The Odyssey Media COPE As Greeks Fight Back

追加: 2026-06-04

[00:00:00]Nolan's the Odyssey is an ideological project. It's not about the money. It's about sending a message. And the more we find out about it, the more that seems to be true. Friend Nolan himself quoting Emily Wilson's translation where you can watch any of her interviews and she's very honest about how she wanted to subvert the work.

[00:00:15]>> Tendency to assume it's a kind of old school comic book superhero story where the the unproatically heroic male western hero implicitly white who is good because he crushes the bad guys, monsters, foreigners, and witchy women.

[00:00:25]the casting choices of Elliot Pageige as a man, Npita Ombongo as a Greek, or Zenaia as someone who can act. When you've got fours like this pretending they're the most beautiful women in the world from a country which has contributed as much as I have to ancient Greek history. She decided to say that her character is representative of the world while wearing a South African dress was also written by Juliana on Bongi. Now, Leita is a massive hypocrite as you'd expect in this regard. We'll go into that later. Let's just say there's several instances in her past where they're actually talking about her and her history. You know, something her ancestors might have actually contributed to.

[00:00:58]>> There is a whole host of people who get the misrepresentation that Africa has had. That's important to me >> where that is vitally important. But then you get to the Greeks and no, that's still got to be about me. People like Leita don't realize that they're irrelevant and don't matter. Nobody cares about you and if you weren't in the movie, it would be better for it.

[00:01:16]You actually degrade this movie with your presence. But you don't have to take my word for it. Right now, even the Greek press are coming out and having a go at Nolan and this casting. I mean, look, if I wanted either two to be the most beautiful woman in the world, I'd go to Slow. And Nolan has even said that he's changing things. He's changing the stories, changing how the god, he's removing the gods. One of the things I needed to crack was how to approach mythological elements in a real world way. A big breakthrough creatively was thinking about the gods as sort of science instead of the supernatural.

[00:01:45]Lightning, thunder, earthquakes, volcanoes. People were seeing the gods everywhere. It's not that gods actually exist. It's that they just didn't understand what a volcano was and so said a god did it. With the movie as a whole, you have to ask yourself, how many elements can be removed from the actual source material before it's not the property? How many Africans can be cast in a Greek work before it's not Greek? My argument would be one. Think of it this way. If you bought alcohol from a pub and you found out they'd been watering it down, is it still whiskey?

[00:02:12]The Greek City Times letter said that the Greeks are not fragments of antiquity or museum pieces, but they actually are a people with a heritage and history. They have their own culture and they did not vanish. There is no need to hire incompetent foreigner number three when you can get a Greek person which will actually immerse the audience in the environment that is intended to create. Why am I looking at a foreigner? Where is this meant to be?

[00:02:34]If I turn up to that, I'm not in Greece.

[00:02:36]I'm in Africa. And anyone that disagrees with this is either too ignorant to actually engage with the conversation or too malicious to need to be paid attention to. The Greek people have more than 3,000 years of continuity. Of course, they should not be invisible in their own story. This is a common sense point of view or a respectful point of view. The idea of representation was an important one. Representation matters, but it matters not just in who you represent, but who you actively exclude because they've got nothing to do with it. By representing people who don't belong there, you are deliberately and intentionally destroying the original culture, destroying the original piece of work. And the only response to that should be disdain, disgust, humiliation.

[00:03:14]It should lead you in any normal industry to be blacklisted from the industry. The very idea that you would even begin to accept a role like that when you know the consequences, when you know what you're doing, should mean that you never work again. I don't care if no one asked you. I don't care if you're getting paid. Getting paid for it makes it worse. At least if you came out and said, "I'm doing this because I despise the Greeks. I can't stand them. To be honest, I'm just happy to be part of this project in order to burn their culture to the ground because I think with me in it, it would be better." I could respect that opinion of just being a complete far more than no, I'm doing all of that and getting paid for it. Getting paid to do something awful is worse than just doing something awful. you're not just horrific, but now you're profiting off being horrific.

