If you’re in the UK, get ready for Kubrick­’s 2001: A Space Odyssey. 46 years after its orig­i­nal release, it’s return­ing to the­atres near you in a dig­i­tal­ly-restored for­mat, start­ing on Novem­ber 18. (Find dates and loca­tions here.) To cel­e­brate the re-release of this “philo­soph­i­cal­ly ambi­tious, tech­ni­cal­ly inno­v­a­tive and visu­al­ly stun­ning cin­e­mat­ic mile­stone,” the British Film Insti­tute has cre­at­ed a new trail­er (above). Down below, we have the orig­i­nal 1968 trail­er (which I pre­fer) and some good back­ground items on the film itself.

Relat­ed Con­tent:

1966 Film Explores the Mak­ing of Kubrick’s 2001: A Space Odyssey (and Our High-Tech Future)

James Cameron Revis­its the Mak­ing of Kubrick’s 2001: A Space Odyssey

Stan­ley Kubrick’s List of Top 10 Films (The First and Only List He Ever Cre­at­ed)

Stan­ley Kubrick’s Very First Films: Three Short Doc­u­men­taries

Rare 1960s Audio: Stan­ley Kubrick’s Big Inter­view with The New York­er

For the past 25 years, the high­light of every sea­son of The Simp­sons has been its Tree­house of Hor­ror Hal­loween spe­cial – an omnibus episode filled with mor­bid, and fre­quent­ly hilar­i­ous, hor­ror spoofs. It’s the one time of the year when the cre­ators of the long run­ning series feel com­fort­able with dis­em­bow­el­ing Homer, flay­ing Marge, and let­ting Mag­gie wield an axe. Arguably the best one of these seg­ments was its 1994 par­o­dy of Stan­ley Kubrick’s The Shin­ing – called “The Shin­ning”. This year, The Simp­sons return to riff­ing on Kubrick in a seg­ment called “A Clock­work Yel­low.” You can watch a sec­tion of it above.

The episode cen­ters on can­ker­ous bar­tender Moe Szys­lak as the bowler-bedecked Alex who, along with Lenny, Carl and Homer (play­ing Dim, of course), spouts non­sense Nad­sat and ter­ror­izes Lon­don. When they decide to break into a house, Moe and the gang end up crash­ing an Eyes Wide Shut-style orgy host­ed by Mr. Burns. From there, the Kubrick ref­er­ences start fly­ing thick and fast, with nods to Full Met­al Jack­et, 2001: A Space Odyssey and even Bar­ry Lyn­don (“Even I for­get what this is in ref­er­ence to”). And then a scene cuts to a Simp­son­fied ver­sion of Kubrick, watch­ing the seg­ment from an edit­ing bay. “Let’s burn this,” he bel­lows at an assis­tant. “Let’s rewrite every­thing. And let’s start all over.”

The full episode is avail­able on Hulu Plus, if you have a sub­scrip­tion. If not, you can watch it for free after Octo­ber 27th. And you can watch a por­tion of “The Shin­ning” below.

Relat­ed Con­tent: 

Fear and Desire: Stan­ley Kubrick’s First and Least-Seen Fea­ture Film (1953)

Stan­ley Kubrick’s Daugh­ter Shares Pho­tos of Her­self Grow­ing Up on Her Father’s Film Sets

Stan­ley Kubrick’s List of Top 10 Films (The First and Only List He Ever Cre­at­ed)

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

From Albert Kin­sey, to Sig­mund Freud, to Mag­nus Hirschfeld, promi­nent social sci­en­tists have offered dis­sent­ing opin­ions to pre­vail­ing main­stream ideas about homo­sex­u­al­i­ty as a con­se­quence of parental or soci­etal influ­ences. This doesn’t mean those researchers have agreed with each oth­er, or with cur­rent ideas, but their con­clu­sions were con­tro­ver­sial and star­tling to a con­sen­sus often com­plic­it in the crim­i­nal­iza­tion and polit­i­cal repres­sion of gays and les­bians. If you haven’t heard the last name on that list above, there’s prob­a­bly a good rea­son: Hirschfeld—a gay, Jew­ish physi­cian, sex­ol­o­gist, and advo­cate in Weimar Germany—had much of his work burned by the Nazis in their 1933 rise to pow­er.

