The Odysuck by 6ixStringJack

CINEMA

The Odysuck

POSTED BY: 6IXSTRINGJACK
UPDATED: Tuesday, August 18, 2026 10:10
SHORT URL:
VIEWED: 1342
PAGE 2 of 2

Tuesday, July 28, 2026 1:12 PM

pushing to 700 Million, might get near $900M

International has increased now that more overseas territory came in
(55.6%)

biggest International Territories are British and French

Toy Story 5, Moana, Obsession have not really challenged the Nolan remake of Odyssey

slow openings in Asia but if it gets a release and does good in China, SKorea and Japan then you are looking at it pushing in the direction of 1 Billion?

The Odyssey
Metascore
its Mixed or Average
https://www.metacritic.com/movie/the-odyssey-2026/
Based on 2,583 User Ratings
5.3

Worldwide Box Office $652,025,310
https://www.the-numbers.com/movie/Odyssey-The-(2026)#international

Widest Release 3,942 theaters
https://www.boxofficemojo.com/release/rl170295297/

However only now the drama of money box office movement gets interesting

Spider-Man Brand New Day is about to arrive and deliver Nolan an almost near devastating knockout blow

NOTIFY: N | REPLY | REPLY WITH QUOTE | TOP | HOME

Wednesday, July 29, 2026 7:10 AM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Why isn't anyone listening to me about 'The Odyssey'? | Opinion

Despite all my productive and intellectual online shouting, the movie has made $652 million worldwide since its July 17 release. And even more frustratingly, I'm still single.

By Rex Huppke
USA TODAY
July 28, 2026, 2:18 p.m. ET

https://www.usatoday.com/story/opinion/columnist/2026/07/28/the-odysse
y-movie-box-office-accuracy/91077633007/

Like most normal, well-adjusted men, I have spent every waking moment since Christopher Nolan’s “The Odyssey” opened in theaters feeling apoplectically angry about Christopher Nolan’s “The Odyssey.”

I have rage-posted online, noting that by casting people who are different than me, the director ruined a beloved epic poem I never actually read. I have blamed wokeness for creating a world in which an ancient work of absolute fiction can be sullied by what I, making perfect sense, angrily claim to be historical inaccuracies.

Yet despite all my productive and intellectual online shouting, the movie has made $652 million worldwide since its July 17 release. And even more frustratingly, I’m still single.

I struggle to understand these developments. Are people not hearing my well-thought-out protestations that the boats we see in the movie look like Viking ships and not the penteconters used by ancient Greeks? Have I not been agreeing loudly enough with right-wing intellectuals like Elon Musk, who back in May responded “True” to an X post that read: “The destruction of the Odyssey by Nolan and the Left isn’t just about a movie. It’s about Western Civilization. The Greeks were its foundation. From Democracy to Art to Philosophy to Culture. The Left wants to destroy Western Civilization and everything that helped create it.”

Why are people shelling out millions of dollars to see a film that so obviously presents a clear-and-present danger to everything men on the internet have told me I must hold dear? Has Big Hollyweird shadow-banned my social media accounts? Did I forget to turn on the microphone before yelling into it on recent episodes of my podcast “Christopher Nolan’s ‘The Odyssey’ Is a Threat to Masculinity, Please Date Me”?

Why are people not listening to my sensible anti-The-Odyssey rage?

You can’t tell me rugged online men, sweatily exasperated that Nolan portrayed the Greek king Agamemnon wearing a black helmet that looked like it came off a Batman movie set, are somehow a minority voice in America.

You can’t suggest that White, cisgender guys whose views on masculinity were adopted from wealthy, bigoted men who yell about things on the internet are overreacting to a fictional story involving a Cyclops and mythical sirens by demanding historical accuracy.

How dare moviegoers not listen to me! Don’t they know there’s a male loneliness epidemic going on and nobody can figure out why it’s happening?

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Wednesday, July 29, 2026 7:37 AM

so it looks like Nolan's Odyssey remake might already be yesterday's news

pre-ticket sales for Spider-Man in China might be insane, it could be targeting $250 million...these are insane numbers, so I guess all that China tiktok spyphone mobile cell phone app data is good for something

Nolan's Odyssey so far has made ZERO bucks in China, SKorea, Japan

the numbers look insane over 2 billion...it could be the first 2 plus Billion since Covid and Avatar: The Way of Water, Ne Zha 2 etc but 'Spider-Man No Way Home' got very close in year 2021

NOTIFY: N | REPLY | REPLY WITH QUOTE | TOP | HOME

Wednesday, July 29, 2026 7:39 AM

it could be over but Tom Holland still wins

bye bye Nolan, bye bye Emma Thomas, Matt Damon, Anne Hathaway, Robert Pattinson etc

now its Tom Holland vs Tom Holland

NOTIFY: N | REPLY | REPLY WITH QUOTE | TOP | HOME

Saturday, August 1, 2026 4:07 PM

wow it got hit with a knockout blow

$168.00M vs $14.50M

Spider-Man previews

https://x.com/BORReport/status/2083578338283815120#m

in other countries its at least a -40% to -60% drop

https://forums.boxofficetheory.com/topic/34401-the-odyssey/page/13/

took too much of that media hype booster shot

its run has 'died suddenly'

NOTIFY: N | REPLY | REPLY WITH QUOTE | TOP | HOME

Saturday, August 1, 2026 5:50 PM

Quote:
Originally posted by JAYNEZTOWN:
wow it got hit with a knockout blow

$168.00M vs $14.50M

Spider-Man previews

https://x.com/BORReport/status/2083578338283815120#m

in other countries its at least a -40% to -60% drop

https://forums.boxofficetheory.com/topic/34401-the-odyssey/page/13/

took too much of that media hype booster shot

its run has 'died suddenly'

Uh huh...

They've run out of American-hating liberals to go see it.

Everybody knows this is a shit movie, and anyone who paid to see it got what they deserved. They pissed away money and got themselves a good 4 hour nap in the air conditioned theater.

This movie ain't shit.

Spider-Man had to come back to prove that by absolutely destroying it.

Like I said over a month ago... Anybody who hasn't seen Spider-Man on opening weekend or The Odyssey is going to be left with that choice going forward.

Which one do you think people are going to pick?

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Saturday, August 1, 2026 5:58 PM

Just FYI, Jaynez's $168 Million vs $14.5 Million figures were the box office yesterday. But I need to point that out because it's pretty accidentally disingenuous to frame that comparison and doesn't paint the actual picture, which is already the destruction of The Odyssey and doesn't need to have inflated numbers to make the point.

The $14.5 Million The Odyssey made last night is the legit Friday domestic numbers for its 3rd Friday in the theaters.

The $168 Million that Spider-Man made "last night" also includes preview Thursday, which was a mind-boggling $72 Million that also happens to be more than Avengers: End Game got.

You can compare Spider-Man's $72 Million preview to The Odyssey's $17.6 Million.

Or you can compare Spider-Man's $168 Million Friday number with The Odyssey's first Friday number of $51 Million. (since both of these include Thursday previews).

Or you can compare each real opening Friday number with Spider-Man's $96 Million to The Odyssey's $34.4 Million.

Though I do not believe that Spider-Man will make anywhere near 3 Billion worldwide, the average of those 3 numbers is well over 3 times what the Odyssey did.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Sunday, August 2, 2026 6:45 AM

its final number 1 spot Domestic was the 30th day of July
day 30 of that July month its over, 31st day Spider-Man arrives
$10,347,260
%YD change -24% %LW change -41%
Total $344,525,415
https://www.the-numbers.com/movie/Odyssey-The-(2026)#domestic

World wide $721,656,415
https://www.boxofficemojo.com/release/rl170295297/

Friday data

the British dropped 41%
but the French only dropped 20%
Italy dropped -40%

Spider-Man is going to dominate, Nolan's box office run is ending

NOTIFY: N | REPLY | REPLY WITH QUOTE | TOP | HOME

Sunday, August 2, 2026 8:08 AM

Sweet.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Monday, August 3, 2026 6:50 AM

its all but over, but Don't know anyone who's admitted seeing the Odyssey remake but there are a few NolanFanatics out there somewhere

NOTIFY: N | REPLY | REPLY WITH QUOTE | TOP | HOME

Monday, August 3, 2026 8:16 AM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Homer's Odyssey

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Monday, August 3, 2026 8:22 AM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

The Odyssey (2026)

Theatrical Performance
Domestic Box Office $395,525,000
International Box Office $515,872,000
Worldwide Box Office $911,397,000

Production Budget: $250,000,000
(worldwide box office is 3.6 times production budget)

https://www.the-numbers.com/movie/Odyssey-The-(2026)

FOR COMPARISON WITH ANOTHER $250,000,000 PRODUCTION BUDGET MOVIE:

Toy Story 5 (2026)

Theatrical Performance
Domestic Box Office $461,696,126
International Box Office $575,207,586
Worldwide Box Office $1,036,903,712

Production Budget: $250,000,000
(worldwide box office is 4.1 times production budget)

https://www.the-numbers.com/movie/Toy-Story-5-(2026)

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Monday, August 3, 2026 12:57 PM

Spider-Man only cost $225 Million and made $927 Million in 3 days.

