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humans will see a soft cellulose plant material or downy animal coat and say is anyone going to twist that staple fibre in order to make a cohesive thread and then not wait for an answer
Seriously, spinning as a craft is ancient. Archaeologists recently discovered three-ply fiber that’s around 46,000 years old, blowing the previous “oldest fingers” out of the water by thousands of years.
But get this: It’s made from fucking TREE BARK. Can you imagine the dedication, foresight, and experimentation involved in figuring out how to harvest and spin that? On top of everything, it’s also lace weight. What the fuck, Neanderthals?
it’s very cool that neanderthals managed to get yarn out of bark fiber, but i think you might be under the impression that all tree bark is like, oak, or sycamore, or something, and only exists in ‘thick chunk of wood’ or ‘flake of wood’ form. but there’s lots of bark like elm and cedar that peels away from the tree in long, tough strips, like so:
like, look at it. it’s string. it’s obviously string. you don’t actually have to be a genius to look at this and think ‘ah! string time :)’
i’ve picked up shed pieces of elm bark on a golf course, stripped and combed out the fiber with just my fingernails, and started hand-twisting good strong cordage right then and there as i walked. you don’t even have to soak it first, though i think if you want finer/softer cordage it helps to soak, beat, and comb the fibers.
the people of the pacific northwest, where there’s so many cedars, developed really wonderful textiles out of cedar bark fiber, pounding and soaking and combing it a bit like linen. i’ve never gotten to touch any, though i’d really like to.
Many plant fibers can be used to make cordage. Here I'll demonstrate how to process different kinds of plant fibers from the inner bark of t
here’s a whole page on all the different stems and barks that can be used for cordage! how cool is that?
so, not to denigrate the skill and intelligence of ancient people, but if you already know how to hand-spin grass and hair, then spinning bark is an extremely obvious and easy thing to do as soon as you encounter the right kind of bark.
you guys are splitting hairs about the nobody scene that nolan cut from the odyssey. he swapped it for the awesome character motif of odysseus strumming his bow to warn animals of his presence - a gesture he does not make for humans. he combats animals but he hunts people. instead of doubling down on the overdone hubris thing, nolan makes us hear the sound of odysseus strumming his bow all throughout the music. we got a version of odysseus that is godlike in the homeric sense, and you guys go grrrrr where are my obvious themes and character beats grrrrrr
doubling down on this : there will never be a ‘correct’ adaptation of the odyssey for the same reason that there will never be a definitive translation. it’s not a stable text. it shifts and eludes us, the characters do things that make no sense, scenes are jarring and end abruptly. you 🫵🏼 are attempting to ascribe fixed meaning to a labyrinth. it’s a fool’s errand.
I hate when men smirk and gloat and say shit like “Women are attracted to powerful men,” like that negates any feminist impulse, like they think that at the heart of all women is this little, mincing girl that wants to be dominated.
I just roll my eyes because, dude. If you ever read the second half of any fucking harlequin novel ever, and saw how the hero always ends up blubbering on his knees and saying shit like “I can’t live without you! You unman me!” you’d realize that being attracted to powerful men is just the first part of a two-step plan.
The second step is to completely fucking annihilate him.
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When you get more objective about the way nature is & away from weird anthropomorphic carnivore slander it is a little funny when the baby sea turtles hatch and every other animal in like a ten mile radius goes "oh fuck yum one million mini sliders"
[ID: a screenshot of the original post's tags that read, "#real turtleheads know this is a play on sliders (turtle emoji) which are a type of terrestrial turtle. but it's also tiny hamburgers #which seems apt. #this has been another episode of Joke Explainer" /end ID]
Keeping these actually. Necessary footnote for this post
Watching a jaguar casually walk up to an adult sea turtle headed back to the water after laying her eggs and eat it like why am I in my sea turtle violence era and why are they like this. Adult sea turtles aren't especially easy to eat in the water they'll swim around with shark bites taken out of them like they're just chillin. And then on land they just kinda
Also today I learned that since the jaguar scares off other smaller predators it's actually good for the sea turtle population if there are jaguars there. Cause less babies get eaten by Everything Else. I'm gonna be honest I didn't even consider that a jaguar could be on the beach
I think that now I’m one of those evil people in the movies that thinks an AI can’t be a person. I’m the guy saying that your robot girlfriend isn’t real. They’re gonna kill me during the matrix wars.
