The Odysuck
POSTED BY: 6ixStringJack
UPDATED: Monday, September 7, 2026 07:28
VIEWED: 1620
PAGE 5 of 10
ELON MUSK and the culture wars, AI TRAILER on social media
'HISTORICALLY ACCURATE' version of THE ODYSSEY
NOTIFY: N | REPLY | REPLY WITH QUOTE | PERMALINK | TOP | HOME
I'm willing to say it did well
...ok people can complain he pulled out favors, reviews were slanted or somewhat rigged
the earnings are not the greatest but it still has done well and is doing well enough that it can make small profit
IMAX Totals
Domestic - $78.0M
International - $62.0M
NOTIFY: N | REPLY | REPLY WITH QUOTE | PERMALINK | TOP | HOME
We'll see...
Well is $700 Million and eeking out a profit. If something changes and that's all it makes, don't bet on anything else like it for a very long time.
They're out there celebrating this thing after a string of about 40 losses in a row, so if it's just going to be gambling going forward, they're going to start making safer bets now that the Venture Capital all dried up and they actually have to hunt down people and ask them to invest the money again.
If it makes what Oppenheimer did, that's going to suck because we probably will see more of this slop shit. But I wouldn't worry about it too much. Hollywood always tends to take all the wrong lessons and throw away the ones it should be learning, and they'll fuck it up.
What's next? The Iliad? Maybe some Muslim mysticism? Or Jewish, perhaps? We can finally learn about how Shit Golems are created.
How do you suppose that the Polly Pocket movie starring Phil Collins' daughter is going to do after they decided that would be the next big thing after Barbie did what Barbie did?
If she comes out and says stupid shit like these idiots do, it's going to make less than Supergirl did. She's a little older though. Probably a little wiser too. And her old man is a low-key badass.
Google AI's hallucination that I mentioned earlier really threw me here. I won't forget that lesson.
--------------------------------------------------
Those who dance always seem crazy to those who can't hear the music.
NOTIFY: Y | REPLY | REPLY WITH QUOTE | PERMALINK | TOP | HOME
Quote:6ix, I understand that you still think that only movie ticket sales determine whether a movie was a financial success, but that is NOT true.
Originally posted by 6ixStringJack:
We'll see...
Well is $700 Million and eeking out a profit. If something changes and that's all it makes, don't bet on anything else like it for a very long time.
Christopher Nolan’s Oppenheimer (2023) is a historical financial anomaly where an R-rated, three-hour biopic acted as a massive theatrical engine, shifting the revenue balance significantly back toward ticket sales. While Tenet had to rely on home ecosystems for survival, Oppenheimer capitalized on a staggering $972.2 million global box Office run.
According to financial accounting breakdowns published by Deadline, the total revenue returned to Universal Pictures stood at $721.9 million.
Total Revenue Breakdown
Non-ticket sources brought in a combined $300 million, meaning exactly 41.6% of the movie’s total studio revenue came from sources other than ticket sales.
• Theatrical Ticket Revenue (Studio Share): $421.9 million (58.4% of total)
o Note: This is the portion of the $972.2M box office cash returned to Universal after theaters took their cut.
• Television & Streaming Licensing: $170.0 million (23.5% of total)
o This includes international broadcast, pay-cable syndication, secondary digital windows, and the internal fee Universal paid itself to stream the film exclusively on Peacock.
• Home Entertainment (VOD & Physical Sales): $130.0 million (18.1% of total)
o Driven by a prolonged four-month window before digital release and massive demand for premium 4K Ultra HD Blu-ray discs.
Key Financial Insights
• The Power of the Window: Christopher Nolan contractually mandated a strict seven-month theatrical window before Oppenheimer could stream on Peacock. This intentionally protected the high-margin theatrical and home entertainment purchase windows, extracting maximum value from consumers before making it "free" on a subscription service.
• Profit vs. Expenses: Against the $721.9 million in total revenue. Universal incurred $520 million in total expenses—including a modest $100 million production budget, $170 million in marketing, and a massive $175 million in backend "participation" payouts to Nolan, the producers, and the star-studded cast. https://deadline.com/2024/05/oppenheimer-movie-profits-1235900658/
• Studio Net Profit: Ultimately, the film generated a massive $201.9 million in pure net profit for Universal Pictures.
