[Mídias] Quem lacra, não lucra.

[velhopilantra]

 

[Bloodstained]

John Byrne Tells the New York Times the X-Men Were Not Originally A Black Civil Rights Or LGBTQ Allegory​

John Byrne gave a rare interview to the New York Times this week, timed to the release of X-Men: Elsewhen — the 31-issue alternate timeline story he spent three years drawing as unpublished fan fiction before Abrams ComicArts and Marvel brought it to print. The first printing of 25,000 copies sold out before a single copy reached a shelf. The second printing is already moving.

Byrne, who turns 76 this month and has described Elsewhen as “my leaving in a blaze of glory,” took the opportunity to address one of the most persistent retroactive reframings in comics history, the claim that the X-Men were always a metaphor for gay and queer identity. He pushed back with characteristic directness.

“We’ve seen a pretty major cultural shift in terms of understanding and accepting people with differences. The X-Men were created in a more conservative time, when difference was still a bugaboo. Stan said that the X-Men were his metaphor for racism, that Xavier was Martin Luther King, and Magneto was Malcolm X. And I go, no, actually, go look at the earliest issues. Xavier is F.D.R. and Magneto is Hitler. You know, he’s even using Nazi trappings. But people persuaded Stan that he was doing something else, and Stan said, ‘Sure, why not?’”

That last sentence is the one the comics press has been reluctant to engage with. Stan Lee was famously agreeable about interpretations of his work. If a reader found a meaning he hadn’t consciously intended, Lee’s typical response was some version of “absolutely, that’s what I meant.” It was generous, charming, and historically inconvenient. The Xavier-as-MLK, Magneto-as-Malcolm-X framing became gospel in subsequent decades of academic and fan analysis, cited so often it calcified into fact. Byrne, who drew the book during its defining era alongside Chris Claremont and knows those original issues with an intimacy few people alive can match, is saying that interpretation came after the fact — and that the textual evidence doesn’t support it.

He is correct. The 1963 X-Men, created by Lee and Jack Kirby, placed Xavier in a mansion, sent his students to a private school called the Xavier Institute for Higher Learning, and positioned Magneto as a costumed villain in the mold of every other 1960s Marvel supervillain. Magneto wore a helmet. He commanded an army. The Holocaust backstory that gave the character his moral complexity arrived substantially later, as subsequent writers built on what Kirby and Lee had sketched. Xavier as FDR — the wheelchair-bound leader of a coalition fighting existential evil through institutional means — is visible in those earliest issues in a way that Xavier as MLK is not.

The LGBTQ reading of the X-Men grew from the later comics themselves, particularly through Claremont’s writing in the late 1970s and early 1980s. Claremont has said in multiple interviews that the mutant metaphor was intentionally expansive, intended to encompass any group that experienced systematic exclusion. The “coming out” language surrounding mutant revelation, particularly in stories about Iceman and Northstar gave the queer reading textual grounding in that era. But that is Claremont’s authorial intent during the run Byrne co-created, not Lee and Kirby’s original 1963 design. Byrne is drawing a distinction that matters: what the creators intended at origin versus what subsequent writers developed the metaphor to encompass. Those are different things.

Claremont himself addressed the question directly at Flame Con in 2012 — an LGBTQ-themed convention where, while clearly trying to be generous to that audience, he acknowledged he did not always intend the X-Men as a stand-in for the LGBTQ community. His answer: "You know there's a space between every panel. You can go wherever you want. And who am I to get in the way?" That is a diplomat's answer from a writer speaking to a room that wanted validation, and it is still, even in its diplomatic framing, a confirmation that the LGBTQ reading was something readers brought to the material — not something the creators built into the foundation. Claremont gave them the space. He did not claim the intent.

The interview contains one passage that serves a different purpose. Byrne, 75 and in what he calls the epilogue of his career, told the Times: “It feels like evil has won. I look at Washington and go, oh my God, this is the guy who I modeled my Lex Luthor in part on, back when he was just a big noise in business in New York.”

The reference to modeling Lex Luthor on Trump is something Byrne has mentioned before in interviews, he has described drawing on New York business figures of the 1980s for the character’s aesthetic, and Trump was among the most visible of them. Identifying him as the model for one of DC Comics’ defining villains is a choice Byrne is making consciously, in a major newspaper, as part of the promotional tour for his farewell book. That is Byrne’s prerogative. It does not invalidate his reading of the X-Men’s origins, which stands on its own scholarly merits regardless of his current politics.

