It wasn’t until last year that things took a dramatic turn.

On 11 August 2015, the popular gonzo news site VICE published a story about a conspiracy theory surrounding the children’s storybook characters the Berenstain Bears. The theory went like this: many people remember that the bears’ name was spelt “Berenstein” – with an “e” – but pictures and old copies proved it was always spelt with an “a”. The fact that so many people had the same false memory was seen as concrete proof of the supernatural.

“Berenstein” truthers believe in something called the “Mandela Effect”: a theory that a large group of people with the same false memory used to live in a parallel universe (the name comes from those who fervently believe that Nelson Mandela died while in prison). VICE’s article about the theory was shared widely, leading thousands of people to r/MandelaEffect, a subreddit for those with false memories to share their experiences.

I was brought up on Superman as a kid. There was a whole point in my life where I read Superman. So when I was finished with it, I was like, “Man, if they make this movie, they are destroying the legend of Superman.” I wanted to do it just to defend him.

I called [writer] Tom Mankiewicz, who had been a friend for years. He said, “I don’t want to get involved. I don’t want to do a comic book.” I said, “Tom, it’s more than a comic book. Please come over.”

I got a little stoned, smoked some weed, put on the Superman costume. I was in pretty good shape then. It was like elastic. And Tom pulled up, and I ran across the lawn and Tom turned and looked at me and ran back to his car.

Tom says, “You’re crazy. Get the f- away from me!”

Suddenly here it is, plopped down in the middle of an antique chessboard like a massive rook, a foot-high black statuette of a falcon. The hunched, brooding shoulders are instantly recognizable.

There is a long moment of silence.

“This is the thing dreams are made of,” Risan announces.

I’m not sure what to say. He has told me he actually owns two Falcons. I ask where the other one is. “I leave it downstairs,” Risan replies. “It’s too fucking evil. It has the presence of surrealism. American surrealism. The evocation of evil that it manifests is not normally the kind of thing I like to collect. I like the Warhols, the chessboards. So I leave it in the basement.”

This is a lot to digest. Risan senses my skepticism.

“I know, right?” he says with a smile. “Weird. Weird guy with a lot of art.”

This is getting us close to the soul of Jurassic Park, so I make one last call to Phil Tippett. Phil – an Oscar-winning effects man who helped dream up Jabba the Hutt – was Jurassic Park’s dino-director. Phil says what makes Jurassic Park click is that “it’s a movie from a different age.”

Though we remember it for the effects, Jurassic Park feels … palpable in a way few CGI-loaded movies do today. When the T. rex smushes the Ford Explorer, that’s a real Ford Explorer. When the electric fence topples, that’s a real fence. Richards says perhaps 80 percent of her dinosaur scenes were shot with Winston models, allowing her and Neill and other actors to actually be with the effects.

Fanboy-dom is about something irretrievable, a lost world of childhood. And here, from the age of Avatar, we can see it clearly. Jurassic Park, along with The Abyss (1989) and Terminator 2 (1991), were the stars of an amazing in-between period of summer-movie history. An interesting couple of years between the Analog Era and the Computer Era. We were charging headfirst into the movie future, but we hadn’t quite left the past. Jurassic Park had 55 computer-effects shots; The Phantom Menace, released six years later, had around 2,000.

Jim Abrahams: I always felt that part of what made it so endearing to have those guys in the movie was that everyone knew that [Robert] Stack and [Lloyd] Bridges and Leslie [Nielsen] and Peter Graves were having a laugh at the expense of their own images. That kind of self-effacing humor is endearing, and as we reflect on Airplane! and the fact that it’s lived so long, I think that’s part of the reason why: It’s not really mean-spirited, it’s actually sort of sweet.

Jerry Zucker: Everyone was terrific, really, but Leslie was the one who was just a fish in water. Leslie just loved it, every minute of it, and practically didn’t need direction, because once he got what we were doing, that was just his thing. He loved it.