[00:03:54]Which especially when she's left films previously because she had concerns about the accuracy of the story and the representation of African culture. It seems obvious to me that she actually cares about one group of people and despises the other so much that she's more than happy to destroy their work, history, heritage, and people.

[00:04:10]>> And hopefully there is a celebration in as a result, a respect for these um very wealthy and diverse cultures that often just get washed as one thing. It's why when clips come round of her in other roles because let's face it, nobody's ever cared about her before. In Hollywood, it's a land of beautiful women. It's the tens that gets audiences through the door and are remembered as actresses. No one really cares about some DI hire who can't act.

[00:04:34]>> 500 lb of cotton ding. Lord knows that song.

[00:04:41]>> I mean, at least that role was made for her. Christopher Nolan says that she was his first choice because she had the strength and bearing as much as beauty.

[00:04:47]It's like saying you've got an interesting personality, a unique face.

[00:04:51]Is this just another time where the casting is the director's thinly disguised fetish? I mean, at least when it comes to Zenaia, she did say, "It's not like I have a lot of lines in the Odyssey." So, you know, thank God for small mercies, especially as in the original story, she's meant to be a god, but now we'll just be some, I don't know, woman that with a bad smile under a nose. This is basically Zenai's entire acting ability. But at this point, even the press are seemingly getting worried about the movie. The insane reactions to Christopher Nolan's The Odyssey are part of a bigger problem Hollywood can't ignore because the old tactics, the old media headlines, the spin just doesn't work anymore. You can't come out and write headlines like Leita Leono says she's not spending my time dignifying the Odyssey racist casting criticisms.

[00:05:30]But the thing is, actually, she does have to justify her racist casting. They can't just write titles like this because the truth is actually already in their framing. Yes, trying to destroy Greek culture with DEI hiring is just racist casting. You can't just stick your head in. I'm not spending my time doing it. And yet they are realizing slowly that they can't keep getting away with it. So that at some point someone's going to have to make some money. But it means that you can't keep kicking the audience in the face if you want the money from them. So it's why the insane reactions, but those reactions are despite all the pieces, a great cast full of DEI incompetent people who don't deserve the job and can't actually be part of it. It's one of the interesting points about Leita when people she's a great actress. She actually can't be a great actress. It's literally impossible. In the context of the Odyssey, a great actress would be an actress that could do the role. It's impossible for her to. Now, if she did go through a significant regime of skin bleaching, then maybe things would begin to look a bit more reasonable. Still have the fact that she'd be a three, but you know, can't have everything. But if a great cast means the best person for the job, well, the best person for the job would be firstly someone who was incredibly attractive. you know, the kind of person that Hollywood used to have, not has now. And secondly, either Greeks or at the very least, at the very minimum, someone that can still immerse you in the Greek world. They have to conjure up and contribute to the environment of Greece by their presence, not distract, degrade, and taint it. But the first images from the latest trailer have been surprisingly negative. No one saw this coming as we started to destroy the story. While not universal, became a major talking point for online criticism. a growing phenomenon where negativity, not legitimate criticism, as defined by Collider. This is like allowing Satan to define morality.

[00:07:06]Basically, anything they say, you can take the opposite and you'll probably live a good life. Because the dominant form of engagement long before audiences see the final product. They don't need to see the final product. They know your casting choices. They know your actresses. They can look at things and judge as is their right, as you should be judged. When you come out and start bragging about how you've destroyed the story, how you've destroyed the characters, how you subverted and perverted the original work. story has a happy ending because the good guy gets back with the objectified wife and regains all his wealth, all his slaves.

[00:07:31]So, it's a nice celebration of family values, consumerism, patriarchy, war, superiority of normal male white people over foreigners. You should be judged and even collidider. Can Hollywood keep ignoring it? It's already a victim of the negativity economy, otherwise known as people with taste speaking their minds. People who aren't concerned with the social consensus and instead are concerned with truth, reality, objectivity, respect, people with principles rather than goals. You really know that this article has graphs some extraords when it starts to bring in Star Wars like the Mandalorian and Grou and then says and says let Star Wars fans have become less concerned with quality of the stories like no that's Disney. As I say you could take the exact opposite of what they say and it will be correct. They're more interested in the ongoing culture war surrounding ownership of the blood franchises. It's the culture war which is destroying the quality of the story because Hollywood is engaging in it and everyone else decides I'm not I don't care about this.