What the interview as a whole confirms is that X-Men: Elsewhen succeeded because Byrne made something readers wanted, and it sold out before the people trying to stop it could do anything about it. Heather Antos, IDW’s head of licensing, posted “During PRIDE MONTH. REALLY, MARVEL?! Do not buy this comic” and called Byrne “a transphobe” who has been “spewing transphobic ideology for decades.” The first printing of 25,000 copies was already sold out when she posted it. A second printing is underway. The audience did not consult Antos before deciding whether to spend their money.


Fonte
================================================================================================
Aí está o motivo pelo qual Byrne foi mantido afastado (à força) da indústria mainstream de HQ's e até mesmo sofreu uma recente tentativa de boicote, que fracassou miseravelmente. Além de ser um repositório vivo sobre a história dos quadrinhos, ele não se importa de mandar a real, ainda que isso vá melindrar os sojados que integram essa indústria atualmente. Não é para menos que ele é uma lenda das HQ's, enquanto os sojados não servem nem como nota de rodapé para uma página aleatória qualquer.

 

[Whatisaman?]

tinha ator que antigamente pelo menos lia ou procurava o conteúdo de onde veio a inspiração do filme... hoje... essa m**** ai...


fora que hoje é capaz de usarem alguma tradução dessas obras de alguma feminista ai que meteu uma de que o Aquiles tinha um amigo muito intimo, portanto gay...

 

[Alberon]

tinha ator que antigamente pelo menos lia ou procurava o conteúdo de onde veio a inspiração do filme... hoje... essa m**** ai...


fora que hoje é capaz de usarem alguma tradução dessas obras de alguma feminista ai que meteu uma de que o Aquiles tinha um amigo muito intimo, portanto gay...

Aquiles Moderno.

 

[Bloodstained]

Christopher Nolan’s ‘The Odyssey’ Trailer Surges Past Half a Million Dislikes as Official X Account Limits Replies​

The Odyssey has been buried in YouTube dislikes. Christopher Nolan’s The Odyssey has become one of the most talked-about movies of the year, but not necessarily for the reasons Universal Pictures may have hoped.

The acclaimed filmmaker’s adaptation of Homer’s legendary Greek epic is facing a growing wave of online criticism after the official trailer accumulated more than half a million estimated dislikes on YouTube. The controversy has only expanded as fans noticed the film’s official X account limiting replies on certain promotional posts featuring Nolan and the cast.

According to estimates from third-party browser extensions that track YouTube dislikes, the official Odyssey trailer currently sits at roughly 65,000 likes compared to more than 554,000 dislikes, creating a massive negative ratio for one of Hollywood’s biggest upcoming releases.

While YouTube removed public dislike counts in 2021, tools like Return YouTube Dislike have become popular among viewers attempting to measure audience reaction to major trailers and announcements. The response is particularly surprising because Nolan has spent decades as one of the few filmmakers in Hollywood who can sell a blockbuster almost entirely on his name.

The Odyssey Dislikes Continue to Grow Despite Christopher Nolan’s Track Record​

For years, Christopher Nolan has been viewed as one of the safest creative bets in the movie industry. The director behind The Dark Knight trilogy, Inception, Interstellar, and Oppenheimer has built a reputation for delivering ambitious theatrical experiences that connect with audiences. His most recent film, Oppenheimer, became a cultural phenomenon, grossing nearly $1 billion worldwide and winning seven Academy Awards, including Best Picture and Best Director.

That success made The Odyssey appear to be a victory lap for Nolan. The film combines one of history’s most famous stories with a massive ensemble cast and a major theatrical push. Instead, the marketing campaign has found itself facing unexpected resistance.

The growing number of dislikes has fueled debate over whether the backlash against The Odyssey represents a “small but vocal” online audience (as the Hollywood media loves to say) or an early warning sign of a larger disconnect between the film and potential moviegoers.

Official Odyssey X Account Restricts Replies on Promotional Post​

The YouTube backlash is not the only online controversy surrounding the movie. The official Odyssey X account recently shared images of Christopher Nolan appearing with the cast during a promotional event in London.

“The Odyssey cast joins Christopher Nolan in London. Get tickets now to experience The Odyssey in cinemas July 17,” the account wrote.

However, users quickly noticed that replies on the post had been limited, with X displaying a message stating, “Only some accounts can reply.”

That restriction meant most users could not directly respond underneath the promotional post. The visible replies that remained were largely positive toward the movie and its cast. The move generated criticism from some fans who argued that limiting replies created the appearance of avoiding negative reactions while the trailer was already facing significant backlash.

