it's not like Jack was looked on very favorably by other staff members — he and Shockley became friends because they both drank to excess.
  • If the ghosts in the book and the mini-series wanted to kill Danny for his Shining, shouldn't they have tried to kill Dick prior to him trying to help Danny? Sure, he didn't Shine as strongly, but surely he had enough to at least be somewhat useful to them.
    • Firstly because he was never there alone. He was always there during the on season and the hotel was limited in how it got him, and it wasn't strong enough to outright kill people anyway, just influence. Second, he was also smart enough to avoid the things that could have harmed him like the lady in the bath.
    • As of Doctor Sleep , we find out that Hallorann's coping mechanisms are extremely strict, and as Danny grows older, he teaches him how to compartmentalize (literally) the ghosts into boxes so they won't bother him again. While this is a bit of a Retcon, it explains how Hallorann was never harmed by anything in the hotel, along with the previous explanation that he was likely never alone.
    • Hallorann was the cook, and the ghosts did not appear in the kitchen or cook's quarters (which is also the apartment where the Torrances live). There were certain areas of the hotel that were more dangerous than others, and Hallorann did have contact with some of them before the evil things were "powered up" by Danny's shine. He saw the topiary dog change positions. He went into the attic for something and the light went out and he stumbled around while it seemed like something was chasing him. And finally, after Dolores saw Mrs. Massey and got herself fired for screaming about it, Dick went to investigate. Mrs. Massey was not only there, she opened her eyes and started getting up before he ran. So yeah, the things in the hotel tried to get him when he was around them, but they weren't strong enough to do damage, and the later Retcon of his ability to compartmentalize helped a great deal.
    • Hallorann is also a grown man in his fifties who had lived with his ability all his life. From a young age, he had a grandmother who shared his gifts and who helped him understand how they worked. By the time he got to the Overlook, he was probably about as prepared as he could get. If the Overlook made a play for him, he might have been capable of defending himself. (Not to mention that he had one significant advantage over Danny: if things ever became too much for Hallorann, he could leave.)
    • Also, it's revealed in Doctor Sleep that the shining ability is more potent during childhood and adolescence. The True Knot group specifically targets children and teenagers for this reason, which helps explain why the hotel considers Danny to be more valuable, and is willing to exert so much effort to kill him.
  • Hallorann says the visions can't hurt you, but they do anyway. Was he wrong? If the visions could hurt people all along why did the hotel even need Jack?
    • Either he was trying to help Danny not be scared so much, or he thought it was the case that the ghosts were just visions or imprint and couldn't do genuine harm; possibly Danny's 'shine' helped power up the Hotel's spirits to give them more tangible power.
  • Why is Room 217 the only threatening room, since it sounds like several rooms had people die in them?
    • It's probably not the only dangerous room, but since numerous people with the Shining had already had bad experiences there, it's the one Hallorann chose to warn Danny about.
    • The novel mentions that Halloran had always seen visions in other parts of the hotel, but The Lady In Room 217 was the only vision that actually came after him. Which is why, by the time the end of that season comes around, Halloran has decided that it will be his last with the hotel.
  • Jack has pretty negative memories of his father, so why did he give his child the same middle name as him (Anthony)?

  • In the film, the biggest jump scare is Hallorann's violent death. Hallorann already knew that the Torrances were in danger, particularly Danny... if he can know that Danny's in trouble from across the coast, how can he not know that there's a madman with an axe less than ten feet in front of him?
    • Danny has both low-level telepathy (the titular Shining), and precognition. Hallorann has only the former, and only knew that Danny was in trouble because Danny contacted him, which Hallorann told him to do only in an emergency.
      • But that begs the question why he didn't come in armed. He knew it would be an emergency, so why didn't he bring any sort of weapon just in case?
      • He had tunnel vision, the sort of idiocy that plagues many people. He was concentrating entirely on his mental shields, because he figured that Danny was calling out to him due to the hotel "awakening", and thus the supernatural threats were foremost in his mind. He never considered that the ghosts in the hotel might actually know enough to Shoot the Mage First...