Nolan’s The Odyssey: When Humans Are the Real Monsters
Here’s a post that is a little different from what I usually write. I needed somewhere to share my thoughts, and I think this is the perfect place.
After a conversation with my friend @igiulss, I wanted to share my analysis and perspective on Christopher Nolan’s The Odyssey here. I’m going to try to explain how I understood the movie, what I took away from it, and the message that, in my opinion, Nolan was trying to convey through his reinterpretation of Homer’s story.
Before I begin, just a few things to keep in mind.
First of all, this post will obviously contain a lot of spoilers. I’m going to talk openly about certain scenes, several major revelations, and the ending of the film. So if you haven’t seen it yet and don’t want to know anything, please don’t read any further!
Secondly, everything you are about to read is simply my personal analysis and my own reaction to the film. I am absolutely not claiming that mine is the only correct interpretation, or that my opinion is somehow more valid or legitimate than anyone else’s. You are completely free to share my interpretation, to have understood certain scenes differently, or to disagree with me.
If you feel like reacting, leaving a comment, or sharing your own perspective in a reblog, I would genuinely love to read it! I only ask that everyone remain kind and respectful. We can have very different interpretations of the same work without needing to fight over who is "right" 😉
I should also warn you that my ideas will probably be fairly raw and, at times, a little scattered. This post will be more like thoughts put down on paper than a proper academic essay, although I have still tried to keep some coherence throughout.
I didn’t want to spend weeks building a perfectly structured text for two reasons. The first is that English is not my native language: if I write a hundred-page essay in French, it will probably take me a million years to translate it afterwards. The second is that I know myself: if I spend too long thinking about the structure, the wording, and every tiny detail, I will probably keep postponing it forever.
One last note: I will use the name Ulysse rather than Odysseus, since that is the form traditionally used in French.
A second reading of The Odyssey
I think there is a second way of reading this version of The Odyssey - one that is more personal, more contemporary and, above all, much closer to us.
Behind Ulysses’ story, Nolan is not only talking about an ancient hero or a vanished civilization. In my opinion, he is mainly talking about human nature, our own society, and what our civilization is becoming, or what it may already have become.
This interpretation also echoes Homer’s original story, which is much more than a grand heroic epic or a simple tale of survival. The Odyssey is also a story about the human condition: identity, homecoming, temptation, hospitality, loyalty, violence, pride, and the way hardship transforms people.
At least, that is the idea that eventually helped me understand the movie.
For a large part of the film, I have to admit that I had absolutely no idea where Nolan was going with it. I genuinely found myself wondering, "What on earth is he doing with The Odyssey?"
I was expecting a grand mythological epic, with very present gods, monsters, and imposing figures. Yet the further the film went, the more that entire dimension seemed to fade away.
After thinking about it a lot, I came to the conclusion that Nolan may not have been trying simply to adapt The Odyssey. Instead, he mainly uses Homer’s work as a starting point; a familiar framework through which he can talk about us, war, guilt, power, and everything human beings are capable of doing to one another.
Why use Homer’s work?
The Odyssey is not only the story of Ulysse and his adventures. It has become a universal symbol of travel, wandering, returning home, and transformation.
It is also a timeless and accessible work, known almost everywhere. Even without having read Homer, most people are at least familiar with Ulysse, Penelope, Circe, Calypso, the Cyclops, or the Sirens. Nolan is therefore working with an imaginary world that already feels familiar. He does not need to explain everything Ulysse represents to us: we enter the film with our own idea of the hero and his journey.