The Odyssey Casting Decisions Continue to Generate Debate​

The negative reaction surrounding The Odyssey has followed months of online debate over several creative decisions. One of the biggest points of discussion has been Lupita Nyong’o’s casting as Helen of Troy, a figure from Greek mythology whose depiction has been the subject of countless artistic interpretations throughout history.

The casting of Zendaya as Athena, one of the most recognizable gods in Greek mythology, has also sparked conversation among fans. Critics have argued that the choices represent another example of Hollywood changing established mythological characters, while defenders argue that adaptations have always reinterpreted ancient stories.

Some viewers have also criticized the trailer’s dialogue, pointing to characters using modern terms such as “Dad” and “Daddy.” Those critics argue the language feels out of place in an adaptation of an ancient Greek epic.

The casting of Elliot Page in a male role has also generated discussion, while Nolan’s decision to include rapper Travis Scott as a bard became another major talking point. Nolan explained the casting choice by comparing the oral tradition of Homeric poetry to modern rap, an explanation that received both praise and criticism online.

Elon Musk Criticizes Christopher Nolan’s Adaptation​

The controversy reached a new level when Elon Musk weighed in on the debate surrounding Nolan’s film. Responding to discussion about The Odyssey, Musk wrote on X: “Chris Nolan desecrated Homer and groveled on his knees just to meet the woke rules required to win an Oscar. What a worm.”

​

Musk’s post quickly spread across social media, bringing even more attention to the divide surrounding the movie. His criticism appeared to reference concerns some viewers have raised about modern Hollywood adaptations and whether studios are prioritizing contemporary trends over faithfulness to original works.

Are The Odyssey Dislikes a Warning Sign or Online Noise?​

The biggest question now is whether the backlash will have any impact once The Odyssey reaches theaters. Online reactions do not always predict audience behavior, and Christopher Nolan remains one of the strongest filmmaker brands in the industry.

However, recent entertainment history has shown that massive negative online reactions can sometimes indicate larger audience concerns. Disney’s live-action Snow White faced overwhelming dislike ratios during its marketing campaign before ultimately becoming a major box office disappointment. Several streaming projects have also struggled after facing heavy pre-release criticism. That does not guarantee the same outcome for The Odyssey.

Nolan’s track record gives the film an advantage that many controversial releases never had. Still, a trailer from one of Hollywood’s most celebrated filmmakers crossing half a million estimated dislikes is difficult to ignore.

Whether the backlash fades after release or becomes a larger problem, The Odyssey has already become one of the most unexpectedly divisive films of Christopher Nolan’s career.


Fonte

Aquiles Moderno.

Dizem que há um transformer no meio desse povo aí, mas ninguém sabe dizer quem... É simplesmente impossível.

 

[alucardlv1313]

 

[All_Might]

Senhores, eu estou na expectativa de surgir substituição de atores utilizando IA.

Esse filme da Diarréia é um ótimo exemplo!

Gostaria que substituísse a empoleirada e a tommyboy por outros atores....

Quando isso vai se tornar realidade?!

 

[Whatisaman?]

Aquiles Moderno.

"DIVERSITY" The Movie...

Senhores, eu estou na expectativa de surgir substituição de atores utilizando IA.

Esse filme da Diarréia é um ótimo exemplo!

Gostaria que substituísse a empoleirada e a tommyboy por outros atores....

Quando isso vai se tornar realidade?!

fiquemos de olho na industria porno, essas evoluções geralmente vem primeiro nessa industria, depois nas outras...


prioridades

 

[Valcrist]

Senhores, eu estou na expectativa de surgir substituição de atores utilizando IA.

Esse filme da Diarréia é um ótimo exemplo!

Gostaria que substituísse a empoleirada e a tommyboy por outros atores....

Quando isso vai se tornar realidade?!

Você VAI assistir o filme

Você VAI gostar do Tonhão e do Vampeta de saia no filme

VOCÊ VAI DAR 5 ESTRELAS PARA O FILME

E VOCÊ VAI SER FELIZ

 

[Bloodstained]

‘Moana’ Box Office Projections Fall Again as Live-Action Remake Faces Potentially Disastrous Opening Weekend​

Disney’s live-action remake experiment may be facing another major test as box office projections for Moana continue to slide ahead of release.

Once viewed as one of Disney’s safest bets due to the enormous popularity of the animated franchise, the live-action Moana remake starring Dwayne “The Rock” Johnson is now reportedly tracking far below the kind of numbers many expected from one of the studio’s premier modern properties.

According to Global Box Office, expectations for the film’s domestic opening weekend have fallen again, with the outlet now projecting Moana to debut in the $45 million to $60 million range.

​

“MOANA live-action remake, starring Dwayne Johnson, has pre-sales bombing harder than expected,” Global Box Office reported on X. “The projection for its domestic opening weekend is now down to $45M-$60M. With a budget of ~$200M, it is on track to become one of Disney’s biggest bombs.”

The latest update represents another troubling sign for the film, as Global Box Office was one of the first trackers to dramatically lower expectations for the remake. Initially, other analysts remained more optimistic, with several forecasts suggesting the film could open significantly higher. However, as pre-sales continued and audience demand became clearer, additional trackers, including Box Office Theory, began moving their projections closer to Global Box Office’s lower $60 million range.

Now that the forecast has fallen yet again, it will be interesting to see whether the other outlets will once again adjust their reporting. If those numbers hold, Moana could become one of the most shocking box office disappointments in Disney’s recent history. [...]


Fonte

 

[Krion]

Mais preciso "historicamente" que o atual filme

 

[alucardlv1313]

 

[Darth_Tyranus]

tinha ator que antigamente pelo menos lia ou procurava o conteúdo de onde veio a inspiração do filme... hoje... essa m**** ai...


fora que hoje é capaz de usarem alguma tradução dessas obras de alguma feminista ai que meteu uma de que o Aquiles tinha um amigo muito intimo, portanto gay...

Mas é exatamente isso que está acontecendo. A base para o roteiro do filme é a tradução feita por uma ativista feminista.

Existe um romance que tenta reinterpretar a história da Ilíada transformando a relação de Aquiles e seu primo em uma relação homossexual.

 

[Senhor do nada]

Mais preciso "historicamente" que o atual filme

Visualizar anexo 513192

Eu assistiria a Odisseia com o Mussum como Elenis.

 

[Whatisaman?]

Mas é exatamente isso que está acontecendo. A base para o roteiro do filme é a tradução feita por uma ativista feminista.

Existe um romance que tenta reinterpretar a história da Ilíada transformando a relação de Aquiles e seu primo em uma relação homossexual.

esse pessoal é muito previsível...

 

[Rampal]

John Byrne Tells the New York Times the X-Men Were Not Originally A Black Civil Rights Or LGBTQ Allegory​

John Byrne gave a rare interview to the New York Times this week, timed to the release of X-Men: Elsewhen — the 31-issue alternate timeline story he spent three years drawing as unpublished fan fiction before Abrams ComicArts and Marvel brought it to print. The first printing of 25,000 copies sold out before a single copy reached a shelf. The second printing is already moving.

Byrne, who turns 76 this month and has described Elsewhen as “my leaving in a blaze of glory,” took the opportunity to address one of the most persistent retroactive reframings in comics history, the claim that the X-Men were always a metaphor for gay and queer identity. He pushed back with characteristic directness.

“We’ve seen a pretty major cultural shift in terms of understanding and accepting people with differences. The X-Men were created in a more conservative time, when difference was still a bugaboo. Stan said that the X-Men were his metaphor for racism, that Xavier was Martin Luther King, and Magneto was Malcolm X. And I go, no, actually, go look at the earliest issues. Xavier is F.D.R. and Magneto is Hitler. You know, he’s even using Nazi trappings. But people persuaded Stan that he was doing something else, and Stan said, ‘Sure, why not?’”

Real!

Quem pegar pra ler as histórias dos anos 60 verá que os X-men eram só mais uma equipe genérica de super heróis. Tão genérica que ninguém dava muita bola e o título estava a beira do cancelamento no começo dos anos 70.

Quem inventou essa história dos X-men serem metáfora pra minorias foi o Chris Claremont que assumiu o gibi quase 15 anos depois dele ter sido criado.

 

[Bud Spencer Ghost]

John Byrne Tells the New York Times the X-Men Were Not Originally A Black Civil Rights Or LGBTQ Allegory​

John Byrne gave a rare interview to the New York Times this week, timed to the release of X-Men: Elsewhen — the 31-issue alternate timeline story he spent three years drawing as unpublished fan fiction before Abrams ComicArts and Marvel brought it to print. The first printing of 25,000 copies sold out before a single copy reached a shelf. The second printing is already moving.

Byrne, who turns 76 this month and has described Elsewhen as “my leaving in a blaze of glory,” took the opportunity to address one of the most persistent retroactive reframings in comics history, the claim that the X-Men were always a metaphor for gay and queer identity. He pushed back with characteristic directness.

“We’ve seen a pretty major cultural shift in terms of understanding and accepting people with differences. The X-Men were created in a more conservative time, when difference was still a bugaboo. Stan said that the X-Men were his metaphor for racism, that Xavier was Martin Luther King, and Magneto was Malcolm X. And I go, no, actually, go look at the earliest issues. Xavier is F.D.R. and Magneto is Hitler. You know, he’s even using Nazi trappings. But people persuaded Stan that he was doing something else, and Stan said, ‘Sure, why not?’”

That last sentence is the one the comics press has been reluctant to engage with. Stan Lee was famously agreeable about interpretations of his work. If a reader found a meaning he hadn’t consciously intended, Lee’s typical response was some version of “absolutely, that’s what I meant.” It was generous, charming, and historically inconvenient. The Xavier-as-MLK, Magneto-as-Malcolm-X framing became gospel in subsequent decades of academic and fan analysis, cited so often it calcified into fact. Byrne, who drew the book during its defining era alongside Chris Claremont and knows those original issues with an intimacy few people alive can match, is saying that interpretation came after the fact — and that the textual evidence doesn’t support it.

He is correct. The 1963 X-Men, created by Lee and Jack Kirby, placed Xavier in a mansion, sent his students to a private school called the Xavier Institute for Higher Learning, and positioned Magneto as a costumed villain in the mold of every other 1960s Marvel supervillain. Magneto wore a helmet. He commanded an army. The Holocaust backstory that gave the character his moral complexity arrived substantially later, as subsequent writers built on what Kirby and Lee had sketched. Xavier as FDR — the wheelchair-bound leader of a coalition fighting existential evil through institutional means — is visible in those earliest issues in a way that Xavier as MLK is not.

The LGBTQ reading of the X-Men grew from the later comics themselves, particularly through Claremont’s writing in the late 1970s and early 1980s. Claremont has said in multiple interviews that the mutant metaphor was intentionally expansive, intended to encompass any group that experienced systematic exclusion. The “coming out” language surrounding mutant revelation, particularly in stories about Iceman and Northstar gave the queer reading textual grounding in that era. But that is Claremont’s authorial intent during the run Byrne co-created, not Lee and Kirby’s original 1963 design. Byrne is drawing a distinction that matters: what the creators intended at origin versus what subsequent writers developed the metaphor to encompass. Those are different things.

Claremont himself addressed the question directly at Flame Con in 2012 — an LGBTQ-themed convention where, while clearly trying to be generous to that audience, he acknowledged he did not always intend the X-Men as a stand-in for the LGBTQ community. His answer: "You know there's a space between every panel. You can go wherever you want. And who am I to get in the way?" That is a diplomat's answer from a writer speaking to a room that wanted validation, and it is still, even in its diplomatic framing, a confirmation that the LGBTQ reading was something readers brought to the material — not something the creators built into the foundation. Claremont gave them the space. He did not claim the intent.

The interview contains one passage that serves a different purpose. Byrne, 75 and in what he calls the epilogue of his career, told the Times: “It feels like evil has won. I look at Washington and go, oh my God, this is the guy who I modeled my Lex Luthor in part on, back when he was just a big noise in business in New York.”

The reference to modeling Lex Luthor on Trump is something Byrne has mentioned before in interviews, he has described drawing on New York business figures of the 1980s for the character’s aesthetic, and Trump was among the most visible of them. Identifying him as the model for one of DC Comics’ defining villains is a choice Byrne is making consciously, in a major newspaper, as part of the promotional tour for his farewell book. That is Byrne’s prerogative. It does not invalidate his reading of the X-Men’s origins, which stands on its own scholarly merits regardless of his current politics.

What the interview as a whole confirms is that X-Men: Elsewhen succeeded because Byrne made something readers wanted, and it sold out before the people trying to stop it could do anything about it. Heather Antos, IDW’s head of licensing, posted “During PRIDE MONTH. REALLY, MARVEL?! Do not buy this comic” and called Byrne “a transphobe” who has been “spewing transphobic ideology for decades.” The first printing of 25,000 copies was already sold out when she posted it. A second printing is underway. The audience did not consult Antos before deciding whether to spend their money.