[00:08:21]I don't have to put up with incompetent DI hires crowbar into positions they haven't earned and don't deserve. And well, yes, the audience individually, there's not much they can do. They can voice their displeasure. They can make their voices heard. You get an idea of why Christopher Noling is doing this when he talks about how theaters are part of history and they're part of the future. That movies are a communal experience, a place where you come together to experience a story, something that becomes part of culture forever. It's interesting when looked at as part of the Odyssey that the Odyssey taught in American schools. It's a well-known story. Everybody's heard of it. Well, except for Leita anyway. I mean, she really had no idea what the Odyssey was. I was like, "Oh, snap. I don't know the first thing about this. I have this film to thank for my Greek mythological education." I'm not holding it against Lupita that she doesn't know anything about Greek culture. I would never expect her to. She's not Greek.

[00:09:07]It's perfectly understandable that an African wouldn't really care about Greek culture as it has nothing to do with them, hasn't influenced their country, and is a story completely separated and removed from their history and heritage and people. But that's exactly the argument why she shouldn't be in the role in the first place. It's the same as when Cutie Gatwa became the doctor.

[00:09:23]I'm like, he was very surprised that Doctor Who was actually a big franchise.

[00:09:26]Of course, he was. It's perfectly understandable that Rwanda wouldn't care about British Doctor Who. It's why you shouldn't be in it. But if you know that your movie will become part of culture, think they become part of culture forever like The Odyssey has been. And then any attempt to take it and create a derivative piece of work which changes it, alters it, changes the meaning, reframes it in a certain way, adds in elements that don't belong, it's because you want yours to now go forth in history and to be the culture. Um, because I felt that there were things that were essential to my experience of the original that didn't seem to me to be getting across clearly and I thought I could try to get some of those elements across in a different way in English. And obviously it's a poem which is very much interested in gender roles and in gender inequality, gender hierarchies, um gender relationships.

[00:10:07]And that might include inviting people to to see this is about inequality >> to change it to update it for your modern audience with your modern reality and your modern people. All of which tend to just be a degenerative rotting of the original message.

[00:10:21]>> He's not thinking about it. I don't think he deliberately decided I'm going to do a misogynistic translation of the Odyssey, you know, but of course there is an element of that. We used to build on things as part of tradition. Then modernity came, knocked all that out, and now we're just in a holding pattern where everything that matters is getting worse. It's got to be an interesting legacy he leaves behind with that one.

[00:10:38]With this, you can understand why the audience interest has plummeted.

[00:10:41]Audience tracking numbers have shown interest has dropped by eight points by 54 to 46. Awareness has also slipped two points, which is kind of incredible. As one of the theories of Hollywood engaging in just racist casting that destroys people's cultures has been that actually they want the backlash. They want the noise because that gets them name out there. This has never really worked because news is bad news. So if people hear about your movie but they hear about you because you're doing something horrific, they won't want to go and see it. In that case, going under the radar is the only thing that could help you. Hollywood just assumed that everyone just had the same perversions as them. They were wrong. But if this is the case that you want to cause controversy to get known, it actually dropping awareness would be taking away even the suggested idea of why they'd do this in the first place. But it is interesting when they find out this backlash when people like Collider are going, I'm not sure that you could ignore this, the kind of tactics which get dragged out in order to fight it in the first place. Some admittedly a bit more intelligent than others. One of the most basic low IQ strategies has come from uh Jimmy Kimmel, which let's face it, is about the level you would expect from Jimmy Kimmel. Anyway, so you probably could have guessed this one.