Nobody gives a shit about The Odyssey.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Monday, August 3, 2026 12:59 PM

Quote:
Originally posted by JAYNEZTOWN:
its all but over, but Don't know anyone who's admitted seeing the Odyssey remake but there are a few NolanFanatics out there somewhere

You too, huh? I don't know a single person who's seen it or shown any interest.

I'm pretty sure the only people in America who did live on the coasts.

Shit Golem has seen it, but he pirated it.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Monday, August 3, 2026 3:23 PM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Quote:
Originally posted by 6ixStringJack:
Spider-Man only cost $225 Million and made $927 Million in 3 days.

Nobody gives a shit about The Odyssey.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

Why would anyone pay to see an R-rated version of Homer's Odyssey, which the Simpsons accurately described in the 5-minute-long cartoon? Especially when it's free on TV. And yet they do pay. Hollywood has been marketing worthless visions to morons for over 100 years, and yet the morons never understand that all movie theaters are cheating them out of their money.

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Monday, August 3, 2026 3:50 PM

Quote:
Originally posted by second:
Quote:
Originally posted by 6ixStringJack:
Spider-Man only cost $225 Million and made $927 Million in 3 days.

Nobody gives a shit about The Odyssey.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.
Why would anyone pay to see an R-rated version of Homer's Odyssey, which the Simpsons accurately described in the 5-minute-long cartoon? Especially when it's free on TV. And yet they do pay. Hollywood has been marketing worthless visions to morons for over 100 years, and yet the morons never understand that all movie theaters are cheating them out of their money.

So now you're going to pout and go back to "nothing matters because I lost again".

Fuck off, Shit Golem.

Loser.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Thursday, August 6, 2026 8:30 PM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

The message behind Christopher Nolan’s most important change to “The Odyssey”

Are we the Sea Peoples?

Matthew Yglesias | Aug 06, 2026

https://www.slowboring.com/p/the-message-behind-christopher-nolans

When I finally went to see Christopher Nolan’s “The Odyssey” (it’s harder to get to the movies in rural Maine), I was surprised that relatively little of the gargantuan discourse around the film focused on what I thought was the largest departure from Homer’s text: Nolan inserts multiple references to a historical phenomenon known as the Sea Peoples and a historical episode known as the Bronze Age Collapse.

Some of this falls under the general heading of historical inaccuracy — a person living in the Bronze Age would not refer to himself as living in the Bronze Age, because the idea of a Bronze Age is a modern characterization of the past. It’s based on knowledge that in the future, people would learn how to work with iron on a large scale and bronze weapons would become obsolete. The Sea Peoples, similarly, is a phrase coined in the 19th century by a French Egyptologist putting forward a hypothesis about something he thought happened in the ancient Eastern Mediterranean. It’s not a phrase that we have any evidence was in use at the time.

But anachronisms aside, these references are a bold adaptive choice by Nolan.

We know that the Mycenaean Greek civilization depicted in Homer’s epic would eventually collapse, that there would be a Greek Dark Age with no written material, and that later the rise of Classical Greek civilization would bring about a return to writing with a new script. One strain of thought holds that this collapse was linked to the near-simultaneous collapse of several other civilizations in the region and that this may have had something to do with the Sea Peoples.

But none of this is in the text of “The Odyssey.”

This is all information that I (and many others) learned about from Eric Cline’s well-regarded 2014 book “1177 B.C.: The Year Civilization Collapsed.” And Cline himself wrote a 2013 book on the Trojan War as part of the Oxford University Press Very Short Introductions series that suggests some of the linkages Nolan makes in the movie.

Nolan is incorporating it to reinterpret, recontextualize, and to a substantial extent subvert the source text, suggesting that the Greek attack on Troy sowed the seeds of Mycenaean Greece’s downfall.

Given the incredible commercial success of the film, you clearly can enjoy it without knowing much about these historical debates. I think the point Nolan is trying to make about the present is clear enough: The contemporary West risks collapse not because of external adversaries but because we are abandoning our own values.

But I enjoy a good ancient history debate, so let’s get into it anyway.

More at https://www.slowboring.com/p/the-message-behind-christopher-nolans

Download Eric Cline’s books about ancient Greece and Troy for free from here: https://z-lib.gl/s/Eric%20Cline

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Thursday, August 6, 2026 9:11 PM

You are the one who abandoned our values, you evil little self-serving turd.

You are the problem. You were always the problem.

And now the media can't cover for you anymore and everyone knows that you are the problem.

You are a cancer on this planet and you will be removed.

The Boomers are about to die off and the world you useless fucking hippies envisioned while high off your asses 24/7 before you went Corpo and spent the next 50 years poisoning every institution from the inside out is about to die along with you.

You suck. Generations will be paying for you and what you've done for the rest of their lives and never pay it off.

Fuck you, white, college "educated", Liberal Boomer.

Good riddance. You will not be missed, and it's going to take a long time for us to clean up the fucking mess you left for us to clean up.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Thursday, August 6, 2026 10:27 PM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Quote:
Originally posted by 6ixStringJack:

You are the one who abandoned our values, you evil little self-serving turd.

You are the problem. You were always the problem.

Every Trumptard I know cheats and lies, yet they deny doing what they do. Trumptards support Trump because he does what they do.

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Thursday, August 6, 2026 10:48 PM

You are the one who abandoned our values, you evil little self-serving turd.

You are the problem. You were always the problem.

And now the media can't cover for you anymore and everyone knows that you are the problem.

You are a cancer on this planet and you will be removed.

The Boomers are about to die off and the world you useless fucking hippies envisioned while high off your asses 24/7 before you went Corpo and spent the next 50 years poisoning every institution from the inside out is about to die along with you.

You suck. Generations will be paying for you and what you've done for the rest of their lives and never pay it off.

Fuck you, white, college "educated", Liberal Boomer.

Good riddance. You will not be missed, and it's going to take a long time for us to clean up the fucking mess you left for us to clean up.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Thursday, August 6, 2026 11:24 PM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Quote:
Originally posted by 6ixStringJack:
You are the one who abandoned our values, you evil little self-serving turd.

You are the problem. You were always the problem.

And now the media can't cover for you anymore and everyone knows that you are the problem.

You are a cancer on this planet and you will be removed.

The Boomers are about to die off and the world you useless fucking hippies envisioned while high off your asses 24/7 before you went Corpo and spent the next 50 years poisoning every institution from the inside out is about to die along with you.

You suck. Generations will be paying for you and what you've done for the rest of their lives and never pay it off.

Fuck you, white, college "educated", Liberal Boomer.

Good riddance. You will not be missed, and it's going to take a long time for us to clean up the fucking mess you left for us to clean up.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

Here is a quote from Trump. 6ix, do you agree with him?

Donald J. Trump @realDonaldTrump • August 3, 2026, 9:31
My REAL Polling Numbers, not those made up by the Fake News Media, are the best they have ever been, and why wouldn't they be with the biggest tax cuts and employment numbers EVER, the biggest outside Investment in America in World history, a totally secure Border, a giant Victory in Venezuela, the Denuclearization of Iran, unparalleled respect and success throughout the World, and much more? Don't believe the Radical Left's Fake Poll numbers. They are Crooked and Corrupt, just like the Country Destroying Dumocrats are Crooked and Corrupt. VOTE REPUBLICAN FOR GREATNESS IN AMERICA! Thank you for your attention to this matter! President DJT

Monday was a day ending in the letter “y,” so Donald Trump spent much of the day boasting about how great he is and whining about not getting credit. At this point, most observers tune his rants out. However, the screed at the top of this post has received some attention, possibly because it was marked by a kind of purity: every one of Trump’s bombastic claims was completely, verifiably false.

https://paulkrugman.substack.com/p/the-good-news-trump-wont-mention

Repeating the question for 6ixStringJoker: Here is a quote from Trump. 6ix, do you agree with him?

6ix, if you did agree with Trump, you are even more evil than he is, which is why both of your lives are huge messes that are destructive to American prosperity.

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Friday, August 7, 2026 8:49 AM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

One Surprising Thing About The Odyssey—Its Rating

The U.S. is a relative outlier in keeping Christopher Nolan’s movie away from younger audiences.