Fonte
================================================================================================
Aí está o motivo pelo qual Byrne foi mantido afastado (à força) da indústria mainstream de HQ's e até mesmo sofreu uma recente tentativa de boicote, que fracassou miseravelmente. Além de ser um repositório vivo sobre a história dos quadrinhos, ele não se importa de mandar a real, ainda que isso vá melindrar os sojados que integram essa indústria atualmente. Não é para menos que ele é uma lenda das HQ's, enquanto os sojados não servem nem como nota de rodapé para uma página aleatória qualquer.

Só conheço X-MEN dos anos 90 que passava na GloBOSTA, mas vi pouco porque sempre gostava de estudar pela manhã.

Só tive uma HQ deles porque comparados a Turma da Mônica, eram muito mais caros.

Podiam fazer a propaganda que quisesse, desde que um lado não ficasse tentando impedir e querer que o mundo se adeque apenas as opiniões deles.

 

[Astrus Maximus]

Real!

Quem pegar pra ler as histórias dos anos 60 verá que os X-men eram só mais uma equipe genérica de super heróis. Tão genérica que ninguém dava muita bola e o título estava a beira do cancelamento no começo dos anos 70.

Quem inventou essa história dos X-men serem metáfora pra minorias foi o Chris Claremont que assumiu o gibi quase 15 anos depois dele ter sido criado.

Na verdade, pelo que você lê d texto, nem ele fez isto. Ele usou minorias porque defendia estas ideias (como por exemplo, os X-Men passaram de um grupo de jovens brancos padrão para Tempestade, Noturno, Collossus e outras minorias foi ele. Quem passou a dizer que eles eram metáforas foi o público e que, depois, Stan Lee disse que sim, que era, porque fazia sua obra parecer maior que apenas um cara procurando vender quadrinhos.

George Lucas foi na mesma vibe. 90% do que ele diz "Star Wars sempre foi sobre o tema tal" ele dizia que era porque era o tema que fazia parecer que ele e sua obra eram mais profundos do que o resto das coisas.

 

[Darth_Tyranus]

O meme do Marquito está consolidade na memória coletiva. Parabéns a todos que tornaram isto possível.

 

[Bloodstained]

Christopher Nolan’s The Odyssey Press Tour Skips Greece Despite Adapting Greek Mythology​

Christopher Nolan’s upcoming adaptation of The Odyssey is preparing to travel around the world ahead of release, but the global promotional tour appears to be missing one location many fans might have expected: Greece. According to the announced schedule, The Odyssey press tour will make stops in several major international cities, including London, Paris, Mumbai, Beijing, New York, and Seoul. However, the country most directly connected to Homer’s legendary epic is currently absent from the list.

​

The decision has attracted attention because it comes as Nolan’s film is already facing questions from some Greek commentators and fans regarding representation, casting choices, and how Hollywood approaches stories rooted in specific cultural traditions.

While press tour locations are typically determined by marketing strategies, international box office considerations, and scheduling logistics, some critics argue that excluding Greece from the promotional celebration of one of the country’s most famous cultural exports highlights a larger conversation surrounding the film.

The Odyssey Press Tour Leaves Out The Birthplace Of Homer’s Epic​

Homer’s The Odyssey remains one of the most important works in Greek history and one of the defining texts of Western literature. The epic poem, believed to have been composed nearly 3,000 years ago, follows the Greek hero Odysseus as he attempts to return home to Ithaca following the events of the Trojan War. Along the way, the story explores encounters with gods, monsters, and legendary figures that have shaped mythology, literature, and storytelling for centuries.

Because of the story’s deep connection to Greece, some observers were surprised to see the country absent from the announced press tour. Instead, the film will be promoted across major markets in Europe, Asia, and North America without a currently scheduled stop in the nation that created the mythology behind the story. For critics who were already questioning the film’s approach to Greek representation, the decision has become another point of debate.

Greek Critics Previously Questioned Hollywood’s Approach To The Odyssey​

Concerns over The Odyssey did not begin with the press tour announcement. Some Greek voices have previously criticized the film’s casting and creative decisions, arguing that modern Hollywood often emphasizes the importance of representation while treating Greek heritage differently when adapting stories from ancient Greece.

​

In an open letter published by Greek City Times titled “A Letter to Hollywood and Nolan’s Odyssey Cast From Us Greeks,” critics pushed back against the idea that ancient Greek civilization should be viewed as entirely separate from modern Greeks.

“We did not vanish,” the letter stated.

