Hi Im Lireal

However the drunk guys are also drinking, and eventually she can't afford to buy another pitcher for the table so she can't keep up the ever-full beer glass trick. At this point she has to resort to setting up the pool trick shot that she's never seen anyone but her boyfriend pull off, and says she'll leave with whoever manages the shot first.

The Odyssey if the suitors were competent…

I’m sorry but that’s thinking way too small, hear me out:

We need to have Miss Piggy as Odysseus, and Kermit as Penelope.

Think about it… who’s the more fickle, prideful, warlike one in that relationship? Who is absolutely ready to go ham, at a moment’s notice?

I mean if you just want to take, "There are no sex scenes, and all the food looks horrible." This line makes me laugh every time I see it, it rules. And it has nothing to do with Christopher Nolan's The Odyssey (2026).

Presumably it's coming from the same complaint well as the majority of Wilson's piece: that while the Homeric poem is a celebration of fucking around and feasting, this movie is not. But in just saying, "it's not this" and nothing more, she's not discussing or even acknowledging how sex and food are actually used in this retelling. Both are tied together in what has been widely praised among audiences as one of the most indelible sequences: Samantha Morton's scene as the witch Circe. In it, the threat of sexual violence and act of eating are linked in a commentary on warmongering rapaciousness writ large, as a part of Nolan's intently laid out thesis of the Trojan horse as a kind of atomic bomb xenia violation whose nuclear winter the whole Mediterranean is now living under. And yes the food does look horrible, because it's horror food! It's difficult to describe in words, but it's like the stew Odysseus's men are eating is turning into gristly tentacles in their mouths, the sounds of their eating ghastly and so disgusting, while Morton transforms them through....something I will not even try to describe, I've just never seen anything quite like it onscreen. Largely practical effects too, astonishing.

Not a bit of that is in that line, of course. Great line, but isn't about the movie, it's about the author.

And honestly, the author is a bit out on a limb with much of how she has actually interpreted The Odyssey (film) itself, must also be said! And not just by me, or by film critics naturally, but also other classics scholars:

I mean when early on she summarily defined the work of cinema as "light and noise" and moved on, it was pretty clear that Wilson just doesn't have a ton of respect or feeling for epic scale movies in general. Which is fine! Everyone has types of art that they don't jibe with. But you don't go to the person who's not keen on dance for a good assessment of the new ballet, negative or positive.

peri: doctor, theres something wrong with you, please i think you need to seek professional help

six: nonsense peri, would a mentally ill person be able to do this?

-tardis proceeds to blow up

1 - the geese in the background show that the fake coyote doesn't deter geese

but to set one of the most classic british characters in the middle of new york? hilarious. funnier still, sherlock actually seems to disdain this himself quite often.

to make john watson, a traditionally long suffering and slightly stand offish man, into a woman? to make her a retired surgeon who left medicine after failing to save someone's life, and instead turning to working as a sober companion? to have her early seasons characterised by a constant battle between satisfying her desire to help people with a rigid determination to live up to the expectations of her family and peers, and actual self-fufillment? made all the more poignant by having her played by an asian-american woman, a demographic for whom those battles are all too often laid at the feet of? breathtaking.

to make moriarty a woman? to make her sinister and cruel and unyielding but also giving her nuance and failings? AND toxic yuri-ism with watson? sensational.

and perhaps most importantly: to make sherlock a believable genius, someone astonishingly intelligent but astoundingly driven by the desire to do good, to be good. to make him profoundly offended at the abuse of power, at violence against the vulnerable, to make him a champion of people who have been victimised not because he is clever enough to be above such things but because he is genuinely appauled by it. and, to make him an addict, not as some barely noted sideplot or zippy one-line reference, but as a continuous story of personal development and fighting, in which the phantom of his addiction is not vanished by the power of love but an ever-present threat that hangs over everything he does despite his best efforts. this version of sherlock more than any other is powered, singularly, by fighting to be better not than everyone around him, but better than himself the day before. he is still arrogant and proud and occassionally cruel, but he is also allowed to learn and get better and he is enriched by the people who surround him.