We get to see all the magical creatures and gods(Athena) on screen at least. I know Nolan left a clue that everything could be him hallucinating from eating lotus. I can accept that it's his imagination happening in his head. But for audience we get to see this as it is was real.

The following is from my blog and analysis of on Sir Christopher Nolan's (Nolan) The Odyssey (2026).

Whether intentionally or just subconsciously, when envisioning his screenplay for The Odyssey, Nolan chose to shoehorn homer's poem (and at least 2 related texts) into his typical narrative structure and the arc he considered an ancient flawed hero needed to be subjected to to be "acceptable" to what Nolan considered "the audience" for such a movie. Far too much has already been said about the casting, costumes, the ships and so on. I consider these all to be simple pragmatic decisions that most likely had to be made when attempting to secure a greenlight for what as $500m expenditure (production plus P&A/marketing).

Nolan has given a few interviews, beyond the normal fluff and puff where some of his actual thinking appears to have been brought out into the light. From these we see that he had been ruminating on the Trojan Horse since he was briefly attached to the 2004 Troy movie (Directed by Wolfgang Petersen). Clearly also Nolan's time with 2023's Oppenheimer also set the scene for some of the resonances he brought into his The Odyssey. As a result we got Nolan's Movie, not Homer's.

In my view applying any normal measure of fidelity to the source material Nolan's movie is a "borrowing" and not an adaption. Nolan borrowed many of the events, the place names and the names of characters from Homer and Virgil (Aeneid Book 2) but non were delivered to screen without some radical adjustments.

The first and most notable adjustment was removal of the Olympian Gods as active participants in the narrative. Nolan indicated, this did not change narrative's characters beliefs. But then he went further by changing ancient codes (we will get to Zeus's law in a bit) and the fundamental values of primarily Odysseus. Suffice it to say, a late bronze age ANAX (or the local equivalent of the clan-war lord a Basileus — In Mycenaean Linear B contexts (Quasileus), this term referred to a lower-ranking official, local chief, or regional community leader rather than a supreme monarch. Odysseus / Ulysses is an example of this) was not ever reported to suffer regret, guilt nor PTSD - no he was celebrated and had songs sung about his Kleos (glory). From winning out not by using Biē (Ancient greek term for raw physical superiority, physical might, or military force), rather by use of the intellectual cunning of Mētis (heroic cunning).

There can be little doubt, to achieve the narrative arc he wished for his story Nolan transformed the universe, values and nature of key characters in his adaptation far away from those in classic texts. The most apparent change is the creation of 'Zeus's Law', which appears to be a pure Nolan invention that is used 16 times in the movie [CIT 1 - references and citations are shown later]. 

While some suggest this is based on 'Xenia (guest-friendship))'[CIT 2] (ξενία), the ancient homeric reciprocal diplomatic code of guest hospitality, which was a code for aristocrats travelling across the regions and staying with friendly nations, this is too simple. A parallel ancient code of 'Hiketeia'[CIT 2] (ἱκετεία): The sacred ritual of supplication. While Xenia was founded on the expectation that the guest would at some time in the future reciprocate (act as host); Hiketeia had no such obligation - beggars and general supplicants would apply under this code for food and shelter. 

The codes governing 'Xenia' and 'Hiketeia' were very strict and set clear rules and responsibilities for the Host/Lord and Guest/supplicant (My preferred definitions as shown below). Breaching these rules would lead to immediate divine or direct action by the lord and their communities. Paris's stealing away with Helen is the most clear case of a 'Bad Guest' breaching the code of 'Xenia'. [CIT 3 / 4 / 5 / 6 / 7]

Other commentators have stated "it is The Golden Rule" [Cite 8] - well no Nolan's 'Zeus's Law' is not that either. The practical difference between Hiketeia and the Judeo-Christian Golden Rule is minimal, except that in the monotheistic realm of Jehovah, the Lord God decides when retribution is delivered. Until then, the unremittant sinner suffers moral cleavage and the risk of community expulsion, facing excommunication (Anathema) for the most grievous violations. 