The writers argued that Greek history, language, mythology, and cultural traditions remain part of a living heritage rather than simply a collection of ancient stories disconnected from the people who inherited them. The criticism was not necessarily that every role in a Greek epic must be played exclusively by Greek actors, but rather that a major Hollywood adaptation of one of Greece’s most recognizable works should acknowledge the culture from which it originated.

Casting Choices Continue To Fuel Discussion Around The Odyssey​

Nolan has assembled a major Hollywood cast for The Odyssey, including Matt Damon as Odysseus alongside several other prominent stars. However, some casting choices have fueled additional debate, particularly among critics who argue that characters from Greek mythology are being reinterpreted in ways that remove their original cultural context.

Supporters of the film have argued that mythology has been reimagined for centuries and that ancient stories can be adapted through different artistic perspectives. Critics, however, have questioned why Greek identity appears to receive less emphasis at a time when the entertainment industry frequently promotes cultural authenticity and representation in storytelling. That tension has become one of the largest conversations surrounding the film ahead of release.

Lupita Nyong’o’s Comments On Homer Added To The Conversation​

The debate surrounding The Odyssey intensified further following comments from actress Lupita Nyong’o regarding Homer’s original works.

“When you read The Iliad and The Odyssey, very little time is spent in the perspective of women,” Nyong’o said. “It’s told from a very masculine side of things. But this film takes time to really consider things from the female perspective.”

Her comments drew pushback from some fans who argued that Homer’s works already feature several influential female characters who play major roles in the stories. While The Odyssey centers on Odysseus’ journey home, characters such as Penelope, Athena, Circe, Calypso, Nausicaa, and others have remained among the most memorable figures from the epic. Critics argued that these characters demonstrate that women were already essential to Homer’s storytelling, even if the narrative primarily follows Odysseus himself.

The Odyssey Debate Shows The Challenge Of Adapting Cultural Stories​

The conversation surrounding The Odyssey highlights the challenges filmmakers face when adapting stories that carry thousands of years of cultural significance. For some viewers, Nolan’s adaptation represents another retelling of a timeless myth that has been interpreted countless times throughout history. For others, the combination of casting debates, comments about modernizing Homer’s story, and now a press tour without Greece has raised concerns that Hollywood is more interested in reshaping Greek mythology than celebrating the culture that created it.

Whether audiences embrace Nolan’s vision remains to be seen, but the discussion around The Odyssey has already proven that Homer’s epic remains as culturally significant today as it was thousands of years ago.


Fonte
================================================================================================
Filme baseado na obra de um autor grego, versando sobre mitologia grega, mas que não tem sequer um ator grego no elenco e cuja turnê de divulgação ocorrerá em diversos países europeus, mas não na Grécia.

Esse filme vai escarrar na Odisseia e, não se dando por satisfeito, provavelmente ainda vai cagar em cima dela, logo em seguida. Lamentável que Nolan tenha vendido sua integridade em troca de sabe-se lá quantos Oscars, ao destruir a obra de Homero, forçando-a a se encaixar nos moldes dementes de "diversidade e inclusão" impostos pela Academia.

 

[Andrealphus]

Tiram essa senhora da fossa africana de onde ela foi parida, colocam ela no Brooklyn nova-iorquino, enfiam ela no topo da indústria cinematográfica por meio de cotas, transformam ela numa celebridade multimilionária e ela ainda se mostra soberba a esse ponto.

 

[LuffyKurosaki]

Reviews do Assassins Creed Black Flag Resynced saindo, e o que eles pioraram no jogo? Além de terem embaragado as NPCs do jogo?

 

[JuggerNault]

Tiram essa senhora da fossa africana de onde ela foi parida, colocam ela no Brooklyn nova-iorquino, enfiam ela no topo da indústria cinematográfica por meio de cotas, transformam ela numa celebridade multimilionária e ela ainda se mostra soberba a esse ponto.

Achei meio preconceituoso esse comentário.

 

[alucardlv1313]

Q agenda ?

 

[DASUK]

Já estou acostumado com as obras recentes da Atlus, então pra mim isso não é novidade. Em Persona 3 Reload já tinham feito a mesma coisa.

Se houve alguma surpresa, é que aqui o assunto nem tem a ver diretamente com agenda woke. É só por causa do Yosuke ter uma personalidade "ríspida demais".

E claro que a Atlus ainda vai fazer várias outras mudanças além dessa.

 

[Bloodstained]

Rachel Zegler Is Back — Next Movie Appears to Be a Feminist Thriller After ‘Snow White’ Box Office Disaster​

Rachel Zegler is back in Hollywood and her next movie has officially been announced. The actress is returning to the big screen with another project that appears positioned directly around modern social issues.

