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did I hate it? Idk. I get why others hate it. I’m not a HUGE Greek mythology buff but I used to be and my little sister still is so it was a bit disappointing
HOWEVER
I don’t think it deserves ALL the hate it’s getting (wow racism literally die Lupita Nyong’o is fucking gorgeous don’t even come for my girl) I mean it’s an interpretation that obviously mirrors the trump administration I mean the whole “i burned down the world we knew and now I’m reaping the consequences” I mean come on
I did miss a lot of the classic scenes, though.
BUT CAN WE TALK ABOUT AGAMEMNON PLEASE
One. The helmet. It’s gorgeous. It’s iconic. It’s foreboding. It shows that he is the spine of the war, he is the one reason it still is standing, he doesn’t care about Helen, he wants to sack Troy for the money. His armor is far better and larger than any one else’s, making him wayyyy taller than everyone else and making him seem more intimidating and we love that. The part where they finally open the gates and Agamemnon is just standing there as the rest of the soldiers flood in around him? The way he waits for others to draw blood before he starts? Beautiful. No notes.
two. The speaking and the helmet. He barely speaks until we see him in hades. It makes him scary, almost like a figment of Odysseus’s imagination, but he’s not. He’s real. And we never see his face fully. We see the back of his head during his monologue about his death, but we never see his full face and I love that because it shows that he is emotionally distant (he sacrificed his fucking daughter I mean how could he not be) and hides behind masculinity and intimidation and it’s just gorgeous and then after the flashback we see him lean down to advise Odysseus and we see his eyes and they just look so full of grief and regret and anger and it was great I loved it.
Three. Clytemnestra. The fact that the face of Helen, the woman he used as an excuse to sack Troy, his political pawn, his sway over his brother, the woman he couldn’t give less of a shit about, is the face of the woman who murders him is just great. I know a lot of people are mad that they used the same actress for the sisters and didn’t even try to change their styles much, but I liked it. It gave meaning. Agamemnon hadn’t seen his wife for 15 years, when his last sight was the shared face of Clytemnestra and Helen, he probably thought of Helen. Also, the whole style variation thing is stupid because it was Ancient Greece, they didn’t have a whole lot of options.
and yes, the costuming and period accuracy and loyalty to source material was buns,but I enjoyed this one character and his stuff, so idk
also I hated that they called her Helen of Troy send post
I actually think it's fine to put your own twist of a story that is literally nearly 3000 years old and been told and retold countless times
I personally think a one to one adaptation wouldn't have been as interesting, it would have likely still been a great movie, but I enjoyed that this one was a bit different
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I have good things to say about Nolan’s Odyssey. Egg on my face.
I haven’t stopped thinking about Helen’s last line, asking Telemachus to pass along an apology to Penelope, another presumed widow of the Trojan War.
People have already pointed out how Odysseus dodging the guilt and responsibility of the sacking of Troy contrasts to Robert Oppenheimer feeling crushed by the legacy of the bomb. But with Helen, we are given a character whose guilt is not her own.
There’s those who run from it, those who can’t ignore it, and then there’s those who are forced to carry it.
The last line of the movie goes something like “history will forget our flaws.” History will also stain the legacies of the innocent.
Lupita Nyong’o is so good in the movie. And her scream as Clytemnestra when it dips into the Oresteia gave me the biggest chills. Incredible performance.
Ancient myths were told by travelling bard. They were sung to please an audience. To praise a king, to teach children lessons, to entertain the people of the time.
The ancient versions were not written for us. They do not match up to our societal expectations. They do not teach lessons that we consider useful. They tell tall tales rather than histories.
Which is why adaptations very much can and should change things.
It's not a book from a few years ago that they're remaking into a new medium. It's an ancient and well-known story that they're recrafting for a new audience.
Medusa is the perfect example. The original story is a warning of the dangers of messing with gods (The even earlier original has her born a monster with no backstory at all). Today we switch the perspective of the narrative, and she is a victim of higher powers treating her as an object, as many women are today.
It is for the same reason that while in the original Odyssey Odysseus spends a year with Circe and has 2 children with her, in almost any modern adaptation he refuses her advances. Because Odysseus and Penelope's loyalty to each other is a consistent theme of the story, so we adapt it to fit our definition of loyalty.
These myths are meant to be passed down, shared and changed for a new audience to enjoy and learn from.
So while Percy Jackson, Epic the Musical, The Odyssey (2026), even Troy (2004), are not perfectly accurate to the original stories, they are adaptations. They are valid as what they are - new versions of old tales. Repeated time and time again, different but the same. Teaching the same core, human lessons while not losing sight of the audience they are aimed at.
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
I'm gonna be honest, I fuck with a movie that's all about the collapse of a society that perpetuates certain morals and laws that itself is not willing to uphold when it comes to interacting with the rest of the world.