  • This is more of a meta thing but why do people give the movie a Maybe Magic, Maybe Mundane trope? When I first saw it, it all looked as though the supernatural elements were all real in-universe and didn't know it was ever supposed to remotely be vague. Sure, I suppose Jack could've been crazy enough to see ghosts but his wife and kid saw ghosts as well. There's also the often-mentioned unlocking of the freezer but beyond that, there's Danny and Hallorann's shinning together, how Danny got the bruises on his neck (it wasn't Jack so it must've been the lady in the tub as Danny mentioned), or the photo at the end of the movie. Oh, and Jack knew Hallorann was coming to the hotel because Grady told him. Either Grady is a ghost or Jack's hallucinations can predict the future somehow. How can anyone argue this was mundane?
    • First of all, as far as I know nobody questions that Danny and Hallorann truly possess telepathic powers. What is questioned by many viewers is whether the ghosts are real. Most of the ghostly sightings come from Jack, who is clearly in the thralls of a mental breakdown. Young Danny, who also sees and hears the ghosts, also shows signs of mental illness. The only other character in the film who witnesses the ghosts is Wendy at the end when she's trying to get away from the murderous Jack. Since she's in a state of hysteria, her visions could easily be hallucinations. In short, none of the three main characters are reliable observers, and so it's possible to interpret the ghosts as existing only in their minds. (For more on this, see Roger Ebert's analysis of the film.)
      • One would think that if you accept telepathy within the realm of a story, ghosts should not be that far-fetched. It's still a supernatural story even if the ghosts weren't real. Also, I would find it a little coicendental that all three characters hallucinate ghosts even though none of them mention ghosts outside reference to the woman in the bathtub (even then, no one called her a ghosts and the Torrences believed she might've been an intruder). This seems to smack a little of Genre Ghetto. Some critics might not be comfortable celebrating a horror movie about ghosts, but if they try to take a more realistic spin on the story, it's somehow more acceptable.
      • I don't agree that just because something supernatural or paranormal happens in a story, therefore anything goes. Indeed, the psychic abilities of the characters are a large part of what make their perceptions so ambiguous (again, read Ebert's analysis). Remember how Hallorann describes the shining to Danny: it isn't just mind-reading, but an ability to see the past, and he suggests that the hotel has left traces of its past which psychics like himself and Danny can pick up. The overriding question is whether the "ghosts" encountered by Jack, Danny, and Wendy (and possibly Hallorann) are physically present in the hotel or are simply visions they experience. The visions could be of people who did in fact once reside in the hotel, but that doesn't make them "ghosts" in the conventional sense. As for the "coincidence" of all the characters seeing ghosts, that isn't so clear-cut. Jack sees ghosts; Wendy and Danny merely see and/or talk to people who aren't there (a symptom of psychosis), and viewers tend to interpret them as also being ghosts, but that isn't the only possible explanation. The bottom line is that none of the major characters have a reliable perspective, and therefore it's difficult to tell what really went on in the hotel, even if they do tap into some otherworldly powers.
      • Not to mention, Jack's "ghost" encounters all happen in rooms with mirrors, with the general implication that he's talking to himself.
    • The novel explicitly states that Danny's "Shine" is not only allowing him to see the ghosts, but is starting to power them up like a battery, to the point where they can reach out and interact with non-psychics like Jack and Wendy. Kubrick didn't like the supernatural aspects of the story, believing it to be a pure psychological horror, so he just used the parts from the book he thought would work best on film and left it up to the viewer to draw their own conclusions. This was directly opposite to King's original novel (which was overtly supernatural) and is why King has never liked the film.
    • Word of God is that the ghosts are real, but that it's meant to be ambiguous until Grady lets Jack out of the freezer:
      • "For the purposes of telling the story, my view is that the paranormal is genuine. Jack's mental state serves only to prepare him for the murder, and to temporarily mislead the audience... As the supernatural events occurred you searched for an explanation, and the most likely one seemed to be that the strange things that were happening would finally be explained as the products of Jack's imagination. It's not until Grady (the ghost of the former caretaker who axed his family to death) slides open the bolt of the larder door allowing Jack to escape, that you are left with no other explanation but the supernatural."
    • The above Word of God is specifically (in context) related to the Steven King novel. The section that has been edited with ellipsis is: "It's what I found so particularly clever about the way the novel was written. As the supernatural events..." and the line which follows is "...explanation but the supernatural. The novel is by no means a serious literary work, but the plot is for the most part extremely well worked out, and for a film that is often all that really matters." Stephen King's book had moving firehoses and topiary, as well.
  • What did the photo at the ending mean? Was Jack "absorbed" into the hotel, or had he "always been the caretaker" (i.e. was some kind of reincarnation)?
    • Yes
    • Oddly enough, this is one of the few things about the film that Kubrick was clear on. He stated in an interview that it was supposed to suggest that Jack was the reincarnation of a former official at the hotel. In one scene, he tells Wendy that when he arrived for his interview, he felt like he knew the place already. It's because he already HAD been there...
  • Just what was that man in the dog suit doing?
    • Exactly what you think he was doing.
      • You learn more about it in the book.
      • In the movie, however, it is never explained, and is never mentioned again, making the whole scene entirely pointless. Yes, a somewhat relevant plot point can become utterly pointless if done different in another interpretation.
      • Why would a lack of explanation makes something pointless? I think it's a very significant moment in the film and the fact that it may be Narmy to some viewers doesn't change the fact that it scares Wendy, and would probably scare you too if you were in her position. It's significant that it's the only time any of the hotel's "ghosts" appear to Wendy. So, far from being pointless, it further pushes the ambiguity of the nature of the Overlook - is it really haunted, or is Jack mad? Is Wendy now mad and therefore hallucinating too? Or both? Or neither?
      • It was a vision of something that happened in the hotel once. Perverse partiers linger beyond their welcome. What else is happening in the film?
      • It's a vision of perversity, but the back story is one of betrayal and despair.
      • It's part of a rush of WONDERFULLY surreal eldritch images that I personally consider to be the film's Moment of Awesome (or maybe more specifically the elevator part is). Would added context really make these images more powerful than they are as mind screws? Really??
    • In the book, Jack is caught up in a costume party that was held sometime in the 1940s in the hotel. The man in the dog suit is a guy called Roger, who was the lover of bisexual playboy Horace Derwent (a Howard Hughes expy). Although Derwent is now bored with Roger, Roger wishes to carry on the relationship, and Derwent tells him that 'if he came to the ball as a doggy, a cute little doggy, he [Derwent] might reconsider'. The party scene includes moments of Derwent humiliating Roger in front of a group of people by making him do dog tricks. The man the dog suit guy is apparently 'servicing' is, most likely, Horace Derwent.
    • Some critics believe that it and some of the other horror scenes are supposed to 'stand in' for a traumatic event that happens when Danny wakes Jack up when he goes to get his toy fire engine. This kind of thinking has grown a lot more prevalent as Trauma Theory has advanced.
  • How exactly did Jack get out of the pantry? Grady? Grady is a ghost (or a figment of Jack's imagination).
    • Grady's ghost is just one part of a sentient hotel. The door latch is also.
      • If it can open the latch why not just open all the locked doors he has to chop down with his axe?
      • Rule of Scary?
      • There's no clear answer as to just what Grady is, and if he's a ghost, there's no in-universe reason for why he can't interact with his environment.
      • The Hotel is testing Jack. He needs a bit of a hand, but it won't do bloody everything for him.
    • Actually that part bugs me too, simply because it seems to be the only moment in an otherwise intriguing Maybe Magic, Maybe Mundane movie in which there is no easy answer from the "Mundane" column. The ambiguity is perhaps shattered irrevocably, and we know we're in a haunted building for real. Because if not, how could Jack have escaped?? Neither Wendy nor Danny would have ever let him out (Danny even less so, I think, if he were in "Tony" mode), and Hallorrann had not yet arrived. As far as we know, they're alone in the hotel, and Jack doesn't break through the door, assuming he even could. Didn't Kubrick say that the aspect of the story that fascinated him so much was the multiple possible interpretations?
      • Of course it could have been Danny. In that case, Grady's voice would have been a hallucination by Jack. Abused children often still love their parents, including letting them out of a locked room.
      • Danny is with Wendy for the entire "Redrum" bit. For him to have let Jack out, he would have had to have been told by Wendy where Jack is (not done on camera, IIRC). He could have snuck down and done it while Wendy was sleeping, but that would require him to somehow have let Jack out, made it all the way upstairs with much smaller legs, and then done the entire "Redrum" sequence before Jack caught up to him. Perhaps Jack could have been using that time to find the ax, but it would still involve him just standing in the freezer for no reason for the amount of time that it took Danny to get out of the enormous kitchen. Plus, it's not even clear if Danny can reach the latch on the freezer door, and there's nothing to directly imply that Danny did it anyhow.
      • Even if Danny could reach the latch, would he have been strong enough to undo it? Seems unlikely for a kid his age and size.
      • He was far too terrified of him to have let him out. The only thing I can think of is that there is a third personality we haven't seen, separate from Tony, but not only is there no evidence for this, it doesn't seem to fit anyway unless Danny has some suicidal part hidden in his psyche.
      • IIRC, in the book, Danny helps Wendy to move Jack into the pantry, and Jack starts to wake up and orders Danny to let him out. Danny almost instinctively starts to do so. Considering this, it doesn't seem completely implausible that Danny might have let him out.
      • Further, you could propose that Danny did it in his Tony persona, who may be scheming to force a final confrontation between father and son. In fact, you could probably read the entire film as Tony using his powers to drive Jack insane and eventually die so that (a la the Oedipus Complex) Danny can have Wendy to himself.
      • When Jack is trying to break open the door, one can see what seems to be an emergency release handle on his side of the door. It's possible that he opened the door that way. In any case, how he managed to get past the locked door is unclear as while Jack suggests that Grady opened it, the film purposefully does not show the door unlocking itself.
    • The hotel did it. It gains strength from souls who died there or apparently did something of significance, which is why it has all those people there and does all those freaky things. Danny, being a 'shiner' gave the hotel a lot of strength just by being there, which is why they wanted him so badly. With him supercharging it, the hotel became much more tangible.
      • Maybe Danny fell for Jack's Wounded Gazelle Gambit? Not a far stretch, he's only young, and might not understand such a tactic.
    • Only the door had a lock on it. We don't know where Jack got the axe and we don't see the condition of the storeroom after his escape. It's entirely possible the axe was inside (likely hanging on the fourth wall) and he used it to break through the wall and escape.
    • Word of God (see quote towards the top of the page) is that everything is meant to be ambiguous until Grady lets Jack out of the freezer. This moment is meant to end the ambiguity.
    • Again - this is Word of God related to the book. Not necessarily his film.
    • No, Kubrick (the director of the film) mentioned the quote above about the movie, this is Word of God related to the film not the book.
    • Kubrick has also stated that the film was about a family that was slowly going insane, so there may be a bit of Trolling Creator going around.
  • Me again, guy from above paragraph. I just thought of something else. Word has it from some reliable sources that Kubrick's original ending—which sadly I cannot yet find on Youtube; it was cut out right after the premiere—had Wendy awakening in a hospital and being told by Ullman that they Never Found the Body. I guess this could mean either that she was the insane one and it was all in her head—getting an imaginary husband from that photograph or something...?—or that Ullman, corrupt as he is, was just in a cover-up. The photo stands and ends the current cut, though it could be interpreted supernaturally as well—as Jack really having "sold his soul" to the hotel for that drink, for instance. CAN ANYBODY FIND ME A COPY OF THIS DELETED SCENE? PLEASE?
  • Regarding the above deleted scene, apparently Ullman gives Danny a yellow ball as a Callback to the Room 237 scene. I didn't notice a yellow ball, but I uh - ahem - have this habit of looking at my hands during scary movies. Anybody else see this "yellow ball"? I figured it must be important if it was in the original ending...
    • The ball rolls down the empty hallway where Danny is playing outside room 237. It's what first lures him inside when he notices the door has suddenly been unlocked. A few people have also pointed out that the "Gold Ballroom" is where Jack offers his soul for a drink and where he's talked into killing his family.
      • Jack also throws a different yellow ball, a tennis ball, at the wall in the Colorado Lounge.
  • Why is it called "The Shining"? I know Danny's telepathy is called the Shining, but it has almost no importance to the movie.
    • In the book, it's never referred to as "the Shining." It's either a verb (people "shine") or the noun is called "the shine." In an essay, King noted that the novel was originally called The Shine. Someone at the publisher thought it might be taken as something racist because the term might connote black shoeshine boys when we meet the (also black) cook, Dick Hallorann. And yes, that's just as stupid as it sounds. So the publishers changed the title to The Shining, which King never liked. As different from the novel as the movie is, the characters and concept are still adapted from the book so the adaptations have the same title.
      • Not quite as stupid as it sounds, unfortunately. The term "coonshine" is a racial slur related to black shoeshine boys, and, like "coon," "shine" was used as a racial slur up until around the early 1960s. Since the book was published in 1977, there'd be plenty of people who still remembered the usage and might make the unintended connection.
    • Danny's ability is called the Shining because that is the word Hallorann uses to describe it, which is the first time Danny's ever heard that it has a name. It seems to have something to do with the idea that people with this power have a little extra something that makes them stand out, like something shiny. The novel is called The Shining likely because psychic ability is the supernatural twist that drives the plot. From a marketing perspective, it's probably more unusual and interesting than naming it The Overlook. And the movie's called The Shining because Kubrick had the rights to the novel and dammit, he was going to use them.
    • In the book, Danny's and Jack's "shine" is also the reason the hotel is as active as it is. To people with lesser "shine" (like Hallorann) the hotel can only produce frightening images at worst. It's when someone like Danny, Jack, or presumably Grady come along with more "shine" that it starts to get really dangerous. So without "the Shining" the story would be pretty dull.
  • Okay, I may be totally dumb about this one, but... Why does Danny carefully follows his steps backwards into the labyrinth? I understand this is a way to find back the entrance, but it's also the surest way to stumble into Jack, who is also following Danny's steps. How does he manages to lure Jack and find the exit?
    • Jack is, at this point, highly confused and basically operating on animalistic instinct. The only thing it looks like he's thinking about is opening Danny up like a can of green beans. I always figured Danny wasn't really trying to lure Jack anywhere, that was just the quickest way to get him to lose Danny's trail. That way, Danny could escape, which he knows how to do (presumably) because he went through the maze at least one other time with his mother, earlier in the movie. And possibly more times, who knows? The point is, I think he took a risk of running back into Jack because Jack was moving faster than Danny was at the time, and would have surely caught up if Danny hadn't done something. It's just a happy coincidence that isolation or ghosts or alcohol or whatever has driven Jack so nuts that he can't figure out where Danny has gone, and spends the rest of his life thrashing around madly in the maze. Also, you're not totally dumb on this one. There are no stupid questions.
      • There's also the more practical reason, which we see in the next scene of Jack finding Danny's footprints. When he follows them back, they appear to stop at that spot. He then (IIRC) rubs out any other footprints he makes and hides until he can get away. Smart thinking.
      • Seconded, Danny backsteps and then jumps off the path, rubbing out the prints he makes on landing, so that Jack will follow the prints 'til they stop, but won't know where or in which direction Danny has disappeared to. I always thought Danny, being small, pushed or burrowed his way through the hedges until he could pick up the backtrail and escape, or just get through to the outside.
      • No there's no way Jack was moving faster than Danny. Even though Jack is an adult and Danny's just a kid, Jack was probably suffering from a concussion from Wendy's bat and was visibly walking/running with a severe limp by the time he was chasing Danny. With Danny hightailing it out of the hotel and into the maze and Jack limping in pursuit, Danny was most definitely moving far faster than Jack was.
    • Why he retraced his steps was explained, but as for how he got out, he just followed the trail back out. Both he and Jack left a trail of footprints, and they never deviated from that path until Danny backtracked and hid.
  • Was the naked woman ghost in the bath who tries to strangle Danny and makes out with Jack supposed to be Grady's wife?
    • It's been a while since I've read the novel, but I believe she was a socialite who committed suicide in the tub. Your interpretation is perfectly valid for the Kubrick version, however.