One of Hirschfeld’s works destroyed in Nazi fires was a film he co-wrote and co-starred in called Dif­fer­ent From the Oth­ers, the first gay rights movie in his­to­ry. Released in 1919, and banned in 1920, the film explored a doomed rela­tion­ship between a vio­lin­ist, played by silent star Con­rad Vei­dt, and his stu­dent. Exten­sive flash­back scenes show both char­ac­ters’ ear­ly sex­u­al expe­ri­ences, their failed attempts to change their sex­u­al ori­en­ta­tion (includ­ing treat­ment with bogus “ex-gay” ther­a­pies), and their even­tu­al self-accep­tance. In their present day, the cou­ple is open­ly affec­tion­ate, until the vio­lin­ist is black­mailed and dragged into court by an extor­tion­ist, then aban­doned by his friends and fam­i­ly. He com­mits sui­cide, and his lover vows to fight the law that crim­i­nal­ized homo­sex­u­al­i­ty in Ger­many, known as Para­graph 175.

Dif­fer­ent From the Oth­ers would be lost to his­to­ry were it not for Hirschfeld’s preser­va­tion of 40 min­utes of footage in a sep­a­rate doc­u­men­tary. You can view the sur­viv­ing film above, with Eng­lish title cards. The film was part of a didac­tic series on themes of sex­u­al­i­ty that Hirschfeld made with direc­tor Richard Oswald. In each one, Hirschfeld appears as a doc­tor who inter­venes on behalf of per­se­cut­ed indi­vid­u­als. In Dif­fer­ent from the Oth­ers, he does so with the violinist’s par­ents, telling them, “You must not con­demn your son because he is a homo­sex­u­al, he is not to blame for his ori­en­ta­tion. It is not wrong, nor should it be a crime. Indeed, it is not even an ill­ness, mere­ly a vari­a­tion, and one that is com­mon to all of nature.”

In many oth­er such scenes, most of them now lost, Hirschfeld explic­it­ly states his argu­ment that, as The New York Times writes, “homo­pho­bia, not homo­sex­u­al­i­ty, was a scourge of soci­ety.” The then-rad­i­cal point of view found lit­tle con­tem­po­rary support—screenings were restrict­ed sole­ly to med­ical prac­ti­tion­ers and lawyers until the film’s destruction—but it makes this arti­fact of tremen­dous inter­est to film his­to­ri­ans and activists today. In addi­tion to Hirschfeld’s pio­neer­ing activism, the film is notable for star­ring Viedt, who went on to fame for his role in The Cab­i­net of Dr. Cali­gari.

Despite its many lacu­nae and entire miss­ing scenes, and char­ac­ters, Dif­fer­ent From the Oth­ers is cur­rent­ly being restored and turned into an expand­ed, “watch­able fea­ture,” using the sur­viv­ing rem­nants, along with found pho­tos and film stills, by the Out­fest-UCLA Lega­cy Project (see their ful­ly-fund­ed Kick­starter here). Many scenes—such as a lengthy the­o­ret­i­cal lec­ture by Hirschfeld—will be recon­struct­ed from a syn­op­sis, “a few reviews, and lit­tle else.” “You’re not see­ing the orig­i­nal,” admits UCLA Film & Tele­vi­sion Archive direc­tor Jan-Christo­pher Horek of the com­ing recon­struc­tion, “because we don’t know what the orig­i­nal looks like.” Nev­er­the­less, in what­ev­er form, Dif­fer­ent From the Oth­ers rep­re­sents a per­spec­tive at least “50 years ahead of its time,” says Horak, with an “enlight­ened the­o­ry that you wouldn’t see in this coun­try prob­a­bly until the ‘70s or ‘80s.”

Dif­fer­ent from the Oth­ers will be added to our list of Great Silent Films, part of our larg­er col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

Rudolf Braz­da, Last Man to Wear the Pink Tri­an­gle Dur­ing the Holo­caust, Tells His Sto­ry

Sig­mund Freud Writes to Con­cerned Moth­er: “Homo­sex­u­al­i­ty is Noth­ing to Be Ashamed Of” (1935)

The Cab­i­net of Dr. Cali­gari: See the Restored Ver­sion of the 1920 Hor­ror Clas­sic with Its Orig­i­nal Col­or Tint­ing

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness