Oct. 11, 2025
Halloween - Kubrick vs King - "Here's Johnny! The 45-Year War Over The Shining's Soul"
Stanley Kubrick turned Stephen King's most personal novel into a cinematic masterpiece—and King has never forgiven him. From the moment King watched Jack Nicholson prowl through Kubrick's cold corridors in 1980, he's waged war against the film that erased his story about alcoholism and redemption, replacing it with a meditation on inevitable madness. Featuring King's furious interviews calling the film "a beautiful Cadillac with no engine," Kubrick's silent dismissal of the criticism, and King's failed revenge with a 1997 TV miniseries that proved you can't kill a masterpiece. Marcus Reid explores how a recovering alcoholic's cry for help became a perfectionist's puzzle box, why audiences prefer the "wrong" version, and what happens when two geniuses fight over the meaning of horror itself. Forty-five years later, King still hates Kubrick's The Shining. Kubrick, dead since 1999, keeps winning anyway. Some ghosts refuse to be exorcised—especially when they look this good frozen in the maze.
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WEBVTT
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Calaruga Shark Media, May twenty third, nineteen eighty the Warner
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Brothers screening room in New York. Stephen King sits in
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the dark, watching his best selling novel transformed into Stanley
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Kubrick's vision on screen, Jack Nicholson, not the everyman teacher
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King imagined, but a man who looks insane from frame one,
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prowls through the overlook hotel's impossible corridors. King's wife, Tabitha,
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squeezes his hand. She knows what this story means to him.
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She was the one who pulled the early manuscript from
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the trash when he threw it away. She was the
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one who lived through his drinking, his rages, his own
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descent into the darkness that almost consumed their family. Now
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she watches her husband watch his most personal novel becomes
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something else. Entirely gone is the tragic fall of a
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good man destroyed by alcoholism and supernatural forces. In its place,
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a cold, meticulous exercise in madness. Beautiful and terrifying and
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completely wrong. That's not my story, King whispers as the
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credits roll. That's not my story at all. Kubrick wasn't
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at the screening. He was in England, already working on
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his next project, already forgetting The Shining like he forgot
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all his films once they were complete. When told of
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King's reaction, he reportedly shrugged, He'll get over it. He didn't.
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Forty five years later, Stephen King is still trying to
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kill Stanley Kubrick's Shining, and Kubrick, dead since nineteen ninety nine,
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keeps winning from beyond the grave. Welcome back to feuds, power, pride,
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and payback. I'm Marcus Reid. Some feuds are about money,
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others are about credit, but the rarest feuds are about
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something deeper, the soul of a story, the meaning of art,
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and who gets to decide what a tale really means.
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Episode thirty three, Here's Johnny the Battle for the Shining Soul.
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When Stephen King and Stanley Kubrick went to war over
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The Shining, they weren't just fighting about a movie. They
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were fighting about whether horror comes from within or without,
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whether madness is tragic or inevitable, whether the ghost is
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in the machine or the machine is the ghost. This Halloween,
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we're checking into the Overlook Hotel to explore how a
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recovering alcoholics deeply personal novel became a cold perfectionist. It's
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meditation on insanity and why the author has spent four
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decades trying to reclaim his story from one of cinema's
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greatest directors, Act One, the drunken writer and the mad perfectionist.
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To understand why the Shining became such a bitter battleground,
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you need to understand what it meant to both men
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and how fundamentally different they were as artists and human beings.
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Stephen King in nineteen seventy seven was a disaster waiting
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to happen. At thirty, he was already one of America's
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most successful novelists. Carrie and Salem's Lot had made him rich, famous,
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and increasingly dependent on alcohol and cocaine to fuel his
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prodigious output. He was drinking a case of beer a day,
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chasing it with whatever else was handy, writing in blackouts
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he couldn't remember. The Shining was born during a desperate
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family trip to the Stanley Hotel in Colorado. King, his wife,
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and their young children were the only guests as the
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hotel prepared to close for winter. That night, King dreamed
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of his three year old son, Danny, running through the
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hotel's corridors. Chased by a fire hose that had come alive,
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He woke up, lit a cigarette and began writing what
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would become his most personal novel. I was the guy
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who had a chance to be a good father and husband,
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King later admitted, and I blew it because of drinking
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and drugging. And that's really what The Shining is about.
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It's about a man who loses his family because he
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can't control his demons. Jack Torrance wasn't just King's protagonist.
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He was King's confession. A teacher and writer who loved
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his family but loved drinking more, a man whose rage
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simmered just beneath the surface, who brought oke his son's
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arm in a drunken fury, who made promises to quit
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that he couldn't keep. The Overlook Hotel's malevolent influence was
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just literalizing what alcohol was already doing to King's life.