By Sophia Nguyen | August 6, 2026, 11:52 AM ET

https://www.theatlantic.com/culture/2026/08/why-is-the-odyssey-rated-r
/688204/

Christopher Nolan has directed two movies in which a soldier washes up on a foreign shore and, battle-weary and sodden, fights to return home. The first, 2017’s Dunkirk, dramatized the World War II evacuation in which thousands of Allied soldiers were killed. It received a PG-13 rating from the Motion Picture Association (MPA) for “intense war experience and some language.” The other, this summer’s The Odyssey, is a seafaring adventure that laments the atrocities of the Trojan War—and is rated R for “violence and some language.”

That R is surprising. As the translator Emily Wilson wrote in her site-crashing review for the London Review of Books, Nolan’s film is “a family-friendly audiovisual spectacle.” She meant it pejoratively. But that quality is what has prompted beleaguered English teachers across the nation to receive the film as almost a personal gift. The Odyssey is decidedly chaste, and even stars Zendaya; what better way to get students to engage with an ancient Greek text? And yet, at least while The Odyssey remains in theaters, the R restriction—which means anyone younger than 17 isn’t allowed to attend unless accompanied by an adult—cuts off the audience members who might particularly benefit from being exposed to Homer’s epic.

The United States is a relative outlier in keeping The Odyssey away from younger audiences. Among its Anglophone peers, Australia, the United Kingdom, and Ireland deemed the movie suitable for anyone older than 15; Canada gave it a PG. Much of Latin America rated it equivalent to PG-13, as did Spain, Portugal, and France. Denmark approved the film for ages 11 and up.

So what happened here? As a rule, the MPA never discusses specific titles in public. Ratings are voted on by a board composed of parents from outside the film industry, who have children from the ages of 5 to 15; they must leave the board after a term maximum of seven years, or when all of their children reach legal drinking age. “One of the huge problems with the rating system is that there’s no transparency,” Kirby Dick, a filmmaker, told me. For his 2006 documentary, This Film Is Not Yet Rated, Dick hired private detectives to suss out who sat on the board at the time. “We don’t know what their backgrounds are, what the diversity is,” said Dick. “They’re making judgments for all of the country, the entire public, and we have no idea who these people are.”

The identities of today’s raters remain secret, as do their deliberations. Their reasoning is so mysterious that, in 2018, the MPA made headlines just by posting a 46-page document outlining the basics of its history and process. Nearly a century ago, Hollywood operated under the Motion Picture Production Code, a series of self-imposed guidelines that were enforced by “a very stern and efficient Irish Catholic named Joseph I. Breen,” Thomas Doherty, a professor of American studies at Brandeis University, told me. Anyone could read its rules: “It kind of operated like case law.” The code grew defunct in the post–World War II era; in 1968, it was replaced by the film-ratings system. Today’s arrangement, styled as a consumer guide that helps families make informed choices, is more permissive than the code, but also more opaque—and more subjective.

A spokesperson for the MPA declined to make the chair of its ratings branch available for an interview, citing scheduling issues. Instead, I called up Ethan Noble, a former Miramax Films executive, and Scott Young, a former MPA senior rater, who, via their firm Motion Pictures Consulting, guide filmmakers through the ratings process. Their job is to anticipate the ratings board’s reaction to matters such as language and content. By my count, The Odyssey featured three uses of the word fuck and its variants, one of which was used to denigrate a beach. But while the movie’s ratings descriptor did highlight language, there’s no hard line governing how many times the word can be uttered before raters impose an R. In recent years, the rating board has demonstrated more flexibility, Noble told me: Today’s PG-13 movies can sometimes get away with more F-bombs, as long as the expletive isn’t “sexually derived.”

Expletives aside, though, what makes a movie “adult” can rarely be quantified. “It’s really about how these certain movies make you feel,” said Noble. Young recalled instances in which a violent scene was deemed less graphic after simple edits to the sound mix: Dial back the sounds of bones crunching or punches landing “and bring up some music, and it completely changes.” Injury and death are considered more intense when affecting a central character—someone the audience has formed an emotional attachment to. But you can mow down an army of zombies, or decapitate an orc, and get a PG-13. “Blood is a factor,” Noble added. “If the blood is red, that’s something that will easily start pushing it more towards R.”

The MPA’s squeamishness can have ironic effects: A movie that keeps the aftermath of violence off-screen, avoiding realistic depictions of what weapons do to bodies, might be open to all ages, but a movie that dwells on those consequences will likely be restricted. Take another example from the Nolan filmography: In The Dark Knight, the Joker “makes a pencil disappear” by driving it into the eye of a mob henchman. The Odyssey, too, features a memorable ocular injury, when Odysseus and company blind the cyclops Polyphemus. The former avoided the more mature rating, apparently shocking the cinematographer who shot it. Casual sadism and glib brutality can squeak by with a PG-13; the wounds of war (and, okay, one overlong scene of husbandly vengeance) can earn an R.

The PG-13 designation has always been an awkward middle child, caught between Hollywood’s clashing commercial incentives: its desire to reach a wide audience and its eagerness to avoid parental ire. Steven Spielberg first proposed the creation of a PG rating “with a little hot sauce on top” in 1984, after widespread indignation at the gory imagery in Indiana Jones and the Temple of Doom. But over time, as superhero franchises saturated pop culture, violence once confined to R-rated movies has arguably become a staple of family entertainment. Gun violence in PG-13 movies exceeded that of R movies by 2012, according to a study from the Annenberg Public Policy Center, and it continued to rise in subsequent years. As less and less distinguished a PG-13 from an R, “the rating issue kind of dissolved,” Dan Romer, one of the study’s co-authors, told me.

Doherty, the American-studies professor, took a harsher view: The distinction between PG-13 and R “in the motion-picture industry and among exhibitors is a total joke and everybody knows it,” he said. “There are a lot of R-rated movies that are aimed at the 15-year-old kid, and everybody, everybody, knows.”

Given the substantial overlap between the two ratings, the casual viewer is left to wonder what earned The Odyssey its R. During lulls in the 172-minute run time, I’d think of the MPA’s rating descriptors, a vocabulary rich with persnickety euphemism: Would I call this flashback “mature thematic”? Was the hero, while steering past the churning waters of Charybdis, experiencing mere “action” or the more threatening “peril”? How much bare human-male backside was visible before Odysseus’s crew was transformed into pigs? In fact, was the entire scene on Circe’s island sort of sexual? (It didn’t seem unsexual.)

Scant visible blood was spilled—surprisingly little, actually, especially considering that, at one point, a man gets bitten in half. Perhaps the script’s emphasis on the hero’s psychological scars from war left the MPA board with the impression that the film contained more vivid carnage than was actually on-screen. Watching a movie like a rater, I found, can be perversely rewarding. The exercise sharpens the senses; it heightens attention to the placement of a cut, to what’s depicted or merely implied. Who, after all, has more faith in the power of cinema than someone gauging how it might affect young minds?

Restricted movies, The Odyssey included, appeal to more people than in the past. “It used to be that the movie industry didn’t want to get an R, because it would limit the audience,” Romer told me. “I think that may be changing.” Box-office data indicate that only 4 percent of the audience was younger than 17—but as anyone who has ever been alive knows, teens always find a way. An R can make a movie feel edgier and more exciting. Perhaps it can also save a movie from feeling, suspiciously, like homework.

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Friday, August 7, 2026 12:56 PM

its about to cross 1 Billion, Odyssey one of the top-grossing films of the year - however
then Spider-Man came along and kicked its ass

NOTIFY: N | REPLY | REPLY WITH QUOTE | TOP | HOME

Friday, August 7, 2026 3:41 PM

Quote:
Originally posted by second:
Quote:
Originally posted by 6ixStringJack:
You are the one who abandoned our values, you evil little self-serving turd.

You are the problem. You were always the problem.

And now the media can't cover for you anymore and everyone knows that you are the problem.

You are a cancer on this planet and you will be removed.

The Boomers are about to die off and the world you useless fucking hippies envisioned while high off your asses 24/7 before you went Corpo and spent the next 50 years poisoning every institution from the inside out is about to die along with you.

You suck. Generations will be paying for you and what you've done for the rest of their lives and never pay it off.

Fuck you, white, college "educated", Liberal Boomer.

Good riddance. You will not be missed, and it's going to take a long time for us to clean up the fucking mess you left for us to clean up.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.
Here is a quote from Trump. 6ix, do you agree with him?

