Two of the most consequential pieces of media that quote the Dies Irae—Wendy Carlos’s music for The Shining and Hector Berlioz’s Symphonie fantastique—form the backbone of Chap. 2 . The music for the former was directly influenced by the music of the latter, inextricably linking the two in the mind of Stanley Kubrick, who directed The Shining and steadfastly refused Carlos’s attempts to include any music that strayed from the Berlioz version. The first part of this chapter argues that Carlos originally intended for the entire score for the film to comprise, or at least be inspired by, the original plainchant melody. The second part of the chapter examines the structural role that the Dies Irae melody plays in the final movement of Berlioz’s composition. More than a mere statement of color, the melody is a deep structural determinant that appears throughout the movement. The final part of the chapter examines a few additional pieces of media that explicitly refer to the Carlos/Berlioz versions of the melody.