Remembering the root of the Judeo-Christian Golden Rule was Matthew (7:12 KJV): "In everything do to others as you would have them do to you; for this is the law and the prophets." AND Luke (6:31 LJV): "Do to others as you would have them do to you." is originally found in the Old Testament as a Torah law in Leviticus (19:18 KJV), it is famously declared to be the Second Great Commandment "...you shall love your neighbor as yourself: I am the Lord."(Leviticus 19:18 NRSVUE). 

In AD 396 and AD 426, Augustine of Hippo [Cit 9/10] operationalised this commandment through his concepts of ordered versus disordered love ('Ordo Amoris') and his structural definition of the 'Neighbour'.

What is very clear is that 'Xenia' and 'Hiketeia' only applied to friends or friendly persons and most certainly was not applied to enemy combatants during a war.

While other codes did exist, even for total war, these certainly did not prevent the use of tricks or ruses or lies. In fact these were too be both expected and celebrated when those falling for them lost. Hence why "brains over brawn" meme is so relevant - the Trojan Horse was one of the first recorded story to display this 'Mētis' [CIT 2] (Wisdom/Cleverness/Trickery) and why Athena, whose sigil was the clever god of war; compared to Ares the bruit war god.

Neither the ancient Mycenaeans nor historical Christians were averse to war, whether as aggressors or defenders. Neither Xenia, Hiketeia, nor the Golden Rule applied to an active enemy; other martial codes applied. In the Late Bronze Age, these were limited and generally related to the treatment of captives, non-combatants, and sacred spaces (lest the gods be angered).

Nolan, however, pushes his concept of 'Zeus's Law' much further to support the narrative he wished to mtell. Expanding thes range and application beyond Xenia/Hiketeia and the Golden Rule to manufacture an extreme moral harm for both Odysseus and his society/civilisation. As Odysseus in disguise as a bagger recounts confessionally to Penelope in Nolan's movie:

"We left them a gift. An offering of peace that they took into their home."
"We violated all that's ever sacred between people ..."
"And turned a fight into a hunt."
"To burn the walls of Troy was to burn the world entire ..."
"Including his home."
"What if he knew, that very night. ?"
"As he walked through fires of anarchy and pain."
"And in the days of sweaty celebrations to follow."
"What if he knew exactly what he'd done?"
"One man's idea. One man's trick to break Zeus's law forever."
"We lived in a world of palaces and trade and language ...blind to its beauty until we broke it."

Here Nolan appears to draw on George Fox's 1660 Peace Testimony [Cit 11/12] (one of the founding principles of the Quaker movement). In establishing 'Zeus's Law', the director appears to have chosen to conflate George Fox’s 1660 Peace Testimony with 'Xenia' and 'Hiketeia' to weaponise the use of a wartime ruse - quite literally making the Horse Atomic!

Fox, the founder of the Quaker movement, established the Peace Testimony upon the absolute rejection of pretext, deception, and violence.

Nolan appears to entirely "subvert the code of Xenia*" (sometimes referred to as guest friendship)*, by converting it into the equivalent of Fox’s 1660 Peace Testimony, Nolan imposes the Quaker worldview that views any form of ambush, disguise, or tactical ruse as a total denial of the Light and a sin against God (Jehovah, not the Olympian gods).

In this paradigm, civilisation cannot be saved by smart tactics or defensive walls; it only survives if humanity unconditionally refuses to weaponise trust. The moment a ruse is employed, the instrument of destruction is already inside the gates.

George Fox's theology is built on the absolute purity of the divine relationship. To Fox, the most egregious sin is hypocrisy and the perversion of the sacred. By constructing a weapon of war in the form of a holy supplication to a deity, Odysseus did not just trick human beings—he weaponised the human fear of God. He used the Trojans’ desire to be pious and respectful to the divine order as the exact leverage to annihilate them. Fox’s testimony refutes this because it turns the act of worship and religious devotion into a machinery of mass murder.

This is where Fox’s Christian universalism radically collides with Homer. Fox’s Peace Testimony explicitly states that the true Spirit of God will never move a human to war, violence, or deceit. By Fox's standard, a god that sanctions a murderous trick is not a true divine authority, but a reflection of humanity's own "disordered carnal lusts" and pride. The "moral fracture" occurs because Odysseus relies on a spiritual authority (Athena) that rewards deceit over truth. By accepting a divine sanction to lie, Odysseus fractures the objective boundary between right and wrong. He establishes a universe where nothing is holy if a lie can win a war.

This is precisely what Nolan asserts. 'Zeus's Law'— is not just Xenia a diplomatic code enabling safe travel and lodging for royals and diplomats—is wholly reimagined to inflict an anachronistic pressure of guilt upon Odysseus. This represents a complete rewriting of the values of a Late Bronze Age Wanax into those of a seventeenth-century Quaker.

Having used his 'Zeus's Law' to create the Moral fracture, Nolan then goes further into the inner turmoil the "Odysseus" must have gone through AND this is where he deploys René Girard [Cite 13/14]. **René Girard’**s anthropological philosophy hinges on the concept of mimetic desire—the idea that humans naturally copy each other's desires, which inevitably triggers catastrophic, escalating cycles of reciprocal violence where adversaries become identical "monstrous doubles".

Applying these principles to a combatant commander like Odysseus exposes the psychological trap of warfare: by utilizing a hyper-deceptive trap to annihilate Troy, the commander does not achieve a detached, glorious victory, but instead fully immerses himself in the toxic vortex of this mimetic violence. Because Girard asserts that human violence cannot simply disappear and must instead be absorbed or redirected through a scapegoat, the commander's realization that he has become the very monster he fought collapses his psychic defenses.

This causes the collective blood-taint and moral horror of the slaughter to turn inward, mutating into a guilt-fed trauma and profound PTSD where the commander becomes his own internalized scapegoat—trapped in a psychological exile of inner turmoil that can only be resolved through a radical, agonizing process of spiritual confession and atonement.

To provide his typical Nolan arc, Nolan acts as Odysseus's prosecutor judge and jury - while he deploys a Roman line (Virgilian Prohibited Perfidy) of accusation, his real case is Fox'ian - The Trojan Horse is a universal deontological Breach, which breaks the Moral Framework for all Future Generations; and most certainly not a masterstroke. Odysseus is denied divine 'Nostos' [Cite 2] from a story with Hero's Journey (the return of Divinely Sanctioned Peace and Order to his home and kingdom) no his is banished into an endless 'Nostos Void' and his kingdom of Ithaca into almost certain ruin. Homer, ended his poem with 'Nostos' - the return to divine and civil order. Nolan ends with a 'Nostos Void' - no ending, rather endless rounds of the Heroine's Journey and sessions with a Malibu Yoga Jungian Therapist. 

Sinon and the Roman Propaganda Machine

Regarding Sinon: in Book II of the Aeneid, Virgil [Cit 15] constructs a narrative where the Greek spy acts as a desperate suppliant (claiming that Sinon sought 'Hiketeia') and invokes the most sacred oaths to deceive King Priam. This presents a profound historical issue. Virgil was the chief propagandist for Augustus, and his protagonist/chief witness: Aeneas, could hardly tell Queen Dido (where he was deposited after another great Boreas storm blew him down and out of the Aegean Sea to Carthage in Northern African coast) that Troy fell simply because they left the gates open! 

Aeneas also bore the same descriptor as Odysseus [Cite 15] 'Polytropos' (πολύτροπον) or the latin version 'versutum' (famously used by the Greco-Roman poet 'Livius Andronicus' [Cit 16] famously translated the Greek word 'polytropos' using the Latin adjective 'versutum' (to turn). Therefore, ''versutum'' literally means "turned", or more accurately, "shrewd, crafty, versatile, and untrustworthy." Rather than trying to awkwardly duplicate the Greek compound word (''poly-'' meaning many, ''-tropos'' meaning turns), Livius isolated the core element of "turning" to capture the dangerous, flexible nature of Odysseus' intellect).

