After September 11, 2001, dozens of alternative histories and popular “conspiratorial” accounts sprung forth concerning the Crusades, Templars, religious violence, and a millennial “clash of civilizations”. As an early part of and catalyst for this phenomenon, The Da Vinci Code is unique in its ability to endow readers, particularly non-academics, with an interpretive and semiotic agency to subvert institutional medieval historiography. Historical inaccuracies and conspiratorial ephemera, however seemingly anecdotal, deserve to be studied and placed within a larger cultural framework. The imaginative impulse surrounding popular histories, novels, and films, does more than draw from and reflect an existing cultural milieu of trauma and representation in a sort of feedback loop. They create new cognitive and historical frameworks and, more importantly, encourage non-academics to engage in the creative work of introducing the past to the present and ushering them into an imagined – and hopefully better – future.