Because 99.9% of material on the internet about the Priory of Sion, Rennes-le-Château, the Knights Templar et al is deletable rubbish it makes accessing it a waste of time – since hardly any of the webmasters put things to the critical test – and most of the webmasters usually admit they rely upon the silliest of books as their sources of information.

A typical example of unreliable online material is the Public Domain 2015 documentary The Horror of Rennes Le Chateau: A Documentary by Jet Wintzer (Filminco Productions), that is currently doing the rounds on Vimeo.

In his documentary, Jet Wintzer emphasised how Henry Lincoln was credited as Henry Soskin when he played the role of a professor in the French film Nuits rouges – and was later credited as Henry Lincoln in the dubbed English version of the film called Shadowman – up to that point in time Lincoln had always acted under his real name, Henry Soskin (Nuits rouges was directed by Georges Franju and theatrically released on 20 November 1974; it was also later adapted into a television series in 1975 with the same cast called L'homme sans visage, also directed by Georges Franju).

Now in 1972 Henry Lincoln appeared on the BBC2 Chronicle documentary The Lost Treasure of Jerusalem...? (directed by Andrew Maxwell-Hyslop, produced by Paul Johnstone), thus explaining why he stopped using his real name in the English-speaking world, because Henry Soskin became known as Henry Lincoln in 1972 – but Jet Wintzer did not mention this. Jet Wintzer did not mention the 1972 Chronicle documentary anywhere in his documentary.

The reason why Lincoln would have been invited to play a role in a film as a professor about the Knights Templar, hidden documents and hidden treasure is probably because of the 1972 Chronicle documentary.

What Jet Wintzer presents as new material on his documentary is in reality no such thing, because Henry Lincoln was mentioning his role in Nuits rouges to his friends and confidantes during the 1980s, if not also in his lecture circuits of the 1970s.

Wintzer introduced mystifications into his documentary when comparing a statute of the devil in the church of Rennes-le-Château to a statue of the devil in the 1968 film Curse of the Crimson Altar (Lincoln had co-written its screenplay); a priest in the same film looks like Noël Corbu dressed as Bérenger Saunière in a 1961 French Rennes-le-Château documentary; Georges Franju, the director of the 1973 film Nuits rouges was a contemporary of Jean Cocteau and was hand-picked by Cocteau to direct the 1965 French film, Thomas l'imposteur – and so on.