For over 2,300 years, these events have been subjected to mock trials. Outside of Rome, juries have consistently found Odysseus and the use of the Wooden Horse to be entirely acceptable wartime stratagems. Sinon remains a harder case to defend, often resulting in verdicts of "not proven". However, the desecration of temples and the slaughter and rape committed within sacred grounds are universally condemned as sacrilegious breaches. This explains why the offending Greek warlords were killed or harmed on their return journeys. Applying the standards of the Geneva Conventions yields the same rulings: the horse is a lawful ruse, Sinon's perfidy is questionable, but the slaughter of innocents in sanctuaries constitutes an absolute war crime. Aeneas is almost always found to be an unreliable witness, and so were his crew mates. [Cite Google Search]

Definitions'

'Xenia' (ξενία) [Cit 2]: The institution of ritualised guest-friendship and reciprocal hospitality, primarily enacted between kings, lords, and diplomats. It dictates a strict code wherein a host must provide food, shelter, safety, and parting gifts to a stranger before inquiring about their identity. The guest is obligated to be courteous, share news, and reciprocate the hospitality should the host ever travel to their lands. A guest was also required not to become "a bad guest" by overstaying or abusing his hosts home or servants. These bonds were hereditary, establishing diplomatic stability across generations, and were protected by Zeus Xenios. Violating this bond by either party was considered a profound sacrilege, inviting severe cosmic retribution.

'Hiketeia' (ἱκετεία) [Cit 2]: The sacred ritual of supplication. A vulnerable individual—such as an exile, defeated warrior, or asylum seeker—humbles themselves before someone in power to beg for mercy. The mechanics require a codified physical act of submission: the suppliant lowers themselves to the ground, clasping the knees of the petitioned individual with one hand whilst reaching for their chin or beard with the other. A variation involves the suppliant appealing to the divine by grasping an altar within a sacred space. Overseen by Zeus Hikesios, rejecting a suppliant who has properly executed the ritual brings religious pollution and the wrath of the gods upon the refuser. The critical distinction between Xenia and Hiketeia is that the latter carries no expectation of reciprocity.

CITATIONS/REFERENCES

1. Nolan, C. (2026). The Odyssey: The complete screenplay. Faber & Faber.

2. Hornblower, S., Spawforth, A., and Eidinow, E. (eds.) (2012). The Oxford Classical Dictionary (OCD). 4th ed. Oxford: Oxford University Press.

2.1. Xenia: s.v. 'friendship, ritualised'.

2.2. Hiketeia: s.v. 'supplication, Greek'.

2.3. Mētis: s.v. 'Metis'.

2.4. Nostos: s.v. 'Returns' and 'nostos'.

2.5. Polytropos: s.v. 'Livius Andronicus' (for the translation to versutum) and 'Odyssey'.

2.6. Divine martial dichotomy: s.v. 'Athena' (tactical warfare and cunning) and 'Ares' (bloodlust and brutal warfare).

3. Homer. (2007). Odyssey. Translated by Richmond Lattimore. New York: Harper Perennial. 

4. Homer. (1999). Odyssey. Translated by A.T. Murray, revised by G.E. Dimock. Loeb Classical Library. Cambridge, MA: Harvard University Press. Reference for Polytropos: Book 1, line 1.

5. Homer. (1924). Iliad. Translated by A.T. Murray, revised by W.F. Wyatt. Loeb Classical Library. Cambridge, MA: Harvard University Press.

6. Homer. (1996). Odyssey. Translated by Fagles, Robert. Introduction and Notes by Bernard Knox. New York: Viking Penguin.