Donald J. Trump @realDonaldTrump • August 3, 2026, 9:31
My REAL Polling Numbers, not those made up by the Fake News Media, are the best they have ever been, and why wouldn't they be with the biggest tax cuts and employment numbers EVER, the biggest outside Investment in America in World history, a totally secure Border, a giant Victory in Venezuela, the Denuclearization of Iran, unparalleled respect and success throughout the World, and much more? Don't believe the Radical Left's Fake Poll numbers. They are Crooked and Corrupt, just like the Country Destroying Dumocrats are Crooked and Corrupt. VOTE REPUBLICAN FOR GREATNESS IN AMERICA! Thank you for your attention to this matter! President DJT

Monday was a day ending in the letter “y,” so Donald Trump spent much of the day boasting about how great he is and whining about not getting credit. At this point, most observers tune his rants out. However, the screed at the top of this post has received some attention, possibly because it was marked by a kind of purity: every one of Trump’s bombastic claims was completely, verifiably false.

https://paulkrugman.substack.com/p/the-good-news-trump-wont-mention

Repeating the question for 6ixStringJoker: Here is a quote from Trump. 6ix, do you agree with him?

6ix, if you did agree with Trump, you are even more evil than he is, which is why both of your lives are huge messes that are destructive to American prosperity.

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Yeah. I agree.

I don't give a single shit what you feel. Nobody does, loser.

We're finished with you and your disgusting ilk.

Your party is dead, and you killed it.

Congratulations, Shit Golem.

Fuck Paul Krugman, and Fuck You.

Looking very much forward to watching the polls blow up in your face, again.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Friday, August 7, 2026 3:45 PM

Quote:
Originally posted by JAYNEZTOWN:
its about to cross 1 Billion, Odyssey one of the top-grossing films of the year - however
then Spider-Man came along and kicked its ass

It's embarrassing, really. They conned a bunch of dipshit normies into thinking this yawn-fest was the must-see movie of the year, only to be destroyed 2 weeks into its run by the real must-see movie of the year.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Saturday, August 8, 2026 6:25 AM

Nolan’s Chinese Interview Goes Viral After Viewers Praise Interviewer
https://greekcitytimes.com/2026/08/03/nolans-chinese-interview-goes-vi
ral-after-viewers-praise-interviewer/

NOTIFY: N | REPLY | REPLY WITH QUOTE | TOP | HOME

Saturday, August 8, 2026 1:10 PM

Will the cinema god forgive Nolan? He has a history of missing the point

https://unherd.com/2026/07/will-the-cinema-gods-forgive-nolan/?edition
=us

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Sunday, August 9, 2026 6:00 AM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Quote:
Originally posted by second:
One Surprising Thing About The Odyssey—Its Rating

The U.S. is a relative outlier in keeping Christopher Nolan’s movie away from younger audiences.

The Odyssey (2026) Worldwide Box Office $1,018,284,707 will be on this list when updated:

The highest-grossing R-rated movies adjusted for inflation

Rank Title Inflated worldwide gross
1 The Exorcist $2,467,000,000
2 Deadpool & Wolverine $1,420,000,000
3 Joker $1,404,000,000
4 The Matrix Reloaded $1,337,000,000
5 Terminator 2: Judgment Day $1,254,000,000
6 Pretty Woman $1,179,000,000
7 Deadpool $1,085,000,000
8 The Passion of the Christ $1,075,000,000
9 Oppenheimer $1,065,000,000
10 Beverly Hills Cop $1,012,000,000
11 Rain Man $996,000,000
12 Saving Private Ryan $982,000,000
13 Deadpool 2 $973,400,000
14 The Bodyguard $973,000,000
15 It $953,000,000
16 Fatal Attraction $938,000,000
17 Rambo: First Blood Part II $928,000,000
18 The Matrix $925,000,000
19 Gladiator $889,000,000
20 Troy $876,000,000

https://www.reddit.com/r/boxoffice/comments/1tyhsub/the_highestgrossin
g_rrated_movies_that_grossed/

https://www.the-numbers.com/movie/Odyssey-The-(2026)

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Sunday, August 9, 2026 12:38 PM

Just goes to show how many stupid people we've got in this country.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Sunday, August 9, 2026 1:40 PM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Quote:
Originally posted by 6ixStringJack:
Just goes to show how many stupid people we've got in this country.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

To remind everyone, 6ixStringJoker is a drunken Nazi/Trumptard with a superiority complex**. Here is someone whose translation of Homer’s Odyssey was published in paperback this spring:

Artful Weaving

The most authentic thing about Christopher Nolan’s Odyssey is its densely braided narrative, but its tormented hero sounds like the heroes of Christopher Nolan movies.

Daniel Mendelsohn | August 20, 2026 issue

https://www.nybooks.com/articles/2026/08/20/artful-weaving-odyssey-chr
istopher-nolan/

Aristotle, for one, wasn’t all that impressed by Odysseus’s adventures. In the seventeenth chapter of his Poetics he observes, apropos of the relationship of a story’s “essential” meaning to its constituent episodes, that

the storyline of the Odyssey is not long. A man has been away from his homeland for many years, and Poseidon is always on the watch for him, and he is all alone. Meanwhile, the situation at home is such that his wealth is being consumed by the Suitors, who are plotting against his son. But after a storm-tossed journey he returns, and after revealing himself and attacking them is saved and destroys his enemies. That is the essential; everything else is episodes.

This summary will strike many as odd. Where, you wonder, are the famous adventures that most people think of as the meat of the great epic—the numerous escapades that showcase the ingenuity, wiliness, and derring-do of Homer’s hero during his decade-long return from the Trojan War? The Lotos-Eaters, who eat of a flower that erases memory? The seductive nymph Calypso, who holds him prisoner for seven years, offering to make him immortal if only he would stay with her—an offer he movingly refuses in favor of returning to his aging, mortal wife? His yearlong dalliance with the witchy Circe, who turns his men into swine? Or his lengthy sojourn among the effete Phaeacians, with their opulent wealth and glittering palaces, their taste for dancing and music—one of the many cultures that the epic presents as a tempting alternative to Ithaca—whose royal family the hero, deploying his famed rhetorical skills, wheedles into bringing him home?

Nor is there any mention here of the voyage to the Underworld, where, in one of the epic’s most moving moments, Odysseus attempts—and fails—to embrace the wispy ghost of his mother, of whose death, during his long absence, he had been unaware. And no mention either of the lengthiest of the adventures, the encounter with the one-eyed giant Cyclops, whom clever Odysseus—repeatedly celebrated by Homer as polymêtis (“greatly cunning”), polyphrôn (“having many kinds of intelligence”), polymêkhanos (“able to contrive many solutions”), and poikilomêtis (“of multifaceted wiles”)—vanquishes by means of an artful pun on the word “nobody,” the false name he gives the Cyclops when they first meet.

All this, in Aristotle’s summary, is reduced to “a storm-tossed journey.”

In part this is because he rightly emphasizes the importance of that other, far vaster part of the Odyssey, what he calls “the situation at home”—the crisis that the hero’s long absence has created for his city, whose political institutions are collapsing; for his wife, Penelope, who is besieged by the Suitors; and for his young son, Telemachus, who strives to live up to the grand reputation of the father he never knew. These constitute what screenwriting courses refer to as the “stakes”—the crisis that must be resolved by the hero’s eventual return; otherwise the homecoming has no point. Only four of the epic’s twenty-four books are devoted to the adventures, which are narrated by the notoriously smooth-talking hero himself before the mesmerized Phaeacian court: his greatest feat of verbal artistry.

But the main reason Aristotle gives short shrift to the adventures has to do with the epic’s structure. In the section of the Poetics devoted to the Odyssey, he’s primarily interested in the workings of plot. The Odyssey’s plot is one that he admires as being “complex” (the many ups and downs of its characters, the multiple scenes of recognition with which the poem concludes) and commends because of its “double thread”: the ascending arc of its hero’s rehabilitation and eventual triumph, twined around the descending arc of his enemies’ downfall.

While satisfying to Aristotle, the very complexity of the Odyssey’s narrative, constantly moving as it does between past and present, reminiscence and action, Ithaca and those far-flung voyages, is no doubt what has made it so difficult to bring successfully to the cinematic screen—this despite the fact that the adventures in particular seem to cry out for big-screen, special-effects treatment. The problem isn’t merely the vast amount of incident that needs to be covered. Homer also has a distinctive way of embedding his elaborate narratives within other narratives. Stories nest within stories; lengthy conversations are reported within other lengthy conversations. The most famous instance of this technique occurs in book 19, when an elderly housemaid who is bathing the feet of the disguised Odysseus recognizes a telltale scar that the hero had incurred during a boar hunt in his youth. At the moment she realizes that the “beggar” before her is her long-lost master, the narrative grinds to a halt in order to loop back through not one but two embedded flashbacks, first to the boar hunt and then to the day of the hero’s birth, before circling back to the present.

How to represent any of this—the structure and the technique as well as the vast tale itself—in the course of two or three hours?

One answer is that you can’t. It is no accident that the most scrupulously faithful dramatic adaptation of the Odyssey has been not a film but a miniseries: the meticulously detailed eight-part L’Odissea (1968), a French-Italian coproduction directed by Franco Rossi. The miniseries, a form that is itself episodic, solves the problem of how to weave many episodes into a larger pattern that is never extraneous to the “essential” theme of the story—Odysseus’s homecoming, its nature, origins, and ramifications—as Aristotle recommends. The great length permitted by the genre allowed the writers of the series to evoke even the most minor characters and incidents.