[00:11:43]Jimmy Kimmel just told Elon to stay in your lane after he pointed out the obvious problems with Leita Nongo. Yeah, just telling someone to uh shut up. It's hardly convincing, is it? It's like your dog telling you to stop talking. It's like, who do you think you are? There are many things that only work from a superior position, speaking down to somebody, and um well, this is Jimmy Kimmel. I think one of the reasons we sends probes out into spaces to see if we can find a life form less than him.

[00:12:08]The Atlantic tried a different tactic.

[00:12:10]The controversy surrounding the casting says more about today's pathological understanding of identity than it does about classical antiquity. Guess what we're going to do here is attempt to try and deconstruct the message a little bit like Le Peta does herself where she goes actually this is about everybody like it isn't everybody couldn't make that story everybody didn't this is like no maybe if we look at the different meanings behind identity we might be able to try and spin it wherein African is Greek are you sure no this is about a myopic notion of identity where you only focus on one thing rather than the intersectional nature of what it means to be identities coming at everything because you're a diluted Californian that's read too many feminist textbooks Actually, the only thing that matters here is the one part that matters. The fact that I can look at her and know she doesn't belong in the story. A beautiful movie star is cast. Oh, you can't gaslight me. Nonetheless, activists.

[00:12:59]This is interesting. You see, now they frame the activist not as the person who's attacking the Greek culture and story, taking the job that will cause them to destroy the Odyssey. Instead, the activists are the people defending the original work. This would be the equivalent of calling firefighters arsonists. Well, you see, if he didn't stop the fire that they set, then it would burn the house to the ground and they wouldn't be able to do it again.

[00:13:19]Therefore, if you think about it really, you're actually creating more acts of arson by stopping the first one. These are people that think playing with language makes them really intelligent when actually would you get used to the very few texts that they use? They're just transparent and purists based. What is a purist except someone who just has high standards? I don't think particularly it's a brag on the Atlantic's part to go, I don't care about anything. They're basically just Homelander at the end. I just want to gulp down anything that comes from your backside. I think that says more about you than me. Audiences are willing to suspend all manner of disbelief in service of a good story. Oh, look. M dash. More. M dash. M dash. M dash. M dash. Did someone use chat GPT for this?

[00:13:58]I think by now we've discovered the M dash, we can probably skip the rest.

[00:14:01]Except apparently when it comes to race.

[00:14:03]Yes. It turns out that after telling everyone that representation matters, they believed you. And now you're going to be hung by your own petard. It turns out that when people realize that no, I actually do belong in my own stories.

[00:14:13]This history and heritage of mine and my ancestry actually is important that we carry it along. We don't let other people, foreigners, destroy it and take it over. That they can only degrade it with their presence. That makes perfect sense. It turns out though that all of the greatest things created in the world came from people that aren't the ones you want in movies. And so by pitching their idea representation, all you proved is all of the pieces of work that your preferred privileged classes shouldn't be in. I think this is just a lesson for activists that if you want to be evil, you should probably think through second order consequences first.

[00:14:42]Of course, if you had the capacity to do that, well, you wouldn't believe in this ideology in the first place. Even when it came to other articles, they kind of just worried the Odyssey will be the biggest movie of the year regardless of the box office. Avengers Doomsday might be seen by more people, but it won't penetrate the culture in the same way.

[00:14:58]That's right. They're already hedging their bets that Doomsday will make more money. Like, no. No. But the Odyssey is the really cultural phenomenon. Don't just let it die in the anals of history.

[00:15:07]Can't just be left to rot. No, it has to have cultural impact. Primary purpose for creating it. If we wanted money, we would have made it properly. And they know that the quickest way for a movie to fade from history culture to never be messaged again is if it just flops. If it's just kind of eh, it's not particularly good. It's not particularly bad. But because its horrific intentions were so obvious, sort of the communal cultural psyche rebels from it. We've seen this before in things like the acolyte where actually a lot of people did watch it. They wanted to see the fallout. They want to see just how bad it really was. No one can remember it. I made hourong reviews of every episode and can barely remember any of it. And it's why they're desperate to head that off at the past. They've already got their cope ready. Things like China loves Avengers movies. Yes, that was many years ago. But it will be interesting to see how it plays out now.