The Greeks used the excuse of a woman and the war of gods to wage war with an economic competitor, then showed up on their enemy's shores and broke their own laws of hospitality to win the war and ransacked the city and its people. The story of those actions traveled the world, making everyone afraid of the "people from the sea," even the Greeks who WERE the people from the sea.
The suitors cried about the laws not being upheld for them but were unwilling to uphold them themselves. The same society was terrified of this invisible enemy that would invade because of their lack of morals, unaware that THEY are the ones who broke the laws first. They are their own boogeyman. The fear of foreignors was never about the actions of foreignors but their own actions.
The gods haunt the narrative as an ideal. If they were confirmed real, then this movie becomes a warning against breaking away from "the correct religion." Instead, it is a warning of how mutual care and respect for your fellow man, whether gods exist or not, is the backbone of society, and without it, morality becomes something to twist and fear monger.
The gods couldn't exist in this adaptation, so a lot of the plot points involving the gods had to be changed or left out. "Nobody" only matters if Odysseus doxxes himself for poseidon to punish. (The crew members insisting that they definitely heard the cyclops say posiedon and jumping to the conclusion that he was poseidon's son and they were cursed was a great change in my opinion.) The wind bag can only exist if the gods exist. Athena can only guide Telemechus and Odysseus if the gods exist. ("Athena" potentially only being Odysseus's guilt for the preistess he let die who only shows up in times where his actions in Troy are thematically important was *chef's kiss*.) The Trojan War is only a war sanctioned by the gods if the gods exist. Odysseus being stuck with Calypso for so long needs another reason (the lotus) if it's not by the will of the gods. What would Circe and Calypso be like if they weren't eternal goddesses? Did the crew go to Hades, or did they just perform a spell that raised the dead?
Magic and Monsters can still exist without the gods, and everything else can be explained by superstition, nature, and bad luck. The ideal of the gods haunt the narrative so wonderfully.
I'm not a fan of Nolan's directorial aesthetic, but for the themes he wanted to explore, I think this was a fantastic retelling of the original. Accuracy isn't and shouldn't always be the goal. Sometimes, taking an existing story and making something new in order to speak to a different aspect of humanity is all we can really hope for.
This doesn't mean people HAVE to like it. There are plenty of "good" movies that I do not enjoy watching. However, acting like it's an objective thing to say that this was a failure of an adaptation is very annoying. It's a subjective opinion of art.
Me, having watched the odyssey and loved it, talking about it with my beloved and smart mutuals about the meaning and themes of this ancient epic and the masterful way Nolan was able to make this foundational western story feel modern in a way that still paid tribute: wow, I’m sure the people of tumblr dot com— the people who love Themes and Meanings and Messages and conversations around the social construct, of consequences, and of the intricacies of mankind— will understand
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Peeling off the broken breastplate of a stoic knight who only fights and never speaks, just to realize there’s nothing in there. Not metaphorically—the armor is literally empty. It doesn’t appear to affect him. If the armor stays mostly in the shape of a knight, he just gets back up to keep fighting. But with the chest plate off he just sits there, equally impervious to curiosity as I reach up into the cavity where his body might’ve gone. Stubbornly, no answers are found anywhere in there.
So I forge him a new breastplate and on the inside, because I know he has plenty of room, I put a little pocket. Not big enough to hold anything functional of course. Just a little extra piece to see what he’ll do with it.
He comes back next time with some grievous injury to his nothing, presumably from the massive shredded gash across his thigh plates. He sits and waits. I fix it for him. He is still nothing in there. I decide to add a drawing on the inside, of the type of beast I imagine could rend metal into scraps with a single blow. He puts it back on. He no longer moves as if he is injured.
Over time the interior of the knight becomes decorated with whatever odds and ends I could think to attach to the inside of a guy who’s got room to carry it. What really gets me is that he never removes any of it. Never requests a change. Not even when I installed a curtain rod for a small tapestry, or a bud vase to carry roses for his beloved, or an accordion folder for letters. He didn’t say a word for any of the many, many drawings of mythical beasts that now fight forever inside of his shell.
There are plenty of other forges. I’m not entirely sure why he keeps coming back here anyway. We’re pretty popular, but he could get his armor fixed a lot quicker (and with fewer ridiculous modifications) literally anywhere else. I asked him if I could get a look at his nothing again. He flipped up his visor and nodded his head so I could take a look. It was the same as it had been, filled with drawings and trinkets and weird little fixtures I’d put in there. I asked if he was annoyed by it, or liked it, or felt anything at all, but he literally only ever says nothing, so I’m not sure why I asked.