But a movie—even a very long movie—inevitably has a much harder time twining the threads, organizing the episodes in a way that does not (and this is the trick) feel “episodic.” It says something that of the very few movie adaptations of the Odyssey that have appeared, two—Ulysses (1954), an antic and amusing Italian production starring a swashbuckling Kirk Douglas and Silvana Mangano as the royal couple and Anthony Quinn as Antinoüs, the loathsome leader of the Suitors, and, more recently, The Return (2024), with Ralph Fiennes and Juliette Binoche—make deep cuts. The former eliminates most of the adventures (presented as flashbacks while Odysseus gazes out to sea during his stay with the Phaeacians) while compressing the situation at home to a bare minimum.

The Return, on the other hand, cuts out the entire first half of the epic and starts with the hero’s return home. This naturally eliminates not only the supernatural elements—the gods, the nymphs, the monsters, the divine dalliances, and the spooky encounters—but everything in Homer that establishes the stakes. Informed, perhaps, by recent approaches to the Homeric poems as proto–case studies in PTSD,2 the film recasts what Aristotle saw as the hero’s triumphant arc as the grim tale of a traumatized veteran. (At one point Odysseus himself openly sneers at the idea of “heroes” when someone asks about the war.) The Ithaca to which this Odysseus, played by a wiry, scowling Fiennes, comes home reflects his depressed state: a scattering of dun-colored huts inhabited by meanly clothed peasants, its palace a dreary pile of stones. You wondered why he was so eager to get back.

To do all of the Odyssey justice—justice, that is, to its structure as well as its content—it would seem that you need a director who is not only capable of producing a visually engrossing spectacle but also adept at handling complexly embedded narratives. Which is why, soon after the release of The Return, some people, myself included, were elated when it was announced that the British American director Christopher Nolan was working on a movie adaptation of the epic.

Nolan, after all, made his name by twisting narrative threads in ways you wouldn’t be wrong in describing as polymêtis. His first feature, Following (1998), tracks an aimless young Londoner who likes to follow random people around—harmlessly at first—until one of them turns out to be a sly cat burglar who ensnares his stalker in a dense and finally deadly web of lies and illusions. Memento (2000), which won him widespread acclaim, highlighted what was to become another entrenched theme of the filmmaker’s work: the relationship between memory and guilt. An amnesiac (Guy Pearce) bent on finding and killing his wife’s murderer must rely on an elaborate system of photographs and notes, some tattooed on his own body, as a means of retaining consciousness of who people are, where he has been, and what he has accomplished in his quest for clues. Here, too, it turns out that the protagonist has been the victim of an ingeniously plotted scam.

What was so intriguing about Memento was the technique Nolan employed to suggest Leonard’s fragmented mental reality and to recreate it in the audience. The film has two narrative threads: a black-and-white sequence that follows events in chronological order and a color sequence that moves backward in time. As each proceeds, the audience comes ever closer to being able to put the pieces together in a way that Leonard can’t. Such toying with chronology has become a hallmark of Nolan’s work, not least in a marvelous venture into sci-fi, Interstellar (2014), an astronauts-saving-the-inhabitants-of-a-dying-Earth extravaganza in which time, literally bent out of shape (there’s a black hole), moves at different rates for various of its characters, with sometimes very moving results. I doubt that I was the only one in the theater getting teary-eyed during the scene at the end between the still-young protagonist (Matthew McConaughey) and his now elderly daughter.

Guilty characters with dark pasts resurfaced in other Nolan films, most notably the Dark Knight trilogy, the opening chapter of which, Batman Begins (2005), depicts Bruce Wayne/Batman (Christian Bale) as a man who, because of his failure, as a boy, to prevent the murder of his father and mother, feels no less “guilty” in some ways than are the outlandish villains he constantly battles. Nolan’s psychologically somber Batman films were ecstatically received as a shrewdly contemporary reimagining of the old franchise and had huge international success, but to my mind they lacked—perhaps of necessity, given their pop nature—the stimulating structural ingenuity of some of his other films. In The Prestige (2006), an obsessive and ultimately murderous rivalry between two turn-of-the-century London magicians—one of whom has caused the death of the other’s wife—results in deliciously inventive plots-within-plots that allow the director to play at length with favorite themes of guilt and innocence, illusion and reality, human action and its sometimes unforeseen consequences.

And in the Oscar-winning Oppenheimer (2023), another guilt-ridden hero (Cillian Murphy, playing the morally tormented leader of the Manhattan Project) is caught in knotty webs of both his own and others’ making. Here Nolan topped Aristotle by having not two but three discrete plot threads twining around one another: one follows Oppenheimer’s participation in the development of the atom bomb; the second looks forward to the Star Chamber–like 1954 government investigation of Oppenheimer, whose security clearance has been threatened by his early ties to the Communist Party; and the third, set in 1959, focuses on Senate hearings on Lewis Strauss’s nomination as commerce secretary and his involvement in revoking Oppenheimer’s clearance back in 1954.

Nolan’s penchant for convolution can lead him astray. I’ve never quite been able to figure out precisely what’s going on in Inception (2010), a stylish fantasy in which futuristic criminal “extractors” wreak high-tech havoc on their marks by stealing their inmost thoughts from—or implanting new thoughts in—their subconscious, a feat they manage to achieve by entering their victims’ dreams. (Or something.) Still, the rendering of the dreams was so visually arresting that I’m not sure I cared. And the director’s virtually nonverbal World War II epic Dunkirk (2017) left you understanding nothing about that historical disaster, but it was gratifyingly eye- (and ear-) popping.

Whatever its flaws, Nolan’s work indicated that he might indeed be the right person to take on Odysseus, another multifaceted hero characterized at once by admirable cleverness and dark behaviors, and the Odyssey, a text characterized by temporal disjuncts and narrative playfulness. The result, a $250 million, three-hour-long behemoth, the first movie to be shot entirely in the IMAX format, is, like Batman Begins, a darkly psychologizing updating of a classic; like Memento, it toys with themes of memory and forgetting while, like Oppenheimer, it twists a profusion of narrative and temporal arcs. And like the sack of unruly winds that Aeolus, the divine custodian of the winds, entrusts to Odysseus in book 10—only to have it opened by the hero’s suspicious crewmen, with disastrous results—it is in the end a mixed bag: at once a vehicle for the director’s virtues and, as with The Return, a case study of the weaknesses inherent in attempting to modernize a work many of whose values remain, for all its timelessness, stubbornly archaic.

It’s not that Nolan isn’t aware of the values of the original. In an interview that appeared in The New York Times a month before the movie’s release, he spoke about his early, formative love for the Odyssey, which he first encountered as a stage production he saw as a young schoolboy in London. What marked him particularly, he recalled, were the image of the Trojan Horse—the clever invention of Odysseus that allowed the Greeks to infiltrate Troy, which is mentioned several times in Homer’s text and is the subject of a song sung by the Phaeacians’ court bard—and the episode of the Sirens and their song.3

Small wonder, then, that the film, in all its IMAX glory, is often visually impressive and, even more interestingly, that from its opening to its closing scene it finds ways to remind us that epic was considered to be a form of “song” and hence was something its original audience experienced aurally rather than visually. It’s a nice touch that Nolan’s film begins with Phemius, the court bard in Odysseus’s palace, rapping rhythmically on the floor with his stick as he intones words with well-known connections to the tales of Troy—“a face [i.e., Helen’s], a man, a song”—and, even more, that Phemius is played by the rapper Travis Scott: the director’s sly nod to the oral, improvisational origins of Archaic epic.

As you’d expect, Nolan’s own “song” effectively replicates the imbricated textures of the original. Because of the nature of epic narration, with its vast arcs, many famous “reveals” necessarily stand cheek by jowl with the backstories that set them up. When, in book 17, Odysseus approaches the gate of his palace for the first time in twenty years and spots his faithful old hunting dog, Argos, now flea-bitten and lying atop the town dung heap—a powerful analogue for the haggard warrior himself—the poet pauses to give you the story of how Odysseus acquired and trained Argos as a puppy, what good a tracker he was, and so forth. Similarly, there’s a climactic moment at the end of book 21 when Odysseus finally reveals his true identity by wielding a magnificent bow that he alone is strong enough to string—he plucks its twanging string, Homer tells us meaningfully, just the way a professional bard does with his lyre—and by shooting an arrow through twelve ax heads that have been lined up: a trick, the poet has recently told us, that he used to perform in the bygone days.

