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Anton LaVey's shadow: The Church of Satan's uncredited hand in The Car (1977)

The Car (1977 film) 1970s Bizarre & Myths Archive: verified 4/5 wildness

One of the stranger backstage footnotes to Elliot Silverstein's 1977 horror outing is the direct link to Anton LaVey, founder and high priest of the Church of Satan. LaVey is acknowledged in the film as an uncredited technical advisor — a fact that the producers leaned into by opening the picture with an invocation-style epigraph clearly lifted (and slightly altered) from The Satanic Bible. The opening line, "Oh great brothers of the night, who rideth upon the hot winds of Hell, who dwelleth in the devil's lair; Move and appear!" is a tweak of a passage from the "Invocation Employed Towards the Conjuration of Destruction" section in "The Book of Leviathan: The Raging Sea." That connection gave the film a deliberately occult patina at a time (the late 1970s) when Satanic imagery was a hot-button cultural stimulant. The acknowledgment and the credited quotation — modestly altered for the screen — helped nourish the film's reputation as a cult oddity and fed later urban curiosity about whether the movie itself was cursed or occultly influenced. Historically, the involvement is documented and verifiable; it is less a conspiracy than an instance of a horror production courting the sensational credentials of a notorious figure to heighten atmosphere.

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Anton LaVey's shadow: The Church of Satan's uncredited hand in The Car (1977)AI concept artwork

Archive Record · 1970s

Bizarre & Myths4/5 wildness

Anton LaVey's shadow: The Church of Satan's uncredited hand in The Car (1977)

The Car (1977 film) / 1970s

One of the stranger backstage footnotes to Elliot Silverstein's 1977 horror outing is the direct link to Anton LaVey, founder and high priest of the Church of Satan. LaVey is acknowledged in the film as an uncredited technical advisor — a fact that the producers leaned into by opening the picture with an invocation-style epigraph clearly lifted (and slightly altered) from The Satanic Bible. The opening line, "Oh great brothers of the night, who rideth upon the hot winds of Hell, who dwelleth in the devil's lair; Move and appear!" is a tweak of a passage from the "Invocation Employed Towards the Conjuration of Destruction" section in "The Book of Leviathan: The Raging Sea." That connection gave the film a deliberately occult patina at a time (the late 1970s) when Satanic imagery was a hot-button cultural stimulant. The acknowledgment and the credited quotation — modestly altered for the screen — helped nourish the film's reputation as a cult oddity and fed later urban curiosity about whether the movie itself was cursed or occultly influenced. Historically, the involvement is documented and verifiable; it is less a conspiracy than an instance of a horror production courting the sensational credentials of a notorious figure to heighten atmosphere.

Archive: verified

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5896 stories

5896 stories in this selection.

01

Bizarre & Myths2010s

The Porn-Star Mural That Rode Around Kerala on a Promotional Bus

Johnny Sins and the Kerala Promotional Bus Campaign

In July 2018, an advertising campaign in the Indian state of Kerala placed a mural featuring Johnny Sins and several other adult-film performers on the side of a bus. The vehicle was used in a marketing effort intended to promote college tour rides, turning recognizable pornographic performers into highly conspicuous public advertising. The campaign was startling not because Sins had secretly appeared in a mainstream Indian production, but because his image—normally associated with private adult entertainment and internet memes—was displayed on public transport in a densely populated region. The stunt illustrated the unusual reach of his celebrity and the willingness of advertisers to exploit his meme status, even in a setting where such imagery could provoke confusion or controversy.

Archive: verified ↗
02

Bizarre & Myths2010s

The Pakistani Official Who Mistook a Porn Meme for a Photograph of a Kashmiri Victim

Johnny Sins

In 2019, a photograph of Johnny Sins was mistakenly identified by a former Pakistani foreign-office spokesperson as showing a Kashmiri victim of pellet-gun violence. The error was especially surreal because Sins's internet fame rested on his exaggeratedly broad catalogue of fictional professions—including doctors, plumbers, and other authority figures—while the image was being presented in a serious political and humanitarian context. Once the identity was recognized, the mistaken post became an international meme, with users mocking the extraordinary mismatch between the photograph's real subject and the claim attached to it. The incident was not a scandal involving Sins personally, but a striking example of how adult-industry imagery, political misinformation, and meme culture collided online.