There’s not much room left in his nothing now. When he comes back for repairs I’ve had to fix my own foolish additions. Some of these pieces are intricate and irritating to repair, but I fix them anyway. It feels wrong to take any of it away from him now, even though I’ve been rudely encroaching on his nothingness to the point where it’s barely even there. How he squeezes his nothing back into a body so full, I’ll never understand. But it’s a game to me now, finding a spot not yet filled and putting something there. A dark part of me wonders if he ever gets filled up completely, if whatever sorcery holds the nothing-knight together may break, and it will all clatter unceremoniously to the floor.
When he hands me his breastplate yet again, it is so shockingly disfigured that I wonder if being made of nothing has somehow kept him alive. No ordinary knight could sustain such injuries. So I fix it. And he waits, unmoving, in a quiet corner of the forge. It’s like he’s watching, even though I know the reading glasses I put inside his helmet were just for fun. I’m careful to put it all back exactly the way it was when he last left. There’s no room to add more this time.
He examines the breastplate, and pauses before putting it back on, like he’s looking for something. Is he worried about the fit? But it suits him just as it always did. He calmly points to a little space, about an inch, between a miniature shelf and one of many pockets. There’s nothing there. I ask him what’s wrong, and again he points. It’s the most emotion I’ve ever seen from him, and it’s barely anything at all. I take it to mean he wants something there.
I spend some time engraving a little snail in the gap. He watches, as much as nothing can watch. When I’m finished he holds the breastplate, but he doesn’t put it on right away. I ask him if something’s still wrong. He says nothing, and puts it on. I tell him I can’t add anything else. Even if he could ask, there’s no room left.
Next time he comes back, there’s nothing wrong with his armor—he lets me check to make sure. I ask him what he’s doing here. Out from one of many pockets, he retrieves a tiny rusted knife. It’s in miserable condition, barely worth saving. I tell him I could make him a nice new one, but I’ll fix it if he likes. He puts it away and reaches around to find something else, a needle and thread. Better condition, but I’m not a sewist and I tell him as much. He puts them away. He then retrieves a little twisted piece of wax paper. I open it. It’s candy. I ask if I can eat it. He says nothing. I eat it. It’s flavored with cinnamon. I’m surprised he let me take it.
He keeps bringing me candy now. His armor is the most laborious to repair out of every client my forge serves, but it’s my own fault so I can’t complain. Sometimes he keeps me company while I work. I wonder if he is trying to tell me something when he hands me mints. I wonder again at the lemon lozenges. He stares at me when I eat, as much as nothing can stare.
One day he brings me a little jar of honey. I thank him, I tell him I’ll save it for dinner. He watches me work, he puts his repaired armor back on, and he stays. My shift passes slowly, and when I finally pack up to leave it’s dark outside. He follows me out of the forge. I ask him where he’s going. He points to the jar in my hand. I ask him if he wants to watch me eat it. He says nothing, but the nothing-knight clearly wants something, so I open the lid and dunk my finger in the honey. I try not to get any on my chin. He stands there, inches away, watching me try to consume this jar of honey without a utensil. It tastes like clovers. About half the jar is left when I’ve finally had enough of pretending to be a bear, but he doesn’t move to leave.
I ask if he’s going to follow me home. He says nothing. I tell him he can if he wants to. Again, nothing. I start walking, and he follows at my side. I know he’s not going to say anything ever, so I fill the silence. I tell him I’m grateful for the sweets, I tell him about how his various components are made, I tell him I’ve never met anyone made of nothing before. I tell him it’s a rare opportunity for a smith to work so much on the inside of something. He says nothing. I tell him again how much I like the candy.
It occurs to me that maybe filling me with sugar is as close as he can get to filling someone else’s empty armor with trinkets. I’m not sure if that’s really why he does it. I tell him I don’t have room to be filled with anything on the inside, not like him. I’m not a container for much besides food. He offers me another piece of candy. Maybe he likes containing something, the way I like to feel full. Maybe it’s nothing at all.
—
I didn’t edit this even a little bit. Thanks for reading!
Guys a woman in a fedora just walked up to me in Walmart, put a can of Diet Cherry Coke in my cart, told me i’m gay, and then backflipped into a hole in the ground that didn’t exist.
Pottery sounds terrifying to me. Every post I see is like "Here's this awesome art I made!! Pray for me that it survives The Kiln™ :')" I don't think I could cope with making art that could quite easily blow up and I have no way of controlling that. You guys are true heroes.
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I just learned that a lot of vintage perfumes and fragrances were intentionally created to blend well with the ever-present smell of cigarettes, and in specific a lot of iconic ones that are super musky and floral and civet-heavy were intended to compliment the smell of fur coats or even "refresh" that new fur coat smell, which is one of the reasons (besides just shifting preferences and trends) that a lot of them smell really, really bad to modern noses.
I bet there's some stunning genius diva out there right now who meticulously coordinates her Victoria's Secret body mists with her vape flavors.
gummygunk
blakekathryn
germansingergirl