I also think the title is deliberately meant to create a certain expectation.
We go into the theater expecting an enormous epic filled with gods, monsters, and heroic adventures. Then Nolan gradually strips away much of that mythological dimension, making us realize that the real monsters may actually be human beings themselves.
He takes a story we think we know and turns it around, forcing us to look at it differently.
And yet, he is not truly rejecting The Odyssey. He is reinterpreting it. The story’s central ideas are still there: Ulysse's pride, his desire to return home, temptation, hospitality, loyalty, violence, and the loss of his companions. The difference is that the gods and creatures become symbols of guilt, fear, and human brutality.
By using such a universal work, Nolan can also bring his message to the widest possible audience. He uses a story that is several thousand years old to talk about issues that are ultimately not so far removed from our own time.
Ulysse, war and guilt
Ulysse is portrayed as a man who has been deeply broken by war. He is filled with remorse and guilt over what he did at Troy.
He says that he wants to return home, but I feel that part of him is unconsciously resisting that return. Going back to Ithaca means facing Penelope, Telemachus, and the man he was before the war. Above all, it means confronting what he has done and accepting that he will probably never be exactly the person he once was.
As long as he keeps travelling, he can keep running away. He can blame his wandering on the sea, on circumstances, or on the people he meets. But returning to Ithaca would force him to face the person he has become. His journey therefore begins to resemble a form of penance. He seems to be seeking redemption through each ordeal, as though suffering enough might one day make up for his actions. But his true enemy is not only the sea. It is also himself, and what the war has made of him.
Athena as the embodiment of his guilt
In the movie, Athena appears with the face of a young woman who was executed at Troy. To me, she therefore represents more than the goddess from Homer’s story. Above all, she embodies Ulysse’s conscience and guilt. She wears the face of a victim he cannot forget.
Every appearance brings him back to Troy and to what he did there. Athena does not seem to guide him from the outside so much as constantly remind him of what he is trying to escape.
The fact that the gods are far less present in the movie also seems very important to me. Ulysse can no longer explain his misfortunes solely through Poseidon’s anger, Zeus’s will, or divine intervention. Human beings are responsible for their own decisions. They become their own obstacles, their own monsters, and sometimes even their own punishment.
Zeus’s Law and the loss of civilization
The famous "Law of Zeus" comes up repeatedly throughout the movie. Among other things, it represents hospitality, the protection of strangers, and the existence of rules that even the most powerful men should respect.
But the characters only truly follow those rules when it suits them. Ulysse and his men demand hospitality when they are vulnerable, lost, or starving. Yet when they are the ones with power, they are capable of pillaging, taking, and destroying. They want the law to protect them when they are weak, but stop respecting it as soon as it limits their own power.
Ultimately, it does not really matter whether these rules are human or divine. Their purpose remains the same: to prevent people from giving themselves over completely to pride, greed, vanity, and the obsession with power.
By repeatedly ignoring their own laws and principles, people eventually lose themselves. Little by little, they forget what once made them civilized.
They do not become monstrous through one single dramatic decision. They become monstrous gradually, justifying each new transgression through hunger, fear, war, survival, or their own suffering.
Each time, they grant themselves one more exception. And one day, they discover that there are no limits left.
The People from the Sea
The famous "People from the Sea" are probably one of the ideas I found most powerful in the movie.
No one seems to have actually seen them. They are known only by their reputation. They are described as a mysterious threat, a violent people from somewhere else, yet no one knows exactly where they come from. They represent a faceless, distant, almost mythological enemy.
Until Penelope realizes that the People from the Sea are actually Ulysse and his men.
They are the foreign threat. They are her own king, her own people, and the men who will be welcomed back to Ithaca as heroes.
To the people of Ithaca, Ulysse is a glorious warrior trying to find his way home. But to the people he attacks along the way, he is simply an armed man arriving from the sea with his soldiers to pillage their land. The hero and the monster are therefore the same person. Only the point of view changes.