The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two
NOTIFY: Y | REPLY | REPLY WITH QUOTE | PERMALINK | TOP | HOME
‘The Odyssey’ Gives Us the Hero We Deserve
By B.D. McClay | July 26, 2026
Some people are going to tell you that the problem with Christopher Nolan’s “The Odyssey” is that it’s about modern people, not ancient people. Not me. It is about modern people, but so is everything else made by modern people. If you want to encounter the ancient world, you have to open a book. (Homer is available in several translations; I like Richmond Lattimore’s.)
Other people are going to tell you that the problem with Mr. Nolan’s “The Odyssey” is that he’s using an ancient text to revisit his own preoccupations: heroism, guilt, memory and the nature of time. Not me. I like an artist who’s not afraid to keep gnawing at the same bone.
No, for me the problem with Mr. Nolan’s “The Odyssey” is something else. It’s Odysseus.
One thing that may strike contemporary readers of Homer is that Odysseus is one of a handful of epic heroes whose motivations actually make sense to us. He doesn’t want to be in Troy; he wants to be home. He is devious and clever without being an out-and-out scoundrel, and he’s generally motivated by curiosity and a thirst for knowledge.
In Mr. Nolan’s hands, however, wily Odysseus becomes a different, if still recognizable, type: the halfway hero. He’s a man who in some way fails to be a father, a man who dirties himself in the name of a higher cause but then discovers that the cause wasn’t worth it, a man with the power to change the world but who, in the end, either fails to do so or makes the world worse.
Much more at https://www.nytimes.com/2026/07/26/opinion/odysseus-christopher-nolan.
html?unlocked_article_code=1.0lA.4KD2.zh_7tVuTc1NR&smid=url-share
The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two
NOTIFY: Y | REPLY | REPLY WITH QUOTE | PERMALINK | TOP | HOME
Odysseus’s Confession | Christopher Nolan’s God-Haunted ‘Odyssey’
Christopher Nolan’s blockbuster seems at times more biblical than Homeric.
By Luis Parrales | July 26, 2026, 8 AM ET
https://www.theatlantic.com/culture/2026/07/christopher-nolan-odyssey-
bible-god/688059/
Toward the end of Homer’s Odyssey, Odysseus and Penelope finally see each other after 20 years apart. Odysseus, disguised as “an ancient old man” by the goddess Athena, tells Penelope that her husband will return to kill the suitors who have tormented her. “Not one will avoid his death and destruction,” he says. This is Homer’s protagonist: wily, aided by a god, and eager for revenge—reflective of a culture that prized honor, strength, and fealty to a set of interventionist deities.
This is not, however, Christopher Nolan’s protagonist. At key moments in the recent blockbuster adaptation of the ancient-Greek poem, Odysseus’s story seems more biblical than Homeric.
In the film, when Odysseus reunites with Penelope, he hasn’t been turned into an old man. Nolan keeps his identity secret through more naturalistic means: a dimly lit room, a cloak over his body, and latticed sliding doors that separate the two characters. The doors, which are not found in Homer’s poem, are evocative of the screen between priest and penitent in Catholic confession—a setting that Nolan, who was raised Catholic, would be familiar with. And although in Homer’s poem, Odysseus is thirsty for retribution, Nolan emphasizes a different emotion in this scene, one that is integral to the confessional and to Christian life as a whole: contrition.
Odysseus describes deep guilt over his central role in a famous episode of the Trojan War: when Greek soldiers hid inside a wooden horse to trick the people of Troy into letting them into their city. “We left them a gift,” he tells his wife, “an offering of peace, that they took into their home.” In sacking Troy, Odysseus says, he and his fellow soldiers “violated all that’s ever sacred between people”—he recognizes a link between mistreating humanity and disrespecting divinity. He confesses that he “lost his way,” not just temporally or physically but in his soul.
Other aspects of Nolan’s adaptation feel biblical, even Christian, rather than Homeric—a quasi-baptism scene at sea, for example, and the conspicuous absence of the references to sex that populate the poem. The core principle of the film’s moral universe seems to echo the Bible. “Treat others as you would be treated,” Penelope declares early in the film, expressing an ethic that various characters refer to as “Zeus’s law.” Many versions of the idea exist, in secular and religious forms. But in the film, Penelope’s words sound more like Jesus’s Golden Rule than anything in Homer, where the heroes—though bound to host strangers as if they might be gods in disguise—seek to achieve glory more than convey empathy.
