One of the prevailing theories around Charles Manson is that the infamous cult leader had intended to incite a race war by orchestrating his so-called family’s killing spree in the 1960s.
But Errol Morris casts doubts on that narrative in his new documentary, “Chaos: The Manson Murders,” out now on Netflix. Based on the book by Tom O’Neill with Dan Piepenbring, Morris’ film presents alternative theories surrounding the 1969 Tate–LaBianca murders — including how Manson may have had links to government programs related to mind control and brainwashing.
Featuring music by Manson, “Chaos” presents these alternative takes primarily through interviews with O’Neill, Manson case prosecutor Stephen Kay and former Manson associate Bobby Beausoleil. The documentary also includes archival interviews with Manson and his followers.
The film challenges the accuracy of (and the motivations behind) the “Helter Skelter” theory presented by lead prosecutor Vincent Bugliosi in the Tate-LaBianca trial. Through separate interviews, both O’Neill and Beausoleil offer different theories about how and why the Manson-directed killings could have happened.
Here’s a breakdown of the alternative theories presented in “Chaos: The Manson Murders.”
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Manson possibly had links to secret government mind-control programs
While acknowledging that there are still some loose threads to this theory, O’Neill suggests that Manson possibly had connections to secret government programs researching mind control and brainwashing, such as the CIA’s project MKUltra.
According to O’Neill, Manson’s time as a parolee in the Bay Area coincided with the time the government was conducting research into the effects of drugs such as LSD on individuals’ mental states.
During that time, Manson and his followers frequented the Haight Ashbury Free Clinic for treatment as well as to meet with his parole officer Roger Smith. Patients of the clinic were reportedly used as research subjects for these mind control studies. O’Neill also explains that psychiatrist Louis Jolyon “Jolly” West, who is known to have ties to the MKUltra project, was conducting research on brainwashing in the Haight-Ashbury area at that time.
Although he acknowledges there is no proof that Manson and West definitively crossed paths, O’Neill points out that the two men were within each other’s orbit while Manson was gaining followers whom some could describe as “brainwashed” at a time when the government was researching brainwashing. O’Neill also believes Manson having ties to these government research programs could explain Smith’s leniency on Manson despite his breaking rules that should have jeopardized his parole.
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Charles Manson being escorted into court for a hearing in 1969.
(John Malmin and Bill Murphy / Los Angeles Times)
The attempt to pin the killings on the Black Panthers could have been personal or a government conspiracy
Among the facts known about the 1969 killings is that words written in the victims’ blood were left on various surfaces at the crime scenes. These words — including “pigs,” “rise” and “Helter Skelter” — helped build the prosecution’s case that Manson had intended to incite a race war.
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According to the documentary, around the time of the murders, Manson believed the Black Panthers were going to retaliate against him for killing one of its members. (Manson had shot Bernard “Lotsapoppa” Crowe, who survived the encounter and was not a member of the Black Panthers, in July 1969. The Tate–LaBianca murders occurred in August.)
Alternatively, O’Neill explains that secret government counterintelligence programs at the time were intent on discrediting left-wing political movements such as the Black Panthers.
Manson was possibly just motivated by paranoia
Beausoleil, a former Manson associate who was convicted of killing Gary Hinman for a drug deal gone bad, believes that Manson’s motivation behind orchestrating the 1969 killing spree is much more simple.
He suggests Manson urged his acolytes to commit these severe crimes because of his paranoia. According to Beausoleil, Manson probably intended to use these killings to keep his followers in line.
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(The Hinman killing is also cited as a motive for the Tate-LaBianca murders. It has been suggested that Manson orchestrated the subsequent killings in order to make it seem like all three incidents were connected.)
At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.
When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.
After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.
Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.
The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”
“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”
The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.
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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.
(Refik Anadol Studio for Dataland)
Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”
“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”
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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.
Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.
“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”
“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”
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