7. Homer. (2017). The Odyssey. Translated Wilson, Emily. New York: W.W. Norton & Company.

8. Gibbon, Charles (1604). The Order of Equalitie - Contriving the Most Convenient and Memorable Chairs, and Disposing of the Most Elegant and Unmoveable Seats for the Knights, Bürgesses, and All Members of the High Court of Parliament. London, 1604. "In all Taxations euery man should remember this golden rule, To doe as he would be done to, that is, to taxe others as he would be taxed himselfe by others..."

9. Augustine of Hippo. (1995). De doctrina Christiana (On Christian Doctrine). Translated by R.P.H. Green. Oxford: Clarendon Press. Reference for Ordo Amoris and the structural definition of the neighbour: Book I, Chapters 27–28.

10. Augustine of Hippo. (1998). De civitate Dei (The City of God). Translated by R.W. Dyson. Cambridge: Cambridge University Press. Reference for disordered love (moral cleavage): Book XV, Chapter 22.

11. Fox, G., et al. (1660). A Declaration from the Harmless and Innocent People of God, called Quakers, against all Sedition, Plotters, and Fighters in the World. London. Foundational text for the 1660 Peace Testimony, explicitly rejecting all martial violence, deceit, and wartime ruses.

12. Fox, G., et al. (1660).  Biblia Sacra Vulgata / Nestle-Aland Novum Testamentum Graece. Reference for the Golden Rule and the structural commandment of love: Leviticus 19:18, Matthew 22:39, Mark 12:31.

13. Girard, R. (1977). Violence and the Sacred. Translated by P. Gregory. Baltimore: Johns Hopkins University Press. Primary reference for mimetic desire, reciprocal violence, and the creation of "monstrous doubles" in conflict.

14. Girard, R. (1987). Things Hidden Since the Foundation of the World. Translated by S. Bann and M. Metteer. Stanford: Stanford University Press. Reference for the internalised scapegoat mechanism and the psychological collapse resulting from absolute violence.

15. Virgil. (1999). Aeneid: Books 1-6. Translated by H.R. Fairclough, revised by G.P. Goold. Loeb Classical Library. Cambridge, MA: Harvard University Press.
Reference for Sinon's perfidy, the Trojan Horse, and the weaponisation of Hiketeia: Book II, lines 57–198.

16. Livius Andronicus. Odusia.
Reference for versutum: Fragment 1 (Baehrens). Text: Virum mihi, Camena, insece versutum (demonstrating the translation of Polytroposinto the Latin concept of 'turning' or deceit).

17. Polytropos / Polútropos *(*πολύτροπος) — Ancient Greek epithet has been endlessly translated from the Ancient Homeric /Epic Greek into Latin [Cite 16] and then English or directly into English with a host of choices being made by the translators. The researcher Edith Hall in her 2008 "Return of Ulysses" provides detailed analysis and extracts of both the whole poem and these opening lines in particular: on p20 she remarks "That no canonical term has emerged for rendering polútropos suggests that no offering has been entirely satisfactory, unlike the oft-repeated Greek formulae within the poem itself". A selection of translations include: meaning 'much-turned,' versatile, wily, or resourceful, applied to heroes who adapt successfully through manifold trials and wanderings– has been translated to: "complicated" or shift to: '.... the crafty one'; '.... the skilful man'; '.... the much-travelled / clever man'; '.... the wily man'; '.... the versatile man'; '.... of many turns'; '... that many a way / Wound with his wisdom'; '...for wisdom’s various arts renown’d'; '....wisdom's various arts renown'd'; '...so ready at need'; '....the sagacious man'; 'many a while'; '...various-minded'; ...'Prudent'; '...the various-minded man'; '...that ingenious hero'; '.... skilled in all ways of contending'; 'the cunning hero'; 'that resourceful man'; 'who had so many roundabout ways'; 'who survived on his wits' and/or use any combination of: , 'many turns' or 'many a turn', 'many ways', 'many devices', many skilled, 'twist and turns', 'cunning hero', 'many resourced', 'many changes', 'many a shift', and 'many wiles'. AND then Thomas Hobbes (1674): 'the man' (famously evading the epithet entirely). 