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Stanley Kubrick couldn't have been more different. The Bronx born
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photographer turned filmmaker was cinema's ultimate control freak, a perfectionist
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who spent years between projects, crafting each film like a watchmaker,
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assembling complications. By nineteen seventy seven, He was a recluse
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living in England, communicating with the world mainly through assistance
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and telephone calls at odd hours. Where King wrote in
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fevered bursts, Kubrick planned with military precision. Where King was
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warm and self deprecating, Kubrick was cold and demanding. Where
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King believed in good and evil, love and redemption, Kubrick
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believed in humanity's essential savagery, barely contained by civilization's thin veneer.
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When Kubrick read The Shining, he didn't see a personal
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story about alcoholism and family. He saw a framework for
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exploring his favorite theme, the beast within man waiting to emerge.
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He didn't care about King's redemptive ending or the novel's heart.
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He cared about the geometry of horror, the architecture of madness.
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The Shining is about the murder of a family by
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the father, Kubrick told journalist Michel Sement. Not the tragic
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fall of a good man, not the corruption of love
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by addiction. Just murder, cold and inevitable as arithmetic act too,
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the adaptation as violation. The trouble began almost immediately. Kubrick,
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who had initially shown enthusiasm for collaborating, with King quickly
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made clear he had his own vision. King's screenplay, which
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faithfully adapted his novel, was rejected without explanation. Kubrick hired
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novelist Diane Johnson instead, someone with no horror experience who
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would help him intellectualize the material. King tried to stay positive.
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This was Stanley Kubrick, after all, the genius behind two
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thousand and one A clockwork Orange Barry Lindon. Surely he
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understood what made the shining work. But with each update
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from the production, King's heart sank further. Jack Nicholson was
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cast as Jack Torrance. King had wanted John Voyd or
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Michael Moriarty, every man who could show the journey from
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good to evil. Nicholson, fresh off one Flew Over the
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Cuckoo's Nest, looked crazy from minute one. There was no
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fall to portray because he started at the bottom. The
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whole point of Jack Torrance is that he's a nice
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guy who goes bad. King protested with Nicholson, you know
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he's going to go bad, You're just waiting for him
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to do it. Kubrick's response was silence. He was already
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shooting at Elstree Studios, turning the Overlook Hotel into a
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maze of impossible geography and symmetrical nightmares. He worked his
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cast like a drill. Sergeant Shelley Duval later showed interviewers
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her hair falling out from stress. Scatman Crothers broke down
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crying after sixty takes of the same scene. But it
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was the changes to the story that hurt King most.
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Gone was Jack's back story as an abused child repeating
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the cycle. Gone was the Overlook's extensive history and rules.
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Gone was the waspanest, the moving topiary animals, the complex
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mythology King had carefully constructed. In its place was atmosphere dread,
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uncertainty about what was real and what was madness. Most crucially,
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Kubrick changed the ending. In King's novel, Jack redeems himself,
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momentarily telling Danny he loves him before the Overlook consumes him.
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The hotel explodes, destroyed by a faulty boiler that caretaker
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Jack forgot to maintain. Love conquers evil, the family survives,
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the monster is defeated. In Kubrick's film, Jack freezes to
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death in the maze, trapped forever. In a nineteen twenty
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one photograph, the Overlook stands, eternal evil endures. There is
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no redemption, no love, no hope, just the endless maze
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and the frozen grin of madness. Act three, The War
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of Words. The Shining opened on May twenty third, nineteen eighty,
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to mixed reviews and modest box office. Critics were divided.
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Some called it a masterpiece, others found it cold and confusing,
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but audiences were fascinated by its hypnotic dread, its unforgettable images,
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its quotable madness. King's hatred was immediate and public. He
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didn't wait for diplomatic intervals or industry protocol. He went
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to war, in print, in interviews, anywhere someone would listen.
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It's like a big, beautiful Cadillac with no engine inside it,
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he told Playboy. You can sit in it, and you
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can enjoy the smell of the leather upholstery. The only
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thing you can't do is drive it anywhere. To the
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Los Angeles Times, Kubrick just couldn't grasp the sheer inhuman
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evil of the Overlook Hotel, so he looked instead for
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evil in the characters and made the film into a
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domestic tragedy with only vaguely supernatural overtones to anyone who
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would listen. That's not my story, that's not what I wrote,
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That's not The Shining. Kubrick's response was characteristic silence. He
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gave few interviews about The Shining, and when asked about
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King's criticisms, he was diplomatically dismissive. I think he feels
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it should have been a more literal adaptation, he said,
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but The Shining is Germane to questions that have concerned
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me for some time. This only enraged King Moore. Kubrick
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was treating his most personal novel like an intellectual exercise,
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a framework for his own obsessions. The recovering alcoholics Cry
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for Help had become a film studies thesis on the
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nature of evil. As years passed and The Shining's reputation
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grew from mixed reviews to acknowledged masterpiece, King's fury only
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intensified every critic's poll that ranked it among the greatest
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horror films ever made. Was salt in the Wound. Every
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film student who wrote about its deeper meanings was missing
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the point. The real problem is that Kubrick set out
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to make a horror picture with no apparent understanding of
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the genre. King wrote in his nineteen eighty one book
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Dance Macabre, everything about it screams that from beginning to end,
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Act four, the Revenge of the Author. By the nineteen nineties,
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The Shining had completed its transformation from divisive film to
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cultural touchstone. College students hung posters of those creepy twins.