I also think it is very important that these people do not really have a face. It is far easier to blame violence on an unknown outside threat than to admit that it comes from our own men, our own soldiers, our own king, or ourselves.
Giving that violence another name creates a reassuring distance. It is no longer "us"; it is "The People from the Sea".
Yet by losing their way and ceasing to respect any rules, Ulysse and his men forget what made them human. They become exactly what they fear.
Humanity becomes its own enemy.
They claim that they want to return home, but they carry the war with them wherever they go. Their real difficulty in finding Ithaca may therefore come from more than the sea alone. It may also come from the fact that, somewhere along the way, they lost the part of themselves that still knew how to recognize a home, a host, or an innocent person.
Circe, Calypso, and the power of women
Circe and Calypso seem less imposing and less majestic than they do in Homer’s story. But I do not think that necessarily means they are weaker.
Instead, I felt that they were deliberately portrayed as quieter and more withdrawn in order to show what violence, war, and male domination have done to them.
They live in a world shaped by men’s decisions and among the ruins men have left behind. Their withdrawal does not necessarily mean an absence of power. It may also be the result of everything they have had to endure and learn to survive.
The scene in which Circe turns Ulysse’s men into pigs is, in my opinion, especially powerful. She does it with her bare hands, without any grand spectacular spell or theatrical magic. Her power becomes physical, dark, visceral, and almost brutal. I feel that she is not truly turning them into monsters, but rather revealing what they have already become.
After Troy, they pillage, take whatever they want, and behave as though they are entitled to everything. By giving them the appearance of pigs, she makes their greed and dehumanization visible.
For a few moments, she is also the one taking control of the bodies of men who are used to imposing their strength on others.
This is where Nolan chooses to place Circe’s power: not in a permanent divine aura or spectacular domination, but in this incredibly concrete and visceral act.
Her quietness is therefore not necessarily a sign of weakness. A single scene is enough to show that her silence was not submission.
Nolan and time
We all know how much Nolan loves playing with time. He likes to make it an important part of his storytelling.
Here, though, I think he was actually pretty restrained with it.
He mainly uses time to create ellipses and condense an enormous story. Without them, the film would probably have lasted six hours. This allows him to move quickly from one important stage to another without recounting every day or every month of the journey.
But these ellipses also reflect Ulysse’s state of mind. A great deal of time passes and he travels an immense distance, yet internally he remains trapped at Troy. His journey moves forward, but his guilt keeps bringing him back to the same place.
Ulysse’s experience of time is fragmented by battles, shipwrecks, and memories, while Penelope’s is defined by endless waiting. They are both prisoners of time, but in two completely different ways.
Conclusion
In my opinion, Nolan ultimately uses The Odyssey as a mirror held up to our own time.
He takes a work that is several thousand years old, universal, and accessible, and uses it to talk about what humanity is becoming, or what it may already have become.
The gods and monsters gradually fade away, leaving human beings alone with their actions. In doing so, the film shows just how fragile the boundary between civilization and barbarity really is.
The real monster is not necessarily a mythological creature or a people from somewhere else. It is the human being who convinces himself that his suffering, his victory, his fear, or his power gives him the right to do anything.
By constantly searching for the enemy outside himself, he eventually fails to see that he has become the very thing he feared.
It reminds me of a very old Latin expression: Homo homini lupus, "man is a wolf to man." I think it takes on its full meaning here. When the rules that allow us to live together disappear - or when we simply decide that they no longer apply to us - human beings become capable of destroying one another. In the end, they become their own enemies.
Thank you for reading this far! I know this post is fairly long, even though I have already tried to summarize some ideas that I explored in much greater detail in my notes in French.
I am also aware that there are probably many things I have not discussed. So please feel free to share your impressions, interpretations, or your own opinion, whether you agree with me or not.