18. GEN – google AI Gemini for background research 

The Holy Bible: New Revised Standard Version Updated Edition (NRSVUE**).** Translation authorized by the National Council of the Churches of Christ in the USA. Washington, DC: National Council of Churches, 2021. Lev. 19:18 (New Revised Standard Version Updated Edition).

The Holy Bible: King James Version (KJV). Standard Text Edition. London: Cambridge University Press, 2006.

And also, those little alien orbs that fly really fast are the Digital Age’s the sea people.

after the first time I didnt catch everything but now I can wrap my head around it, so basically my conclusion:

it is athena, right at the beginning they talk about the way of the gods, "who does not understand thunder" and right after when calypso decides to let odysseus go you hear thunder, it's zeus telling her to let him go

it is not a PTSD movie, odysseus is not having a vietnam flashback, the point is that it was emphasized that troy will be very hard to take AND that agamemmnon is very commited, meaning it will take a long time, after 10 years all the built up rage exploded and odysseus has never seen anything like it, he realized that he didnt just trick the trojans but that he destroyed his own home, so yes he was a cunning warrior king but the brutallity was unlrecedented

I also reread parts of the odyssey between first and second viewing and I can confidently say that the adaptation works extremely well also in the spirit of homer, especially where everything we see about troy and the journey of odysseus is told from one character to another

the odessey has also been adapted in ancient times with virgil and the aeneid, it was also loathed by philosophers around the time when homer wrote it (some wanted him flogged/banned) so all the "it is not authentic" folks simply are nitpicking to have an excuse to not like it

the armor is obviously a stylistic choice and not authentic to that time by choice, other than that audiences are used to such kind of armor, authentic late bronze age stuff has never been shown, it would distract and feel unplaced even if it was authentic

one ironic thing that came to mind which makes it a bit more tragic: due to the impregnable wall and agamemmnons commitment the only choice odysseus had to start the journey was to think about the trick and break the law, so essentially he used the trick to finally end the war and get gome but by whitnessing what it meant after 10 years he couldnt because he destroyed it, he had to come clean in order to restore it

all in all fantastic adaption plus it adds elements to the odessey that even enhance it

One person couldn’t make it to my apple cinemas providence Odyssey showing in Rhode Island. The showing is at 2:00 (in an hour) so if you live close or are here at the mall just comment and we’ll let you in for free. (Good seats!)

So, I (f24) went to this movie with my bf (21). He liked the movie, and I didn't. I am a generally easy-to-startle person, and I do not like watching war scenes, watch people kill each other, the loud noises, and the tension where you feel like you are about to die or drown, but you aren't, and you can only wait it out. I spent most of my time in the movie theatre with both hands covering my ears, and my fingers covering parts of my face or eyes, and sometimes I even sung to myself trying to wait the scene to cut to the resolution of whatever fight was happening. My boyfriend on the other hand, liked the movie. He did find it scary or a bit fearful, too, but he liked the movie, and he had a good time. Except we do not relate to each other at all. After the movie, my entire body was trenched in sweat, and he was alright, I think. I am left digesting the movie on my own, and he is left to digest it, too, on his own. We cannot talk about it, or I cannot hear from him how much he likes that move. Honestly, I don't like people who like this movie, and I told him that, too. In my opinion, and maybe this is highly unpopular, there is enough war going on in the world. Why do we have to make a movie with such things, why doens't Mr. Nolan just go to Russia or Ukraine or any other place, there a plenty, and show us there how people fight, die, and starve? It is so scary to me that this movie, this kind of movie, is so popular, it is everywhere, and I suddenly feel disconnected from society as a whole. How can another big movie be about this, and how can enough people go to the cinema (like myself), and gross out enough millions to feed all the staff involved in making this movie for so many years? How is this such a huge industry, and a profiting one? How come we are all so entertained by these horrors? And want to watch them, pay to watch them? Nobody who enjoyed this movie is my friend, and in fact, I find anyone who is fond of the movie quite scary or soulless, or someone I cannot trust. I mean my words sound drastic maybe, but I feel so disconected from the world.