Nolan inserts space between the backstories and the reveals in a way that’s appropriate to a dramatization and finds ways to give the tension between past and present interesting visual textures. Early on, an image of the now decrepit Argos, abused by the arrogant Suitors (led by Robert Pattinson’s sneering Antinoüs, in a faded-pretty-boy turn), melts into a flashback of the young hero meeting his frisky puppy; a bit later we’re watching a younger Odysseus (a heavily bearded Matt Damon) performing his arrows-through-the-axes trick as Penelope, smiling indulgently, looks on. And Nolan has found ways to slip the twanging of the bowstring early enough into his movie that when the returned hero plucks the bowstring at the end—the prelude to the climactic slaughter of the Suitors—the moment has just the right shivery power. Since Nolan started dropping trailers, the Internet has been aflame with discussions of the “accuracy” of the costumes, ships, armor, and diction of the movie, but the most authentic thing about this Odyssey may well be its densely braided narrative textures, which succeed in replicating Homer’s artful weaving.

Weaving, as it happens, is crucial in the Odyssey. Even people who have never read the epic are likely to have heard the story, recalled by an irritated Suitor in book 2, of how “sharp-witted” Penelope, every inch as ingenious as her husband, had held off the Suitors for three years by promising that she’d marry one of them when she finished weaving a funeral shroud for her father-in-law, Laërtes—and then, by night, unweaving what she’d woven by day. Nolan places this scene in the “now” of the homecoming story: Penelope (Anne Hathaway, in a portrayal that wavers nicely between sharp authority and anguish) explains her weaving process to Telemachus and then, gesturing to the palace and the city beyond, as if her civilization itself were a giant artwork, makes an observation about the relationship between form and content of which Aristotle himself, you suspect, would approve: “The structure is nothing without the people’s respect for its meaning.” Like the sly self-reflexive depictions of bardic artistry in the Odyssey, the queen’s remark seems like a comment on the way Nolan’s elaborately textured structures are meant to serve his long-standing themes.

While Aristotle gives the adventures short shrift, Nolan certainly doesn’t; the movie has great visual panache. In the Underworld scene, the hands of the dead, whom Odysseus has been instructed to summon by means of a creepily bloody ritual, wriggle upward, unnervingly, from beneath the black sand of the shore. The storms at sea—scenes to which Homer devotes some of his most memorably descriptive poetry—are impressively scary. And Nolan’s rendering of the Cyclops episode is unlikely to be topped, the huge IMAX screen powerfully conveying the inky immensity of the giant’s lair as the Greek warriors, puny in comparison with their tormentor, anxiously wander through it. (All this is helped by some very effective sound design: the entire theater shakes when Polyphemus makes his entrance.) In this version, it’s not just the Cyclops’s (Bill Irwin’s) vision that’s wonky: some of his features have been violently twisted ninety degrees, so the famous “one sole eye” sits vertically in his forehead, blinking side to side.

Polyphemus isn’t the only character who gets a makeover. In Homer, Circe decorously taps Odysseus’s men with a magic wand to transform them into swine; Nolan gives the scene a repellent physicality, as the witch (a decidedly unglamorous middle-aged Wiccan type, played with earthy relish by Samantha Morton) violently uses her hands to massage their faces into snouts after they pig out on the stew she’s served them. In one of a few feminism-inflected moments, Circe bitterly suggests that the transformation reveals rather than conceals who these men really are: “They raped and pillaged across the world for you! Filthy soldiers with empty bellies and hot blood. Look at them and know your own men!”

It has to be said that whatever Nolan’s taste for optical extravagance, the production design here is disappointingly unimaginative: the drearily sepia-toned sets and costumes, sooty in the flickering torchlight, look like they’ve been rented from the Game of Thrones warehouse. In Homer, the palace of Odysseus’s old comrade Menelaos is so opulent that Telemachus, who’s come to interview the indulgent, rather sentimental Spartan king about his father’s whereabouts, openly gawks: “Look at the bronze that flashes throughout the echoing palace,/At the gleam of gold and amber—Look! Silver and ivory, too!” Here Menelaos is a thuggish warlord who, it would seem, has enjoyed beating his wife, Helen—the Kenyan Mexican actress Lupita Nyong’o, in a bit of casting that launched a thousand tweets—half of whose legendarily beautiful face is covered with deep scars. This Menelaos (Jon Bernthal, sounding vaguely Tony Soprano–ish) guffaws that perhaps that famous face would now launch only five hundred ships.

If the film has a single unifying visual motif, it is, unsurprisingly, the Trojan Horse, which made such an impression on the young Nolan. When we first see it, in an opening flashback to the end of the war, the huge black contraption is sticking out of the sand by the seashore, left there to be discovered by a group of gullible Trojan warriors. Odysseus has also left a young Greek soldier named Sinon (Elliot Page) to ensnare the enemy by claiming that it is a gift from the (allegedly) retreating Greeks. The Trojans seize the Horse and kill the naive youth, whom Odysseus had kept in the dark about the Greeks’ master plan. In Nolan’s Odyssey, the only significant encounter the hero has in the Underworld is with the ghost of Sinon, who reproaches his commander for his duplicity—the negative side of his great cunning. The final image of the film reiterates the point: the Horse’s unseeing eye, recalling that of the Cyclops, staring out from the smoking rubble of Troy—the deadly aftermath of yet another of Odysseus’s clever schemes.

But then, the only side of Odysseus—and indeed of the Odyssey—that you get in Nolan’s film is the negative one. “I wanted the film to be accessible,” he has said.

I wanted the world of The Odyssey to feel like a world that a modern audience could relate to. We didn’t want it to look or sound like previous movies set during antiquity, as many of them take their cues from certain periods of art and music, like Neoclassical painting from 18th and 19th century Europe or Romantic Era orchestral compositions. We wanted an earthy, modern, relatable tone to ground the story.

As with The Return, “earthy, modern, relatable” here translates to a focus on psychological angst and a grim “realism” that shrewdly channels a contemporary impatience with notions such as “great men” and “heroism.” In this Odyssey, there is no cleverness, no humor, no wily charm. In this Odyssey, the hero doesn’t trick the Cyclops with his brilliant “nobody” pun; he and his men just poke the giant’s eye out and make a gridiron-inspired run for it. (“Run low through the entrance and then split wide!”) This Odysseus has no sparkling repartee with his divine patroness, Athena—a delightful leitmotif of Homer’s text—because the crucial part in the epic played by that awesome goddess, with her creepy “owl-eyes,” has been whittled down to a couple of scenes in which Athena (Zendaya, swathed in what looks like Jil Sander) bucks him up during his moments of religious doubt. “Look! Who’s moving those clouds? Who’s moving that water?!” The dialogue, alas, is pedestrian throughout.

Nor can this Odysseus charm the Phaeacians with his seductive talk and beguiling storytelling, because Nolan has eliminated the Phaeacian episode altogether—a real loss, given that long episode’s enchanting portrayal of the feisty teenage princess Nausicaa, who discovers the shipwrecked hero and saves him, and of her adoring parents. This Odysseus does not break down in tears at the apparition of his mother in Hades, because that tender moment, too, has been excised, along with the most crucial encounter he has in the Underworld. The ghost of Achilles, who had given up long life in return for eternal glory, tells his old comrade that he would rather be alive, the lowest servant of a poor man, than king of all the dead: a ringing endorsement of the Odyssey’s hero, who stops at nothing to survive.

Nolan deletes all this while retaining material that adds little to his story or its themes. A confusingly extended scene of a battle with a race of cannibalistic giants called the Laestrygonians, a relatively uninteresting episode in book 10, adds nothing, except perhaps an adrenaline rush for the eighteen-to-twenty-six crowd.

Worse, this Odysseus does not make his moving rejection of Calypso’s offer of immortality because Nolan, taking a leaf from the Kirk Douglas version, portrays Odysseus as being an amnesiac during the seven years he spends with her; he doesn’t even know he has a wife to return to. In a conflation of two canonical adventures, Nolan has his Calypso (Charlize Theron)—here apparently not a goddess but an ordinary mortal—confess to her lover that for all those seven years she’s been feeding him Lotos in order to ease his mental anguish. “You want to remember, but what if remembering destroys your happiness?” she murmurs—one of several Yoda-like utterances that Nolan attributes to a character who, in the original, is the mistress of an impressive rhetorical style. (Homer’s Calypso, faced with Zeus’s order to give up her captive, rages against the male double standard for female sexual behavior in a memorable speech that has lost none of its freshness—or pertinence.) The whole point of the Calypso episode is that Odysseus remembers the wife, and the life, he has left behind: when we first meet him, in book 5, he is staring out to sea, “sitting there; nor did his tears/Ever dry, since the sweetness of life was trickling away/As he grieved for his homecoming.”