As long as the discussion remains respectful and kind, the debate is completely open 😉
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Well, at least for my part it's because I have (looks back at it) 100+ pages of Greek myth in a folder that I periodically go back to but haven't put out there cuz as they aren't quite right. Writing about hubris, it's depressing. Not because of the humans. Nope. Not cuz of them.
But yeah, fiction about that Circe and her sister. Pasiphae? Will there be a visit from Helios? That first village that gets sacked, have any of them gone west. Aeneas abandoning this wife in the midst of that fall of Troy. The journey of Menaleus and Helen back through Egypt. The wedding of presumably Hermione to Achilles son. That's not going to last long. Courtesy of... Orestes. Oops. What does Helen think of all that? How about a sea people who are the result of some sacking the Acheans do along the way. There's lots of possibilities.
Honestly surprised that Lucy Hebron doesn't get more attention in media focusing on the Sherlock Holmes extended universe.
Like, you're born in Atlanta Georgia sometime in the 1880s. Your mother is a white English immigrant. Your father is an African American lawyer who has managed to become fairly wealthy off his practice.
Sir Arthur Conan Doyle claims that your parents were married, but they almost certainly weren't or, if they were, they probably had to go elsewhere to get married and their marriage wouldn't have been recognised in Georgia. Realistically, they were facing huge amounts of prejudice that are only increased when you are born.
(Your mother openly says, in front of you when you're older, that it is a “great misfortune” that you were born with darker skin than even your father.)
Then disaster strikes. Your father dies. Your mother can't stand to stay in America without him and returns to England.
She does not take you with her. She says this is because of your health. It's just way healthier for you to stay where you are, as a parentless mixed race child in the Jim Crow era American South. Rather than going with your only living relative to England (which, while obviously still very racist, at least doesn't have any actual laws against people like you existing).
Your mother meets a new man. A merchant. He's white. She signs over all your father's money and investments to him when they marry. She doesn't tell him about you. She's worried he wouldn't understand. She later explains that this was a major ordeal for her. That she struggled in vain to resist the urge to send for you for three years, until it got too much to bear.
So now you live in England. In a cottage on the estate that was partly paid for by your father's money.
You're not allowed to leave the cottage, because if anyone sees you outside in the daylight then they might find out that you're black. While you're in the cottage, even (apparently) at nighttime, you are made to wear long gloves and a fucking mask, so that nobody can accidentally look through the window and find out that you're black.
Your mother visits you occasionally. She tells you that you're her “own girlie and mother's pet” whether you're “dark or fair”. When her husband comes to see what's going on, you and your nurse get shoved out the back door so he won't see you and find out that you're black.
Unfortunately, your stepfather has noticed that his wife keeps randomly going off in the middle of the night to visit a mysterious cottage where the only inhabitant seem to be a weirdly secretive servant woman and a strange masked figure, and has decided that something Fucked Up is going on.
So he goes to consult the Great Detective Sherlock Holmes. Normally, the Great Detective Sherlock Holmes can work this kind of shit out in his sleep, but unfortunately your family is so dysfunctional that you override his borderline magical deduction abilities, and the best theory he can come up with is either “secret affair” or “weirdly convoluted blackmail scheme”.
Fortunately however, this does lead to your stepfather eventually meeting you and finding out who you are. Including the fact that you're black.
Turns out he's fine with it.
Like completely. Quite possibly more so than your own mother is. Turns out there was no need for the traumatic abandonment, the years of separation and then the even more traumatic being forced to live like The Man In The Iron Mask in a cottage in the middle of nowhere.
Nope. Turns out you could have been allowed to go outside in daylight this entire time. You all go back to the big house (that was paid for in part with your father's investments) together and we never find out what happens to you.
I mean… what. The. Fuck.
Like, I'm not expecting Sir Arthur CD to have written an entire child psychology textbook to go with what was meant to be a fun little short story about racial tolerance, but holy shit.
I want a book about teenage Lucy Hebron at boarding school dealing with all the fucked up shit that went on in her childhood whilst also solving mysteries with the help of correspondence from her friend and mentor Sherlock Holmes. I want that shit yesterday.