The film’s treatment of Odysseus’s lies, too, seems consonant with the Ten Commandments instead of Homer’s moral worldview. In the poem, Odysseus’s lies are often portrayed positively, as evidence of his intelligence and resourcefulness—when he tricks the Cyclops, for example. In the film, however, Odysseus’s falsehoods have dire consequences, an apparent reflection of the biblical assertion that false witness is a sin. Odysseus tasks a young soldier named Sinon—a character who does not appear in the poem—with offering the horse to the Trojans. But he doesn’t tell Sinon that its purpose is to attack the city. Sinon dies as a result of Odysseus’s deception. Later, in Hades, he admonishes his commander: “Did you have to lie to me?”
So did Christopher Nolan make a Christian film, which the Daily Wire founder Ben Shapiro and others have suggested since the movie’s release? Not quite. As my colleague Gal Beckerman wrote, Nolan diminishes the role of the gods, treating them as socially useful but not necessarily real. It’s hard to call definitively “Christian” a movie that regards the divine as a possible fantasy. The film is God-haunted, though. Homer may
NOTIFY: Y | REPLY | REPLY WITH QUOTE | PERMALINK | TOP | HOME
Quote:
Originally posted by second:Quote:6ix, I understand that you still think that only movie ticket sales determine whether a movie was a financial success, but that is NOT true.
Originally posted by 6ixStringJack:
We'll see...
Well is $700 Million and eeking out a profit. If something changes and that's all it makes, don't bet on anything else like it for a very long time.
Yes. It is.
Nobody wants to hear your bullshit. We're done with that. This isn't 2020 anymore.
Get fucked, loser.
--------------------------------------------------
Those who dance always seem crazy to those who can't hear the music.
NOTIFY: Y | REPLY | REPLY WITH QUOTE | PERMALINK | TOP | HOME
Quote:
Originally posted by 6ixStringJack:
Hollywood always tends to take all the wrong lessons and throw away the ones it should be learning, and they'll fuck it up.
What's next? The Iliad? Maybe some Muslim mysticism? Or Jewish, perhaps? We can finally learn about how Shit Golems are created.
How do you suppose that the Polly Pocket movie starring Phil Collins' daughter is going to do after they decided that would be the next big thing after Barbie did what Barbie did?
If she comes out and says stupid shit like these idiots do, it's going to make less than Supergirl did. She's a little older though. Probably a little wiser too. And her old man is a low-key badass.
Like I said in another thread, if this was any other director right now besides Christopher Nolan, this movie would have been a hard flop.
Go ahead and learn the wrong lessons.
Yes. Yes. We all want more woke bullshit. This is proof.
Now give Nia DeCosta $250 Million to remake something similar with an equally ridiculous cast and see what happens.
Hold your breath, everyone. Because that's the type of shit they're going to try now.
Congratulations. You paid to see this dogshit.
You know who's to blame when they keep giving you more dogshit.
--------------------------------------------------
Those who dance always seem crazy to those who can't hear the music.
NOTIFY: Y | REPLY | REPLY WITH QUOTE | PERMALINK | TOP | HOME
¡Ay, caramba! McCarthyism was a paranoia that arrived too early and why being radical Leftist doesnt matter anymore?
why Maga doesnt matter anymore...and music hits like 'Bad Bunny' now shows its all over
John Leguizamo Tells ICE Supporters "Don't Watch My Movies"
https://deadline.com/2026/07/john-leguizamo-tells-ice-supporters-dont-
watch-my-movies-1237002904/
Nolan does a remake with No Greek Actors!
at least people used to try
Iphigenia (1977) Greek film based on the myth of Iphigenia, the sacrificial daughter of Agamemnon & Clytemnestra
NOTIFY: N | REPLY | REPLY WITH QUOTE | PERMALINK | TOP | HOME
why the Trumpist Maga Culture-War doesnt matter anymore
700 Million incoming, it already passed 600
NOTIFY: N | REPLY | REPLY WITH QUOTE | PERMALINK | TOP | HOME