What this Odysseus does remember is the Horse and everything that Nolan wants it to represent. The climax of his adaptation is not the triumphant achievement of the long-deferred vengeance and restitution of the hero’s identity but a moment the evening before, when Odysseus, disguised as a beggar, converses with Penelope. Losing hope, she insists that the husband she remembers would have found a way to come home if he were still alive. Rueful, Odysseus replies, “It’s not always an easy thing, a homecoming. What if the Odysseus you knew lost his way? What if he saw things?… What if, when he opened the gates of Troy, he saw ten years of rage pour into that city in one night?” This triggers an extended flashback to the atrocities committed by the Greeks during the fall of the city: the rapes, the beheadings, the desecrations of shrines. For these crimes, Nolan’s Odysseus feels a crippling guilt:

We left them a gift, an offering of peace that they took into their home. We violated all that is held sacred between people and turned a fight into a hunt. To burn the walls of Troy was to burn the world entire…. What if [Odysseus] knew, that very night, as he walked through fires of anarchy and pain and in the days of sweaty celebrations that followed…what if he knew exactly what he’d done?

As this resounding speech echoed in my ears, it occurred to me that it sounds nothing like the heroes of Homer—who, after all, gleefully vaunt over the mutilated bodies of their slaughtered enemies—but a lot like the heroes of Christopher Nolan movies. This tormented, guilt-ridden Odysseus, stripped of humor and wit, seductiveness and cleverness, is a sibling of Memento’s anguished amnesiac, of Batman, of Oppenheimer, men tormented by pasts they wrestle with in different ways. Speaking to the Times on the eve of his movie’s release, Nolan acknowledged how, as he read various translations of the Odyssey, he realized that it was the “ur-text. It’s in everything I’ve done before.”

But whatever his lifelong fascination with the epic, Nolan has merely remade Homer’s hero in his own image, just as he has imposed on Odysseus’s adventures values utterly foreign to Homer. Is his new vehicle for Odysseus’s tale impressive in its visual impact and distinctive in its structural ingenuity? Yes. But is its “essential” in any way Homeric? On that I’ll let Penelope have the last word: “The structure is nothing without the people’s respect for its meaning.”

**A superiority complex is a psychological defense mechanism where a person overcompensates for deep-seated feelings of inferiority by acting as though they are better than, more capable, or more important than others. **

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Sunday, August 9, 2026 5:28 PM

Quote:
Originally posted by second:
Quote:
Originally posted by 6ixStringJack:
Just goes to show how many stupid people we've got in this country.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.
To remind everyone, 6ixStringJoker is a drunken Nazi/Trumptard with a superiority complex**.

Uh huh...

Anybody who doesn't know who Second is and what he is all about will figure it out pretty quick if they stick around a while. He is pure garbage without any opinions you couldn't get just from reading the NYT.

Like the creepiest of creeps, he regularly reads everything that the members who have interests outside of politics share about their lives, and saves them on his computer, where he will then try to use anything that somebody says against them in a completely different context, like a fucking loser stalker creep would. At one point, a member was talking about their health issues and he brought that up in a different thread in an argument and laughed at her.

I mean, he constantly does this to me, but I don't care about little online bitches who don't know how to behave themselves and I can handle my business. That being said, I've been sober now for 5 months shy of a decade, and he'll still throw my alcoholism in my face.

He finally stopped plagiarizing other people's writing and trying to pass it off as his own after I dedicated an entire thread to catching him in the act constantly doing this. How did I figure that out? Pretty easy when his posts go from 5th grade English to some extra flowery bullshit that Liberal dipshits like to put in their writing.

He sends death threats to everyone, which are all extensively archived because he also likes going back through his own post history regularly and deleting things that have become inconvenient for him.

His alternate handle Reaverfan who once told me explicitly how I should wrap my lips around the barrel of a gun and take myself out got banned years ago, yet somehow Haken allows this evil little troll to keep posting here after all the horrible shit he's said to everyone.

If you don't know who Second is, consider yourself lucky. And until he finally gets the ban here that he so richly deserves, I don't imagine anybody new is going to join this website for any reason.

If you'd like to know more...

Second is a Serial Plagiarist that just got caught red handed

http://www.fireflyfans.net/mthread.aspx?tid=65471

HAKEN: THIS NEEDS TO STOP. IMMEDIATELY. I'M NOT ASKING ANYMORE.

http://www.fireflyfans.net/mthread.aspx?bid=2&tid=67251

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Sunday, August 9, 2026 7:54 PM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Quote:
Originally posted by 6ixStringJack:
Quote:
Originally posted by second:
To remind everyone, 6ixStringJoker is a drunken Nazi/Trumptard with a superiority complex**.

Uh huh...

**A superiority complex is a psychological defense mechanism where a person overcompensates for deep-seated feelings of inferiority by acting as though they are better than, more capable, or more important than others.

6ixStringJoker demonstrated what a superiority complex looks like by writing a few hundred words about his superiority.

Why did men join the Nazi Party? Hitler made them feel strong. Trump stirs the same feeling in his Trumptards. 6ixStringJoker, for one example. Men joined the Nazi Party because Adolf Hitler and the party gave them a sense of pride, power, and hope during a time of deep economic and social crisis in Germany. Men joined the Republican Party because Donald Trump and the party gave them a sense of pride, power, and hope during a time of deep economic and social crisis for angry poor white trash Americans.

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Sunday, August 9, 2026 9:33 PM

Quote:
Originally posted by second:
Quote:
Originally posted by 6ixStringJack:
Just goes to show how many stupid people we've got in this country.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.
To remind everyone, 6ixStringJoker is a drunken Nazi/Trumptard with a superiority complex**.

Uh huh...

Anybody who doesn't know who Second is and what he is all about will figure it out pretty quick if they stick around a while. He is pure garbage without any opinions you couldn't get just from reading the NYT.

Like the creepiest of creeps, he regularly reads everything that the members who have interests outside of politics share about their lives, and saves them on his computer, where he will then try to use anything that somebody says against them in a completely different context, like a fucking loser stalker creep would. At one point, a member was talking about their health issues and he brought that up in a different thread in an argument and laughed at her.

I mean, he constantly does this to me, but I don't care about little online bitches who don't know how to behave themselves and I can handle my business. That being said, I've been sober now for 5 months shy of a decade, and he'll still throw my alcoholism in my face.

He finally stopped plagiarizing other people's writing and trying to pass it off as his own after I dedicated an entire thread to catching him in the act constantly doing this. How did I figure that out? Pretty easy when his posts go from 5th grade English to some extra flowery bullshit that Liberal dipshits like to put in their writing.

He sends death threats to everyone, which are all extensively archived because he also likes going back through his own post history regularly and deleting things that have become inconvenient for him.

His alternate handle Reaverfan who once told me explicitly how I should wrap my lips around the barrel of a gun and take myself out got banned years ago, yet somehow Haken allows this evil little troll to keep posting here after all the horrible shit he's said to everyone.

If you don't know who Second is, consider yourself lucky. And until he finally gets the ban here that he so richly deserves, I don't imagine anybody new is going to join this website for any reason.

If you'd like to know more...

Second is a Serial Plagiarist that just got caught red handed

http://www.fireflyfans.net/mthread.aspx?tid=65471

HAKEN: THIS NEEDS TO STOP. IMMEDIATELY. I'M NOT ASKING ANYMORE.

http://www.fireflyfans.net/mthread.aspx?bid=2&tid=67251

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Monday, August 10, 2026 7:21 AM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Quote:
Originally posted by 6ixStringJack:

HAKEN: THIS NEEDS TO STOP. IMMEDIATELY. I'M NOT ASKING ANYMORE.

6ix, I never heard from Haken, possibly because he ignores Nazis such as yourself making uppercase demands.

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Monday, August 10, 2026 7:22 AM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

The Odyssey (2026)

Theatrical Performance
Domestic Box Office $461,173,000
International Box Office $643,632,000
Worldwide Box Office $1,104,805,000

Production Budget: $250,000,000 (worldwide box office is 4.4 times production budget)

https://www.the-numbers.com/movie/Odyssey-The-(2026)

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Monday, August 10, 2026 11:58 AM

Quote:
Originally posted by second:
Quote:
Originally posted by 6ixStringJack:

HAKEN: THIS NEEDS TO STOP. IMMEDIATELY. I'M NOT ASKING ANYMORE.

6ix, I never heard from Haken, possibly because he ignores Nazis such as yourself making uppercase demands.

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Yeah. We know that Haken is negligent and when I sue you and Ted, he's going to be a defendant in the case as well.

But that's besides the point.