[00:15:52]Now China has fallen out of favor with Marvel in recent years. They play down Marvel that they just operate in bubbles. Nothing leaks out. When was the last time you heard anyone talk about a Marvel movie? But audiences now are looking for something different. Yeah, like Greek stories full of people that don't belong there. Anything that feels new and nothing feels new and special than some random person from a faroff land in a place they shouldn't be. And L Nolan movie is the perfect answer for the desire for a postc cold film audience. You see this a lot as well.

[00:16:19]This is still mentioned. Oh, the reason why these movies are failing is because of someone had a cold 6 years ago. It's actually the coat for The Mandalorian and Grou not doing very well. The box office remains forever changed by a cold. Pommer's epic poem is pregnant with emotion, spectacle, and encompasses a deeprooted mythology, the deepest of gods, not Nolan's. Now, he's actually stripping this out of anything that made it good. Yes, it's also a blank slate.

[00:16:41]It isn't a blank slate. This is the thing. Nobody owns the rights to the Odyssey. Nolan can decide how it looks, sounds, every effect. It's epic, but personalized, and it shouldn't be.

[00:16:51]They've essentially gone, "This is a big story, but he can just change it and destroy it and pervert it and reframe it for a modern audience, and thinks that's a selling point." Yes. The reason why they think that this will actually affect culture is because it is so destructive and acidic to the actual work.

[00:17:06]>> I've been surprised to see how many translations in English use words like maids and servants and housekeepers for words which definitely mean slave.

[00:17:13]>> The term slave as opposed to maid servant or manservant. Whether they would have been seen as culturally interchangeable, translating it that way actually could change the meaning.

[00:17:24]>> When you try and translate, it's not just do I know what this word means, what the dictionary says. It's also how can I convey something that the word slave in English conotes moral evil.

[00:17:33]>> They think that burning culture to the ground is the very thing that will make them go down in history as something to do with culture. It's just a reflection of Tolken's ideas that evil cannot create anything new. All it can do is pervert what was already there. Evil is by its definition parasitical because it's not capable of the creativity or the effort to actually build something.

[00:17:52]It will always be looking at something somebody else made and get jealous. It will know that it can't compete. It will know that it doesn't belong because the actual act of creating something is good. And there are some places in the world that look around at the rest of the world and realize and realize I could never make that. So they want it for themselves. They're precious. It is actually interesting if you look around the world at the places that sort of uh create things of themselves. So So Korean has a huge liveaction entertainment industry. India's got Bollywood. Japan has manga. And yet you don't find these being crowbarred into entertainment or as just bitter and jealous about other people's entertainment as other people in around the world. Because when you've got nothing of your own and you can't create it, you just want to take everybody else's. I mean, when you're having the National Review come out with headlines like, "Does it matter that Helen Troy look like?" You can't gaslight me. Of course it does. Does it matter that the Greek person is Greek? Yes. Does it matter that the face that launched a thousand ships wasn't a two? Yes. Does it matter that the story that you're telling is the story that you're telling? Obviously, the role most requires is luminous beauty. Well, I mean, you failed there. There's nothing inherently wrong with casting actors that don't match their ethnicity. Great.

[00:19:02]Then we'll never need to cast her in anything else, will we? Because it just doesn't matter that she's in anything.

[00:19:06]Representing all of your diverse groups doesn't matter at all. And so now every single thing can look like me. Because if it doesn't matter, why can't I get my way? Cuz I think it does matter. I understand that you as people have no standards, but I do. So if you don't care, then I'll say what goes, shall I?

[00:19:21]You see, one of the obvious tactics is when somebody lies to you. When they start saying it doesn't matter, treat it as such and see how fast they go up in arms. I can be in Wakanda. We have makeup >> now. There has in the past been a degree of frustration about how Africa, the continent, is portrayed on screen in cinema. Do you think that this is a sign that we are moving? There's a shift. And then you had Qulette come out and go, you know, people are outraged that Helen of Troy is being played by an African, but Homer's myths have been radically rewritten for two and a half thousand years. This is nothing new. I'm sorry.