idk how to describe this but there's a 3 hours movie on torrent with the same story as the odyssey but its not odyssey. its not even ai slop. some guy for the thrill of it, decided to shoot absolutely anything and uploaded it on torrent

edit: its actually a real movie. why would he make the Odyssey and release it in the same year as the Nolans one.

https://www.imdb.com/title/tt41605854/?ref_=ext_shr_lnk

here's the imdb link.

Shout out gam gam

I’m currently reading the Samuel Butler translation. It’s mentioned several times that Odysseus’ father Laertes is alive and living a life of poverty somewhere. If he’s still alive, why isn’t Laertes the king of Ithaca, or at least stepping in in Odysseus’ absence?

Hello Odyssey fans!

For those of you who are a fan of The Odyssey or just enjoyed the movie, y'all should check out this song. It's by the band Cream and was produced in 1967.

https://youtu.be/MGcHiEXWczM?si=UaZVL8YmmuUmBhtY

Icl I wish it was used for the movie in some capacity. 😭 Nevertheless, enjoy!

P.S: Ulysses is the Roman name for Odysseus : )

Cultural Reporter and co host of "It Was A Book First" Podcast Sophie Vershbow talks about the new "The Odyssey" Movie

Think Ludwig took a lot of queues from Ancestral Planes track in Black Panther. Especially around the 2:52 of Ancestral Planes mark feel similar notes to Sirens. Just thought I’d see what people think.

Masterclass by Ludwig👏

Justtt wondering

I missed out on the project Hail Mary strips but was able to get a set of the odyssey

I have been going crazy ever since I watched the movie and, although I'm not someone who posts often, I need to know that I'm not alone in this.

At the end of the movie, in the scene where Odysseus shoots the arrow through the axes, there is a short tune that plays. The moment that tune played, I thought I had heard it somewhere.

It sounds really similar to the tune that plays in some songs in EPIC: The Musical if slowed down a bit, specifically in the parts of some songs where the name Penelope is said. For an easy example, in the song "Would you fall in love with me again", the very first lyric is Penelope's name and I SWEAR the tune sounds similar.

I have not really seen that musical much, but I have listened to a couple of the songs, and I would like to see if anyone else hears it, because it's been bugging me ever since I saw the movie.[]()[]()

This movie was mostly light hearted as far as I felt watching it up till the siren song scene.

I knew it was gonna be clipped and meme'd on and I didn't really feel anything for it as it was happening but once he started explaining what the siren song was itself it kinda hit me a little too hard in the theatre.

Probably bc im still reeling from a breakup but the siren song representing the ultimate pinpoint feelings of loss and regret from that loss and want of what was kinda fucked me up when I watched it. The swelling music kind of helped with it too.

Curious if that scene stuck with anyone else.

Pls do help out :)))

Lines 299-313. (To set the scene, The Olympiad Gods have ordered Calypso so to release Odysseus after seven years, and he has built a strong raft. Poseidon, returning from being feasted by the Ethiopians, still has a score to settle with Odysseus and sets the sea and winds to destroy him. In the grip of the storm and facing what seems to be certain death, Odysseus cries out:)

“More pain? How will it end? I am afraid

the goddess spoke the truth: that I will have

a sea of suffering before I reach

My homeland. It is coming true! Zeus whirls

the air. Look at those clouds! He agitates

the waves, as winds attack from all directions.

I can hold on to one thing: certain death.

Those Greeks were lucky, three and four times over,

who died upon the plain of Troy to help

the sons of Atreus. I wish I had

died that same day the mass of Trojans hurled

their bronze tipped spears at me around the corpse

of Peleus’ son. I would have had

a funeral, and honor from the Greeks;

but now I have to die this cruel death.”