Yes, so much this. It's such an interesting story for Doyle to have told, and there's so many dangling threads to pull on.
Admitedly, when I approached Lucy, I chose to do so by including her in a massive (500k) fusion of BBC Sherlock & Star Trek, Omegaverse, and she has a whole long story arc.
But yes, it absolutely it would be such a facinating character to explore in late Victorian England. And I would hope that if she ever does get picked up on by someone, she embodies more of the Holmes spirit of exploring wierd mysteries that aren't murders. That's not always being called in by the police, but maybe that woman no one listens to and who needs someone to go, "That's fucked up, and I know of which I speak. I will help you."
Wow awesome. I have been taking pictures like this for umm...20 years. Anytime I'm in a different place, I take pictures of lots of things, but I try to get a picture of a street light. Here's some examples.
The wild thing about all the commentary regarding The Odyssey movie and its faithfulness or lack thereof to 1) the text and 2) history is that neither of those things are what people seem to think.
When I read Emily Wilson’s translation of The Odyssey – where she made a point of keeping it the same length as the original text – I was shocked to realize that very little of it was about Odysseus’ famous journeys and adventures – the Cyclops, Scylla and Charybdis, the Lotus-Eaters, the Sirens, his men releasing the winds, Circe, and so forth. All of that is told in flashback, and all of that is 4 chapters out of 24. That’s right. They’re less than one-fifth of the text (in page count as well as chapter count). They take up a little less space that Telemachus’ journey to see Menelaus, which starts off the book and is not part of popular common knowledge of the Odyssey (when people talk about accuracy to the the text, the fact that this was included at all is probably one of the things they’re thinking of!)
The rest of the book – i.e. the majority of it – is the events that happen after Odysseys leaves Calypso. His meeting with the princess Nausicaa, getting help from her father, returning to Ithaca, everything with the suitors. Odysseus on Ithaca isn’t the conclusion (as it has been in most popular depictions and descriptions of The Odyssey that I’ve seen), it’s over half of the story!
You’re talking accuracy? You are never going to get an adaptation that distributes its time that way, and virtually everyone watching it would be disappointed if it did!
And the clincher, also the thing that made this translation really make an impression on me, is that Emily Wilson starts off Odysseus’ tale of his fantastical adventures, with:
Wily Odysseus, the lord of lies, answered:
This translation is implying that all the monsters and magic in his adventures could be Odysseus just making shit up. No adaptational divergences from the specifics of those adventures even comes close to the kind of earthquake that reading of the text is.
In terms of the history – other people with more knowledge have said this too, but it’s impossible to have a “historically accurate” adaptation of The Odyssey because the original wasn’t historically accurate! The most common estimates for when it was composed are around the 700s BC (though there’s certainly debate ). The original events that inspired it, if they occured at all (which is also debated) would most likely have been in the 1200s BC, and would have been far smaller scale in terms of number of ships, number of men, and length of time. Neither the logistics nor the technology nor the pooulation size of Mycenaean Greece would have been able to sustain a war of anything like the size of the one described in The Iliad. It’s transposing 700s BC-scale-wars (probably the scale of wars in the Middle East, like Assyria’s conquests; 700s BC Greece was only starting to have governments and writing again after the multi-century impact of the Late Bronze Age Collapse) into the 1200s BC.
So there’s no way to get historical accuracy. Put it in the Late Bronze Age, where it was set, and it’s out of step with the kind of war that could have existed at the time. Put it any time in the Iron Age, when that scale of warfare could exist, and it’s wildly discordant with actual historical events. It is fantasy. It’s kind of like the Arthurian mythos, whose faint historical roots are, if anywhere, in the early middle ages and whose knights-and-castles aesthetic is in the late middle ages.