[00:19:53]It's like walking into a room and seeing someone get murdered and be like, "What are you doing? You need to stop." And it's like, "No, don't worry. Don't worry. We've been doing this for days.

[00:20:02]How is that supposed to make it any better?" It's like, I know you seem to hate Greek culture and the Greek people, but could you at least try and hide it a bit? Now, one person who doesn't seem to care about hiding it is Leita herself where she didn't even try and like praise the Greeks or anything. She was like, "This is a mythological story."

[00:20:16]So, um, our cast is representative of the world. I'm not spending my time thinking of the defense. The criticism will exist whether I engage with it or not. It's like, yes, that's correct. The moment you just took the role and decided to destroy the piece of work, obviously people were going to criticize you for your actions. The solution to that is not take the role. The solution to your racial hatred would be to stop it. Generally, the criticism is simply a response to your action and one that you don't seem to care about. Of our cast is representative of the world. I'm not spending my time thinking of defense because you don't have one. You know you're in the wrong. You know you're getting paid to do this cuz you shouldn't be representative of the world. It should be representative of the people the story is about. Thank you, Rachel Zgler.

[00:20:53]>> We evolved to a place where we were properly representing the people that the story is about.

[00:20:57]>> This comes to something when you're actually getting outar argued by Rachel Zgler. Now, admittedly, in that scenario, she wasn't representing the people that she was talking about, but even she thought she had to give lip service to the fact that she might as well try. Although, in this regard, it's basically impossible, isn't it? This would be like her breaking into my house and then telling me it was hers. She may not look like a lot of popular conceptions of women. Everything's trying to be flattened down. Oh, she doesn't like all the popular con of Greek people. She doesn't look like all of the correct representations of what we know is the truth. But if we change the language to try and make this just some kind of oh this is a weird story just a miasma of mystery. There's like a smoky layer which is stopping me from actually thinking about anything which is generally how I think low IQ people perceive the world but they can't actually grasp on to the objective reality of it. They can only view it from their own head. Everything they do is just perfected by their own bias.

[00:21:47]They can't really stop it. They're just ret. So Lita Peter Bongo responds to her racist casting where she said you can't perform beauty. Yeah love we all worked out that one. We can put on all the makeup on the world, but there ain't no saving this. And so, because I couldn't be that, I want to know who the character is. Yes, that's what everyone really cares about when it comes to an attractive woman, her personality. There is, of course, a coupling quote for this. There is for everything.

[00:22:08]>> What do you call people you go out with, but you don't try to sleep with?

[00:22:12]>> Men. What is beyond beauty? What is beyond looks? Well, that would include things like their history, their heritage, their race, their culture, their people. You're not actually anything to do with the character at all, are you? In any way. That's the thing about such a well-known text. The research could be endless. The investigation starts with the pages you're given. That's what I base it on.

[00:22:28]That's a strong and brave comment from That's a strong and brave comment for an actress to make. What did I base it on?

[00:22:36]The script. We're dealing with a high IQ individual here. I can tell. Clearly equipped to be an important noble woman from a European house. It's quite something to be part of the Odyssey because it's so grand. It spans the world. It's a story about one group of people. It's got nothing to do with you at all. That's why the cast is what it is. We're occupying the epic narrative.

[00:22:55]Yes, that's true. You're essentially colonizing something that doesn't belong to you. We found out that she does actually understand the importance of representation and why it matters in the Odyssey. Um, just in the context of her >> cuz I'm all about the demestication of the African continent. Everything though it's a fictitious nation, it is brought to life and and derived from real African cultures.