Myth / folklore ↗
03

Bizarre & Myths2010s

The Viral Las Vegas Shooting Hoax That Falsely Declared Johnny Sins Missing

Johnny Sins

In October 2017, shortly after the mass shooting in Las Vegas, an image of Johnny Sins began circulating on Twitter alongside the false claim that he was among the people missing after the attack. The post became part of a broader wave of viral misinformation that exploited the confusion and fear surrounding the tragedy. Sins was not missing, and the claim had no connection to the official casualty or missing-person reports. The episode demonstrated how his unusually recognizable appearance—and the internet's familiarity with his many fictional occupations—made him an easy target for fabricated breaking-news posts. Rather than being a genuine disappearance, the incident was a sensational social-media hoax that attached a famous adult performer to a real-life catastrophe for shock value.

Debunked ↗
04

Bizarre & Myths2010s

The $3.4 Million Plan to Film the First Adult Movie in Space

Johnny Sins and Pornhub's Space Film

On June 10, 2015, Pornhub announced an extraordinarily ambitious crowdfunding campaign: an attempt to produce the first adult film in space. Johnny Sins and performer Eva Lovia were announced as the intended stars, with the proposed production requiring them to undergo six months of specialized preparation covering zero-gravity movement, launch velocity, and extreme temperature conditions. Sins presented the plan as something larger than a conventional adult production, saying it was about making history rather than simply earning money. The campaign ran for 60 days on Indiegogo, but the practical and financial obstacles proved overwhelming. It raised $236,086—an impressive sum in isolation, but far short of the $3.4 million target needed to execute the mission. No space launch or film shoot followed, leaving the project as one of the most audacious unrealized publicity stunts in the history of adult entertainment.

Archive: verified ↗
05

Bizarre & Myths1990s

The First 3D Computer Reconstruction Used in a Criminal Trial

Jim Mitchell murder trial

The Mitchell murder trial also became a landmark in courtroom technology. To explain the complicated sequence of the shooting, crime-scene analyst Alexander Jason created a computer-generated reenactment showing where Jim and Artie were positioned, where the bullets struck, and the paths the rounds allegedly took through Artie’s body. The animation was admitted as evidence, making the case an early—and, according to the account, the first—criminal trial to use a three-dimensional computer animation to reconstruct a killing. The novelty of the exhibit gave the defense an unusual target. In his closing argument, attorney Michael Kennedy attempted to ridicule the virtual reconstruction, treating it as an artificial spectacle rather than a reliable explanation of the physical evidence. Instead, the technique helped establish a precedent for visual and computer-assisted demonstrations in later trials. The episode was subsequently revisited by the television series Forensic Files in its “Sibling Rivalry” episode, alongside discussion of sound analysis and the forensic evidence surrounding Artie’s death.

Archive: verified ↗
06

Bizarre & Myths1940s

The Childhood Accident in Which Richard Cole Swallowed Bleach

Steve Taylor

Before he became known as Steve Taylor—the bearded, muscular performer, photographer, and business operator behind Surge Studios—Richard Cole survived a frightening childhood accident: he swallowed bleach. The incident is one of the few unusual details recorded about his early life, and it stands out against the otherwise sparse biographical record of his childhood in Dixfield, Maine. The account does not describe the quantity ingested, the medical treatment, or the long-term physical consequences, so the episode should not be embellished into a more elaborate near-death legend than the available record supports. What is established is simply that Taylor survived the poisoning and went on to build a career across modeling, adult-film performance, photography, and entrepreneurship. The strange early-life episode lends an unsettling edge to the biography, but it is not presented as a supernatural event or a Hollywood myth; it was an accidental poisoning documented as part of his life history.

Archive: verified ↗
Showing 1–6 of 5896

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The Car (1977 film) / 1970s

Anton LaVey's shadow: The Church of Satan's uncredited hand in The Car (1977)

Bizarre & MythsArchive: verified4/5 wildness

One of the stranger backstage footnotes to Elliot Silverstein's 1977 horror outing is the direct link to Anton LaVey, founder and high priest of the Church of Satan. LaVey is acknowledged in the film as an uncredited technical advisor — a fact that the producers leaned into by opening the picture with an invocation-style epigraph clearly lifted (and slightly altered) from The Satanic Bible. The opening line, "Oh great brothers of the night, who rideth upon the hot winds of Hell, who dwelleth in the devil's lair; Move and appear!" is a tweak of a passage from the "Invocation Employed Towards the Conjuration of Destruction" section in "The Book of Leviathan: The Raging Sea." That connection gave the film a deliberately occult patina at a time (the late 1970s) when Satanic imagery was a hot-button cultural stimulant. The acknowledgment and the credited quotation — modestly altered for the screen — helped nourish the film's reputation as a cult oddity and fed later urban curiosity about whether the movie itself was cursed or occultly influenced. Historically, the involvement is documented and verifiable; it is less a conspiracy than an instance of a horror production courting the sensational credentials of a notorious figure to heighten atmosphere.

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