The McRib’s stochastic return makes visible the relationship between the eater and the McDonald’s menu. It produces a stain, a tear in the order of things that reveals the object-cause of desire for McDonald’s, but only briefly before it evaporates like faux-cartilage. The fragile conditions that make the McRib possible also insure that desire for McDonald’s food more generally speaking is maintained.
As Wendy guides the pediatrician into her living room at the beginning of The Shining, they pass a painting of a horse galloping along train tracks towards an oncoming train. The painting is titled “Horse and Train” (1954) by Canadian artist Alex Colville.
A common interpretation of the painting is that it is intended to invoke feelings of helplessness and tension, and that the anxiety is heightened because we are not shown the outcome. It can only be assumed that the results will be disastrous if the subjects continue on their current course.
The choice of this image is certainly in alignment with the anxiety and tension Kubrick has already begun to invoke as the Torrance family prepares to move up to the Overlook Hotel for the winter.
"Ultimately, however, the existence of qi, acupuncture meridians, and the Triple Energizer is no more inherently plausible than that of demons, the four humors, or the healing power of God. It’s just that Mao swindled us, taking advantage of a principle identified by G.K. Chesterton in 1925: I am convinced that if we could tell the supernatural story of Christ word for word as of a Chinese hero, call him the Son of Heaven instead of the Son of God, and trace his rayed nimbus in the gold thread of Chinese embroideries or the gold lacquer of Chinese pottery, instead of in the gold leaf of our own old Catholic paintings, there would be a unanimous testimony to the spiritual purity of the story."