[00:23:16]>> Now, obviously low IQ, can only understand things from their own perspective. Can't really abstract and understand somebody else's culture. So, it had to be about her. It had to relate to her. It had to put her at the center of it as a main player character for her to come up with this argument and realize why it was important because it's how she feels about something. When you're talking about something else, she can also only perceive that as how she feels about it. So then it's like, why can't I make money destroying somebody else's culture? And this is like, no, it's really important because it's my culture and that means it matters. It's not technically hypocrisy. It is just a case of if you can't abstract, you can't even understand that there is a contradiction there. from your point of view, you're entirely consistent because it's about you when you're talking about your culture and it's about you when you're talking about somebody else's.

[00:23:57]You also see this with other actors in the cast. He actually came out and wrote this letter as a Latino, which he means born in Latin America, not Spain or anyone in Europe. Those be white peoples. Why are we not visible on screen and on stage? Yeah, that was an open letter by John le legu legu leg le leg le leg le leg le leg le leg le leg le leg le leg le leg leuismus where he just wanted a pipeline for Latinos into movies just like put them in a rocket and fire them into productions. Just stick them in a tube where they go from one to the next cuz it's really important that for some reason foreigners are in everything.

[00:24:32]That's basically the foundation of his argument. No, he means indigenous Latinos like Aztecs. if you haven't got into the second act with a pillar of skulls on the set and they're just not indigenous enough. He wanted to force Hollywood to write Latinos into all of their movies. He said, "Look, you're not a Latino. Why are you taking Latino roles?" Of course, when he comes to the Greeks, he seems to hate them. He's more than happy to replace them in movies.

[00:24:52]It's like, "No, no, now it's time to degrade the experience by putting John leui le leg leas um in it." This controversy was so big.

[00:25:02]We even had the New York Times stepping up and being like, "Look, no, you don't understand. These diversity rules don't change anything." You know, under the old rules, every movie that one would have qualified. And like, well, firstly, what about the other cuz you only said that had one. And secondly, if they don't change anything, just get rid of them. If you're saying that they're useless, pathetic, and don't change it, remove them. Let's see if a movie of indigenous Germans can win. There's no other reason you would start going around the world hiring people who don't belong and sticking them in the piece of work. There's no reason you would want to do this. then gaslight everyone, lie about them, get media involved, and they all have to join in and try and make this anything more than an ideological mission which has a target. It has a people you are attacking and those people don't like it. And yet you have the goal to come out and say no, it's more important that the groups that you care about around the world are more important than the story that you're ripping off. And all it shows is that Nolan doesn't care about the story at all. He doesn't care what he's creating.

[00:25:55]This isn't art. The legacy here will be that it's entirely ideological, that he's just an activist, that he was willing to destroy art by casting people like Elliot Page, by casting people that don't belong. And when you combine all of that with the translation knowing what the translator has said, well, >> it's the first translation into English by a woman. Of course, there've been lots into other languages by women, not all of which talk back, I think, at all.

[00:26:18]Not all women are feminists. Not all women are interested in gender. Not all women are interested in sort of unpicking how exactly are the social relationships working in this text. It's hard to respect anything about this piece of work or its creator. I've never been a guy who's put him on a pedestal.

[00:26:32]I mean, yeah, he made the Dark Knight.

[00:26:34]Congratulations. But when this is a guy who can't even comprehend the original work, he can't get it into his mind. The moment you move from the basic two-dimensional view of the text to the more mythical elements, the godly elements, he can't even comprehend it.

[00:26:47]He can't write that. He was never going to be able to make a movie that could actually do the text justice because he had to strip it of everything that had meaning, like the gods, like the cast, like the story itself, which is why he needed Emily Wilson to come in and to give it the meaning he wanted, the new modern feminist version, because he couldn't grasp the old morality, the old meaning of it. Instead, for him, it had to be ported into the current present-day Hollywood version before he could start creating his work. And while 20 years ago, maybe that wouldn't have been a problem. But now in 2026, updating an old story to a modern Hollywood value system. Yeah, we all know where that's going. And that's why this movie will be anything other than the Odyssey. But those are just my thoughts. What are yours? Let me know down in the comments below. Like if like video, subscribe. More videos like this in the future. I will see you in the next one. Have a bite.