      • I don't recall the movie explanation, but in the book I believe Grady hacked up his kids, and then his wife, (or maybe he shot her before he shot himself) so she would have died in a different way, not in the tub.
      • In the novel she was an older woman who killed herself when her lover abandoned her, but since this woman is a lot younger, its possible it might have been Grady's wife. Or not. It can work either way.
      • Her name is Mrs. Massey. In the book, Watson tells Jack about how she arrived at the hotel sometime before the story begins (it doesn't specify when, although it doesn't seem to have been that long) with her lover, a young man. One afternoon, he left the hotel and didn't come back (it's never specified what actually happened to him), and not long after that, she killed herself in the bath. At no point in the book does she magically become younger (Watson says she was about sixty) and then make out with Jack, although she does try to strangle Danny. In the book, Dick and a maid called Delores Vickery (who Dick describes as having "a little bit of shine to her") also saw her.
  • When Jack put his face through the hole in the door, why in the HELL did Wendy stand there and scream while he spouted a one-liner, instead of stabbing him in the eye with the big KNIFE she was holding in her hand? Wasn't that the point of having the knife in the first place? I mean, I know it's a hard thing to do, but when he's got an axe and you've got an opportunity, not taking it is deadly. And that's probably why Shelly Duvall's Wendy is so universally hated.
    • When you are in extreme panic and stress, you do not always think clearly and even can become temporarily almost catatonic. This is completely normal and nothing unexpected. I don't see any problem with it.
    • Wendy did not want to kill Jack even after he made it clear that he wanted to kill her. Remember that after she knocked him out with the bat that she locked him into the room with the non-perishable food where he could easily survive for days or even months. She could have chosen the meat locker instead which would have killed him in hours, or she could have just kept hitting him with the bat until he died. She didn't. Her goal was to evade Jack and escape with Danny, not to kill Jack. The knife, like the bat before it, was a last resort that she did not want to use. IRL, not wanting to kill someone you love even when they become violent toward you is very common. The Kubrick version of Wendy reacts to events in a realistic way that does not fit the ideal that we tend to expect from fiction.
  • I'm probably missing some context from the book, which I haven't read, unfortunately, but the scene of Jack "selling his soul" for a drink caught my attention. It was outright stated that all the alcohol was removed from the hotel for insurance reasons. So how in the world was Jack able to get a glass of bourbon from Lloyd, ghost or no ghost, and actually taste it, to boot?
    • The easy explanation here is that Jack was heavily hallucinating.
    • Or that it was something that the hotel/the ghosts conjured up to tempt Jack. There are plenty of times when he interacts with objects that shouldn't be there.
  • What, if any, significance is there to Danny's Apollo sweater, aside from the Tinfoil Hat conspiracy theories regarding the idea that Kubrick faked the moon landing? It really seems quite prominent in that one scene.
    • No big significance, according to this article Kubrick wanted Danny in a sweater, and a friend of the film's costume designer had knitted the sweater, so Kubrick used it because it was something a little kid would wear. Knitters make stuff like this all the time. In the novel, Wendy was a knitter, so it's fun to pretend Wendy or one of her relatives might have knitted that sweater for Danny.
    • It could be symbolic in several ways. The Apollo 11 mission consisted of three people going to a remote, lifeless, unfamiliar location, much like the characters in the film. Also, Apollo 11 is a symbol of a triumphant USA, which is a recurring motif contrasting with the American Indian inspired hotel decor. For example, in an earlier scene Danny is wearing a red, white, and blue shirt. Ullmann mentions at one point that the hotel was built on an Indian burial ground, and that the builders fought off raids from local tribes during the construction. In the lobby, an American flag flutters above a collection of trophy-like displays of Indian artifacts. Then, we have the ominous photograph at the end which features a Fourth of July celebration. This is all in keeping with a popular interpretation that the hotel is haunted by vengeful spirits of natives whose burial ground was disturbed. Thus, according to this interpretation the patriotic symbols are a subtle way of representing the Torrences as targets of the spirits' hostility.
  • How does one give fellatio while wearing a face-covering bear mask?

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