(1970), in the scene where Hawkeye Pierce stages a "last supper" for Walt (Painless) Waldowski before his planned suicide. The various doctors, all in surgical scrubs, pose in imitation of the painting. In Norman Jewison's film version of Jesus Christ Superstar (1973), in the Last Supper sequence, Jesus and the 12 apostles briefly mimic the posture of each character in Da Vinci's painting. The painting is also parodied in Mel Brooks's movie History of the World, Part I (1981), making Leonardo a contemporary of Jesus. Many parodies of the painting appear on the small screen, including That '70s Shows 1998 first-season episode "Streaking", with Eric flanked by his friends (and Jackie wondering why everyone is sitting on the same side of the table); The season seven finale of The X-Files, "Requiem" (and Mulder's last episode as a series regular) features a scene in Skinner's office with the characters lined up in homage to the painting; The Simpsons 2005 Season 16 episode "Thank God, It's Doomsday", with Homer as Jesus and Moe and his other patrons as the disciples; and South Parks 2009 Season 13 episode "Margaritaville", with Kyle and his friends eating at a pizza parlor. In one 2015 episode of the CBC drama Murdoch Mysteries called Barenaked Ladies, the suspects recreate the poses of Peter, Judas, and Thomas in their victims. Other speculation The Last Supper has been the target of much speculation by writers and historical revisionists alike, usually centered on purported hidden messages or hints found within the painting, especially since the publication of Dan Brown's novel The Da Vinci Code (2003), in which one of the characters suggests that the person to Jesus' right (left of Jesus from the viewer's perspective) is actually Mary Magdalene. It also states that there was a letter ‘glaring in the center of the painting’ (M) standing for Matrimonio or Mary Magdalene. This speculation originated in earlier books The Templar Revelation (1997) by Lynn Picknett and The Holy Blood and the Holy Grail by Michael Baigent, Henry Lincoln and Richard Leigh (1982). Art historians hold that the figure is the Apostle John, who appears feminine in line with Leonardo's characteristic fascination with blurring the lines between the sexes, a quality which is found in his other paintings, such as St. John the Baptist (painted 1513–1516). Christopher L. Hodapp and Alice Von Kannon comment, "If he [John] looks effeminate and needs a