The Odyssey (2026)

Intrinsic

Intrinsic

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Arbitrary said:
So this film is just overtly a new front in the culture war. If it does really well we're going to get a thousand articles about how actually the awful shit that was losing companies money makes companies money and we should all just shut up.
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As a glass half full type of guy, let me be counter for a second…

If this does well then it should (super heavy emphasis there), show that if a talented director actually focuses on making a quality movie the DEI hires and everything shouldn’t (see above emphasis) matter. Kind of what has been argued before about no one caring if a tranny is in your movie, but it is when the tranny becomes the point of the movie, etc. Or how no one cares about Ripley or Sarah Connor or other characters that were just good characters and not “strong female hero!”

Unfortunately every piece of evidence here would suggest otherwise since no one can keep their fucking mouth shut and just make a movie anymore. Maybe he did make a good movie and it’ll be a surprise. But all the crap around it will guarantee it’ll be a long time before I give it a shot.
 
OU Ariakas

OU Ariakas

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Intrinsic said:
Kind of what has been argued before about no one caring if a tranny is in your movie, but it is when the tranny becomes the point of the movie, etc. Or how no one cares about Ripley or Sarah Connor or other characters that were just good characters and not “strong female hero!”

Unfortunately every piece of evidence here would suggest otherwise since no one can keep their fucking mouth shut and just make a movie anymore. Maybe he did make a good movie and it’ll be a surprise. But all the crap around it will guarantee it’ll be a long time before I give it a shot.
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It has been grating on me that Ripley and Connor are the only two women that ever get mentioned in this debate so I was trying to think of some others that would be good. Rosamund Pike in Hostiles and Gone Girl is that type of female character, albeit diametrically opposite roles, in both of these movies. I would argue that she can elevate average writing to something better, but just doesn't really do that many "guy" movies. Carrie Anne Moss as Trinity is also that way in the Matrix Trilogy, badass but not invincible. Claire Danes in Homeland was a neurotic mess, but it was well written and acted to show her being competent and, at times, almost prescient but also very human. Hell, you could argue that the 3 lead women in Friends were "strong female characters" because they did not cower in fear whenever something went sideways. None of the examples above would you ever think of any of them as acting masculine, but none of the are weak wallflowers and it really seems to make these modern examples stand out as deliberately trying to make women act like a man because the writers/actresses do not understand the difference between strength and aggression/bravado.
 
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Dr.Retarded

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OU Ariakas said:
It has been grating on me that Ripley and Connor are the only two women that ever get mentioned in this debate so I was trying to think of some others that would be good. Rosamund Pike in Hostiles and Gone Girl is that type of female character, albeit diametrically opposite roles, in both of these movies. I would argue that she can elevate average writing to something better, but just doesn't really do that many "guy" movies. Carrie Anne Moss as Trinity is also that way in the Matrix Trilogy, badass but not invincible. Claire Danes in Homeland was a neurotic mess, but it was well written and acted to show her being competent and, at times, almost prescient but also very human. Hell, you could argue that the 3 lead women in Friends were "strong female characters" because they did not cower in fear whenever something went sideways. None of the examples above would you ever think of any of them as acting masculine, but none of the are weak wallflowers and it really seems to make these modern examples stand out as deliberately trying to make women act like a man because the writers/actresses do not understand the difference between strength and aggression/bravado.
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Scully in the XFiles and Starbuck in BSG are a couple more off the top of my head. There's lots of decent examples out there.

It's when do you get hit over the head with things like the super duper assassin lady movies where that strong wamen shit starts to get egregiously annoying.
 
Seananigans

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Intrinsic said:
As a glass half full type of guy, let me be counter for a second…

If this does well then it should (super heavy emphasis there), show that if a talented director actually focuses on making a quality movie the DEI hires and everything shouldn’t (see above emphasis) matter. Kind of what has been argued before about no one caring if a tranny is in your movie, but it is when the tranny becomes the point of the movie, etc. Or how no one cares about Ripley or Sarah Connor or other characters that were just good characters and not “strong female hero!”

