You’re a man who needs to control his fate. But you cannot control this. You must give yourself to the storm, and take your punishment. Give up the fight, give up control, and live.
The Odyssey (2026)

Mike Driver
Misplaced Lens Cap
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YOU ARE THE REASON
Cosimo Galluzzi
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Lint Roller? I Barely Know Her
Doug Jones

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@bookwormlily
You’re a man who needs to control his fate. But you cannot control this. You must give yourself to the storm, and take your punishment. Give up the fight, give up control, and live.
The Odyssey (2026)

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PROJECT HAIL MARY 2026 — dir. Phil Lord & Christopher Miller
In order to survive, walk into your pain and take your punishment.
The Odyssey (2026)
(source) its so funny how actual Greek and Homeric scholars are talking about this movie vs the fact that people on tumblr are acting like Nolan personally dug up Homer's actual bones and pissed on them
If we hadn't seen it up close, we might still be laboring under the belief that when things really matter, there's a room somewhere full of grownups who know what they are doing. If you learn only one thing from this book, let it be this: There is no other room, and there are no grown-ups. No one is coming. It is up to us.
Crisis Engineering by Marina Nitze, Matthew Weaver & Mikey Dickerson

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Central to the film is a reclamation of the Orpheus myth, a version of which the three young women read aloud together one night. Sophie registers distress at Orpheus’s fatal, selfish incompetence in looking back at Eurydice when he was told not to, and Marianne suggests he may have done it on purpose, preferring to lose the woman and savor, instead, the romance of his grief, making not “the lover’s choice, but the poet’s.” But it’s Héloïse who removes, for once, the fixation on Orpheus, his failings, and his loss. What if, she says to Marianne with an edge of defiance, it was Eurydice herself who chose art over staying together, who rather than leave the underworld with Orpheus, stopped and called out “Turn around,” preferring to remain down there and be preserved in poetry. A kind of freedom and a kind of permanence, rather than, as eighteenth-century marriage looks to be, an unwilling exchange of one for the other. — In Portrait of a Lady on Fire, Love is a Work of Art
Fred MacMurray & Edward G. Robinson as Walter Neff and Barton Keyes in DOUBLE INDEMNITY (1944) dir. Billy Wilder
Misa Uehara in The Hidden Fortress (1958) dir. Akira Kurosawa
BBC2 Moviedrome (1990)
Yojimbo (1961)
Warui yatsu hodo yoku nemuru, Akira Kurosawa, 1960

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The house can't hold her mother; she eventually goes back to her husband, thinks that he can be saved, that this is what a good, strong Catholic marriage should be.
Comforter of the Afflicted, FH Batacan
The only thing you give a shit about is each other.
Black Bag (2025) dir. Steven Soderbergh
When I kill a man, I do it with my sword, but people like you don’t use swords. You gentlemen kill with your power, with your money, and sometimes with your words: you tell people you’re doing them a favor. True, no blood flows, the man is still alive, but you’ve killed him all the same. I don’t know whose sin is greater - yours or mine.
In a Bamboo Grove, Ryunosuke Akutagawa
I love Billy Wilder.

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ONE BATTLE AFTER ANOTHER dir. Paul Thomas Anderson | 2025
ONE BATTLE AFTER ANOTHER 2025 | dir. Paul Thomas Anderson