Anybody here can look at your awful post history and know that you're an absolute piece of dogshit, loser.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Monday, August 10, 2026 4:06 PM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Quote:
Originally posted by second:
The Odyssey (2026)

Worldwide Box Office $1,104,805,000

Worldwide Box Office $1,119,138,680

Quote:
Production Budget: $250,000,000 (worldwide box office is 4.4 times production budget)

Production Budget: $250,000,000 (worldwide box office is 4.5 times production budget)

Quote:
https://www.the-numbers.com/movie/Odyssey-The-(2026)

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Tuesday, August 11, 2026 4:49 PM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Quote:
Originally posted by 6ixStringJack:

Yeah. We know that Haken is negligent and when I sue you and Ted, he's going to be a defendant in the case as well.

But that's besides the point.

Anybody here can look at your awful post history and know that you're an absolute piece of dogshit, loser.

--------------------------------------------------

Those who dance always seem crazy to those who can't hear the music.

6ixStringJoker will sue anyone who either ignores or despises him, having learned that way of behaving from Trump, who also hates The Odyssey. https://www.alternet.org/trump-odyssey

The Odyssey Is Now Christopher Nolan’s Biggest Box Office Hit

August 11, 2026

https://www.inverse.com/entertainment/christopher-nolan-the-odyssey-bo
x-office-results

It’s also the most successful IMAX release ever, pushing Avatar down to #2 with its $289 million haul.

That’s impressive, but The Odyssey isn’t done yet. It’s still raking in the money after four weekends in theaters, and the movie hasn’t even opened in China yet.

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Wednesday, August 12, 2026 12:34 PM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Homer Has Never Been Hotter

Christopher Nolan’s film adaptation of The Odyssey has inspired a massive new wave of people reading the epic.

By Nadira Goffe | Aug 12, 2026 5:45 AM

https://slate.com/culture/2026/08/the-odyssey-movie-christopher-nolan-
book-story-homer-emily-wilson-iliad.html

Download the book from https://z-lib.gl/s/The%20Odyssey%20Homer

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Sunday, August 16, 2026 7:27 AM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

‘The Odyssey’ reminds us of the nightmare we are leaving for American children

The Founders created Congress to write the laws, but ordinary citizens fail to hold it accountable

By John C. Adams / Fox News

Published August 15, 2026

https://www.foxnews.com/opinion/odyssey-reminds-us-nightmare-leaving-a
merican-children

In Christopher Nolan's "The Odyssey," the most uncomfortable scenes aren't the cyclops or the shipwreck. They're the ones set at home.

Dozens of men have moved into Odysseus' palace on Ithaca. They slaughter his herds. They drain his wine. They lounge in his hall demanding his wife choose one of them, and every day they consume a little more of an estate none of them will ever own.

Telemachus watches it happen. He is a boy. He has no standing, no army and no idea when — or whether — his father is coming back.

That is not a Bronze Age problem.

We will soon be over $40 trillion in national debt. I have spent my career as a mergers-and-acquisitions banker valuing what things are truly worth, and I can tell you what that number is: It is a claim on people who cannot yet vote — taxation without representation.

I became a grandfather last year. When I watch my grandson playing, there is one question that never once crosses my mind — how could I steal from him? I don't know a single person who thinks that way. And yet, collectively, year after year, our politicians buy votes with money belonging to people who haven't been born.

That is the hall on Ithaca. The suitors were not monsters. They were ordinary men, following ordinary incentives in a house where nobody could stop them.

Socrates proposed that "lovers of wisdom" should make decisions for society. Two and a half millennia later, how are we doing? He would say we never understood his "ship of state." The skill that gets a person elected is not the skill required to govern, and we keep being surprised by this.

Cut the time frame by 90%, to 1776. The Founders were so wary of faction they warned us about it in the founding documents themselves. They made Congress Article I — not merely one branch among three, but the body meant to write the laws. They would be stunned at how much of that work now happens in the other two branches, and how comfortable Congress has become with the arrangement.

Cut 90% again, to 2001. Those Americans had just watched a Democratic president and a Republican Congress run a budget surplus while expanding trade. Tell them we would arrive here, in just two and a half decades — $40 trillion in debt, in the middle of a global trade war — and they would simply not believe you. [ The U.S. national debt was $5.7 trillion in January 2001. But then Bush started two wars and cut taxes for the wealthy while also cutting funding for the IRS, which has the job of policing tax cheating. Trump repeated those exact errors, too. https://www.jec.senate.gov/archive/Documents/Reports/debtandtaxes2006.
pdf ]

Three data points, each a tenth of the distance of the last, and the trend does not improve.

How did we get here? At bottom: incentives.

People respond to them, and our system gives citizens almost none to really understand the issues because understanding does not translate into any real say. We hand our authority to a proxy selected largely on partisan sound bites, then root for our political team the way we root for a ball club.

The Founders were so wary of faction they warned us about it in the founding documents themselves. They made Congress Article I — not merely one branch among three, but the body meant to write the laws.

Wealth and civic health are twin engines. The nations with the strongest safety nets don't have them because their politicians are nicer; they have them because their economies are richer and their systems reward productivity over plunder. If we align citizen incentives with actual legislative understanding, capitalism and democracy can do what they do best: make the poor ever richer.

Nolan's ending is not Homer's. His Odysseus clears the hall and discovers he cannot stay in it. He has killed the sons of noble houses under his own roof, and a man who does that cannot govern the place afterward. So, he abdicates. He puts the crown on Telemachus and sails west into exile.

That is our arrangement exactly. We are handing the next generation an estate with a great deal eaten out of it.

Plato distrusted democracy because he doubted ordinary people could become lovers of wisdom. In his world, with no printing press and no schools, he had a point. We have an information age that can educate anyone, issue by issue, better than the best minds in ancient Athens — but little incentive for anyone to use it.

So, we need to build those incentives. We have the tools to give our citizens an incentive to truly learn the issues and have their voices mean something. Make understanding an issue worth the hour it takes. A Congress receiving that kind of informed feedback would be answerable. A Congress that spends more time listening to constituents spends less time listening to lobbyists. A Congress with that standing might start reclaiming the ground Article One has quietly surrendered.

If we would just harness our amazing technologies, we could make our ancestors of 2,500, 250 and even 25 years ago proud. Imagine if we used these tools to attack some of our 80/20 issues for starters.

Nobody is sailing home to clear our hall. Our grandchildren are getting the house. We have spent 25 centuries asking who should make decisions for society. Perhaps we've been asking the wrong question. Perhaps we should instead ask how to give ordinary citizens stronger incentives to become "lovers of wisdom." My grandson wants lovers of wisdom to make decisions for society. So does yours.

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

Monday, August 17, 2026 5:44 AM

Christopher Nolan’s ‘The Odyssey’ surpasses $1 billion worldwide

https://greekcitytimes.com/2026/08/10/christopher-nolan-the-odyssey-1-
billion-box-office/

NOTIFY: N | REPLY | REPLY WITH QUOTE | TOP | HOME

Tuesday, August 18, 2026 10:10 AM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Aug 17, 2026 04:08 PM EST

Current tracking now puts its final tally somewhere between $1.6 billion and $1.8 billion.

The Universal Pictures collaboration is Nolan's first non-Batman film to reach $1 billion, although 2023's Oppenheimer came very close with $975 million.

https://comicbookmovie.com/fantasy/christopher-nolans-the-odyssey-scor
es-37-million-china-opening-weekend-a229408

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

NOTIFY: Y | REPLY | REPLY WITH QUOTE | TOP | HOME

YOUR OPTIONS

SHARE THREAD

NEW POSTS TODAY

USER	POST DATE
second	08.18 10:10

OTHER TOPICS

DISCUSSIONS

The Odysuck
Tue, August 18, 2026 10:10 - 92 posts

Child actors of note
Tue, August 18, 2026 09:43 - 39 posts

Spider-Man: Brand New Day 1st 2026 movie to make $2 billion Worldwide
Tue, August 18, 2026 08:18 - 6 posts

How long before foreign movies and foreign language tv outsell Hollywood movies / tv
Mon, August 17, 2026 11:47 - 34 posts

List Of 400 "Celebrities" I Don't Need To Watch Anymore
Mon, August 17, 2026 05:37 - 9 posts

Kill (Hindi language)
Sun, August 16, 2026 12:19 - 19 posts

Good Low Budget and Independent Flicks
Sat, August 15, 2026 18:05 - 289 posts

Movies you are most looking forward to
Tue, August 11, 2026 16:54 - 44 posts

Henry Cavill Sets a Brutal Rule for Warhammer 40k - Amazon had no choice
Tue, August 11, 2026 16:51 - 4 posts

There are no more Celebrity, 'Pop Stars' Actors anymore.
Tue, August 11, 2026 13:24 - 19 posts

Oscar Suggestions
Mon, August 10, 2026 07:02 - 39 posts

Horror movies and Scary Tv making a comeback?
Mon, August 10, 2026 06:55 - 141 posts

VIEW MORE TOPICS

FFF.NET SOCIAL