Unfortunately every piece of evidence here would suggest otherwise since no one can keep their fucking mouth shut and just make a movie anymore. Maybe he did make a good movie and it’ll be a surprise. But all the crap around it will guarantee it’ll be a long time before I give it a shot.
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This is nonsensical, the only way to get where you're going is to back into it. You can't organically end up with a good movie that just happens to have DEI and trannies.

No good creator includes these terrible casting and race-swapping, trannies, etc. decisions. They're mutually exclusive. If a creator is making these shit decisions, it's because they're shitty and will make a shitty product.
 
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Intrinsic

Intrinsic

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OU Ariakas said:
It has been grating on me that Ripley and Connor are the only two women that ever get mentioned in this debate so I was trying to think of some others that would be good. Rosamund Pike in Hostiles and Gone Girl is that type of female character, albeit diametrically opposite roles, in both of these movies. I would argue that she can elevate average writing to something better, but just doesn't really do that many "guy" movies. Carrie Anne Moss as Trinity is also that way in the Matrix Trilogy, badass but not invincible. Claire Danes in Homeland was a neurotic mess, but it was well written and acted to show her being competent and, at times, almost prescient but also very human. Hell, you could argue that the 3 lead women in Friends were "strong female characters" because they did not cower in fear whenever something went sideways. None of the examples above would you ever think of any of them as acting masculine, but none of the are weak wallflowers and it really seems to make these modern examples stand out as deliberately trying to make women act like a man because the writers/actresses do not understand the difference between strength and aggression/bravado.
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You aren’t wrong. In full disclosure in the middle of typing that post I asked ChatGPT for more examples because those were also the only two immediate ones that came to mind lol. I was also thinking about Jamie Lee Curtis in Halloween or someone else not coming to mind.

It wasn’t a very well structured argument but was just a thought.
 
zzeris

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DickTrickle said:
I think there's almost zero chance this will be anything close to a flop especially with all the premium screen lockdown.

The real question will be the legs, especially with the fierce competition. It's also three hours long and rated R. A 650 million global finish would not be a bomb but I think it would be disappointing to the bean counters.

All the culture war stuff aside, I find the costume and art direction for this movie to be pretty baffling. Like there's stuff that would not look good in any movie, let alone one with a 250 million dollar budget. Look at Bernthal's shirt / chest piece? What is that? And the Batman armor. It's so odd and doesn't even really seem like a cohesive "unique" take but simply bad work. It's some awful mix of historical, modern, and fantastical.

The costume designer has a pretty accomplished resume but pretty much all her stuff was for modern day attire. Outside of Maleficent 2 (a sequel, so she had a reference to keep to already) I don't see anything historical or fantasy based or even science fiction. I think she was out of her wheel house or Nolan had really terrible ideas that he wanted to stick to.
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I want to agree but it will be interesting. This movie specifically infers it doesn't need the male audience who would watch Motor City the very next week. Her Private Hell looks more interesting to a wider audience. Spiderman will crush it in two weeks. Can they pull out most of that 650 million in two weeks, especially since Nolan doesn't feel safe in letting in a wider early sample? With a possibly weaker international audience today? Before Covid, I would say this was a cinch. Today? I think there's a solid chance this doesn't make $600m.
 
Dr.Retarded

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Arbitrary said:
Laurie Strode, Kirsty Cotton, Nancy Thompson
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I had typed out my response to OU Ariakas OU Ariakas earlier, and I was sitting there thinking about it more over my coffee.

You start going into horror movies specifically, which Terminator was, and one of the first ones that popped in my head was Kirsty Cotton, specifically in the second film.

If you look at Hellraiser, it's that same sort of character arc that Ripley had dealing with an unknown threat almost beat for beat, just totally different settings.

She's trapped inside a house where she knows something evil is up there consuming things in the attic/ship. Confronts the threat, on the house/ship blows up.

Kristi is then waylaid and called a lunatic because of cenobites/aliens, and then she ends up having to descend into hell/nest. Your firefight moment is the cenobite showdown for hellraiser where you get the audience pumped up, but then ends horribly, but she still comes out on top.
 
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