The historical grounding we do have is fascinating to me, though. There are written documents from the Hittites (state in central Turkey in 1200s BC) that mentions the Ahhiyyawa (taking into account the differences in languages, it’s not too far from Achaeans) in contexts that makes it pretty clear that they’re the Mycenaeans, and that mention a dispute around Wilusa (i.e. Ilium, i.e. Troy). We’ve got burned ruins in Troy, once from around the early 1200s BC and once from around the late 1200s BC, either of which could be the result of war.
So for the last umpteen years I've been reading about / listening to podcasts on / etc. the Bronze Age collapse, the bronze age world, etc.
Watching the Odyssey really supercharged listening to such. Especially coming at a moment where a work of fiction I've been working on for months comes to a break point so I can make progress on other things that don't require complete focus.
In no particular order,
Pillar of Garbage's, "The Odyssey: An Alphabet of Obsolescence"
Digs into (as you my expect) a, b, c's of the epic's history, how history has interacted with the epic, lore, context. Whether that's the wierd theory that the epic was set in Denmark, the scandal over the Pope translation, oral literature, neoplatonicism, Ulysses, etc.
Dig, "Was Homer a Historian? Archaeology, Troy, and the Trojan War"
Examines the ways that the epic has multiple viewpoints: the bronze age in which it's set, years of oral transmission, and the archaic period. Looks at the various sources outside of the epic to corrobrate or be in conversation with the epic.
Wine Dark Sea's, "Agamemnon, King of Men: The Glory and the Fall | A Tale from Greek Mythology".
Ah, yes, the Iliad's figure I most like to hate on. Ah, man of the cursed house of Atredes. Wait, no that's the other cursed house. Atreus. Video goes over the twists and turns of that cursed house. Well, the Aggamenon branch of it at least.
Captainmidnight's analysis of Nolan's Odyssey, "The Tragic Brilliance of Odysseus (The Odyssey)"
Really focusing on how Nolan's interpretation examines how when you/we live in a rules based society, how that society can break down when some people think rules don't apply to them.
Spectacles analysis of the role of Sinon in Nolan's Odyssey "The Odyssey isn't about Odysseus"
Trademovies Podcast "The Odyssey Is Woke. And It Rules."
Examines Nolan's Odyssey in the context of Nolan's evolving pov from Batman "Mass surveillance is fine as long as it's Batman" to "Nope, even when the hero does the thing, it's still breaking the world"
Ezra Klein "Christopher Nolan's Finest Trick | The Ezra Klein Show"
Examines how the right/Elon Musk hated on Nolan's Odyssey because it had diverse casting, when what they are missing is the movie is a direct critique of their whole manosphere/aura farming/world view.
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one of my favorite star trek phenomena is when you have a character trait that it is clear that the writers very genuinely and intentionally planned for the character to have but then the actor became possessed with the spirit of their character and gave them additional layers that aren't in the text and so the original, very insisted-upon trait, becomes an intriguing and often devastating front that the character tries and fails to perform at all times. see: spock, data, dr. bashir, etcetc
i have this half-baked idea about molly o’brien working on a school project on the different species and cultures on ds9 and she has to go around interviewing people about their home planets and their animals/plants/climate
worf (has barely been on qo’nos): ”the targ is a beautiful and honorable animal.” end of interview. 0/10.
jadzia: in-depth and quite disgusting explanation about how the symbiont works, including the transplantation process. way too many medical details are included but molly seems to like it. 5/10.
garak: in-depth explanation about the different animals and plants on prime with a long detour into what types of poetry have been written about each one. he goes home and drinks himself to sleep afterwards. alcohol poisoning/10.
Her school is full of Bajorans. So she asks a friend, but it turns out she grew up in a refuge camp in the Federation. That's pretty common actually. So there's a mix of Bajoran and diaspora traditions. Vulcan veg with Bajoran spice. Bajoran poetry in Andorian. Eventually, she works her way to Kira, who doesn't talk about her time on the resistance. She talks about a story from her childhood. Or a foxhole.
Drawing of the valley where the hero finds the magic village/10
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