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Here's Johnny became a catchphrase. Film theorists wrote books about
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its hidden meanings. The documentary Room two thirty seven would
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eventually posit that it was Kubrick's confession to faking the
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moon landing. For Stephen King, this was intolerable. His novel
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was being erased, replaced by Kubrick's wrong version. When people
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thought of The Shining, they thought of Jack Nicholson, not
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Jack Torrance. They thought of all work and no play,
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not The Wasps or The Boiler or The Redemption. In
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nineteen ninety seven, King got his chance for revenge. ABC
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agreed to produce a six hour mini series of The Shining,
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with King writing the screenplay and maintaining creative control. This
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would be his version, the real version, the one that
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understood what the story was actually about. King cast Stephen Webber,
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a likable everyman from Wings as Jack. The mini series
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filmed at the actual Stanley Hotel. Every detail from the
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book was restored. The wasps, the topiary, Jack's backstory, the
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boiler explosion. King even played a cameo as the bandleader
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conducting Midnight the Stars in d You, the same song
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that plays over Kubrick's frozen ending, now reclaimed. The mini
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series aired to decent ratings, but brutal reviews. Critics found
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it plotting, literal, lacking the very thing they'd initially criticized
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in Kubrick's version artistry. Where Kubrick had been too cold,
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King was too warm. Where Kubrick had been ambiguous, King
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was obvious. Where Kubrick had created unforgettable images, King had
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created forgettable television. Sometimes you confess your sins in a
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dark place. King admitted years later about the mini series.
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I wanted to take back my story, but you can't
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compete with those images Kubrick created. Once they're in the culture,
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they're there forever epilogue, The Ghost in the Machine. Stanley
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Kubrick died on March seventh, nineteen ninety nine, days after
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completing Eyes Wide Shut. Stephen King's statement was gracious, but
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couldn't resist a dig. He was a brilliantly talented filmmaker,
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and he made some amazing films. I just wish he'd
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understood what The Shining was really about. But death didn't
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end the feud, it made it eternal. King continues to
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criticize Kubrick's film in interviews in his two thousand thirteen sequel,
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Doctor Sleep in any forum where the Shining comes up.
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When Mike Flanagan adapted Doctor Sleep for film in twenty nineteen,
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he had to serve two masters, King's mythology and Kubrick's imagery.
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The fact that he chose to honor both, and that
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King finally approved of a Shining adaptation that included elements
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of Kubrick's film, was treated as a major reconciliation. Yet
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the war continues in the culture. Every Halloween, people dress
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as the Grady Twins or Jack's frozen face. Kubrick's inventions
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not Kings. The Overlook hotel that tourists imagine isn't King's
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explosive tragedy, but Kubrick's eternal maye. When the pandemic trapped
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families together, all work and no play memes exploded, Kubrick's
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line not Kings. The tragedy is that both versions of
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The Shining are masterpieces in their own right. King's novel
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is a raw, personal exploration of how addiction destroys families,
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how love can be corrupted but also redeemed. Kubrick's film
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is a cold, brilliant meditation on violence, madness, and the
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thin line between civilization and savagery. But King can't see
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it that way. For him, Kubrick didn't adapt the show.
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He strip mined it for parts, built his own machine,
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and let everyone think that was the real story. It's
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the author's nightmare, not just losing control of your creation,
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but watching it becomes something that negates everything you meant
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it to be. Some feuds end with understanding. Others end
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with death. The King Kubrick feud achieved neither. It continues
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every time someone watches The Shining, every time King gives
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an interview, every time a film student writes another paper
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about what it all means. In the end, both men
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were trapped in their own maze, unable to find the exit.
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King couldn't escape Kubrick's images, Kubrick couldn't escape King's complaints,
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and The Shining itself became both and neither a ghost
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story about what happens when two geniuses fight over who
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gets to control the narrative. The real horror of the
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Shining isn't the haunted hotel, or the murderous father or
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the psychic child. It's the battle between creator and adapt
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each convinced they alone understand the truth. Like the Overlook itself,
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their feud has always been there, frozen in time, waiting
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for the next generation to check in and choose sides.
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Because in the Overlook Hotel of cultural memory, checkout time
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is never I'm Marcus Reid. Thanks for listening to Feuds, Power, Pride,
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and payback. Happy Halloween from the Overlook Hotel, where the
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drinks are free, the views are spectacular, and the creators
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are still fighting over who owns the ghosts. Join our
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Feuds community on Facebook and Instagram, where thousands are debating
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whether you're Team King or Team Kubrick. Search Feud's podcast
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