Following the box office disaster of Disney’s live-action Snow White, Zegler is set to lead NDA, a psychological thriller acquired by Bleecker Street that focuses on workplace harassment, silence, power, and perception. According to Variety, the film stars Zegler alongside Penn Badgley (You) and Academy Award nominee Amy Ryan (Gone Baby Gone, The Office). The movie will also serve as the feature directorial debut of Audrey Ellis Fox.

Rachel Zegler Next Movie ‘NDA’ Centers on Workplace Harassment Claim​

In her next movie, NDA, Rachel Zegler plays Dana, a woman trapped in a tense mediation process after filing a workplace harassment claim. The official description states that Dana faces a “maddening day of mediation for an office harassment claim she filed.”

The logline continues, “As the clock ticks towards an immutable deadline, she questions the price of her silence, sanity and the truth.”

While little else is known about the plot, the description suggests a thriller heavily focused on themes that have become increasingly common throughout Hollywood in recent years: power dynamics, systemic issues, workplace misconduct, and women fighting to have their voices heard.

Director Audrey Ellis Fox described the movie as a story centered around those concepts.

“NDA is a story about power and perception, and it’s incredibly exciting to work with partners who so fiercely believe in its vision,” Ellis Fox said.

Rachel Zegler Returns After ‘Snow White’ Backlash​

The announcement comes at an interesting time for Zegler, who has become one of Hollywood’s most divisive young actresses.

Zegler broke onto the scene as the lead of Steven Spielberg’s West Side Story, earning critical praise and a Golden Globe for her performance. However, the film struggled commercially, grossing roughly $76 million worldwide against a reported $100 million production budget before marketing costs. She later appeared in DC’s Shazam! Fury of the Gods, another major studio release that failed to connect with audiences and finished its theatrical run with approximately $134 million worldwide. But her biggest controversy came with Disney’s live-action remake of Snow White. Long before the film arrived in theaters, Zegler drew backlash for comments about the original 1937 animated classic.

“I just mean that it’s no longer 1937,” Zegler said while discussing the remake. “She’s not going to be saved by the prince and she’s not going to be dreaming about true love.”

She also criticized the original film’s romance, saying, “There’s a big focus on her love story with a guy who literally stalks her. Weird. Weird.”

Those comments became symbolic of a larger debate surrounding Hollywood remakes, with many fans accusing studios of hiring actors and creatives who appear dismissive of the very stories they are adapting.

Hollywood Continues Betting on Rachel Zegler Despite Audience Rejection​

Despite several underperforming projects and the backlash surrounding Snow White, Hollywood appears committed to keeping Zegler front and center. Bleecker Street CEO Kent Sanderson praised NDA, saying the project immediately stood out.

“NDA was one of the best scripts I’ve read and is exactly the kind of bold, filmmaker-driven cinema we’re passionate about championing,” Sanderson said.

He continued, “Audrey is a tremendous talent, and we’re honored to collaborate with her and the equally talented Rachel to bring this story to life.”

The question is whether audiences will follow. Hollywood has spent years investing in socially conscious storytelling, but several high-profile examples have struggled to translate online praise or industry enthusiasm into box office success.

Now, after Snow White became one of Disney’s most controversial releases, Zegler’s next major project appears to be doubling down on another story built around the exact kind of themes that have divided audiences in recent years. Whether NDA changes the conversation around Zegler or reinforces it remains to be seen.


Fonte
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NDA coisa nenhuma. A sigla correta é DOA (Dead on Arrival).

 

[Permafrost]

Q agenda ?

Nem pra escolher um negra bonita e gostosa, ainda tem que escolher uma feia e raquitica

 

[alucardlv1313]

 

[Madrux]

Visualizar anexo 513362

Já estou acostumado com as obras recentes da Atlus, então pra mim isso não é novidade. Em Persona 3 Reload já tinham feito a mesma coisa.

Se houve alguma surpresa, é que aqui o assunto nem tem a ver diretamente com agenda woke. É só por causa do Yosuke ter uma personalidade "ríspida demais".

E claro que a Atlus ainda vai fazer várias outras mudanças além dessa.

Isso aí é matar a personalidade do Yosuke! É a mesma coisa se não escreverem o Onizuka em GTO politicamente incorreto.

Olha a cagada que a Atlus está fazendo querendo agradar galerinha que NÃO VAI COMPRAR A PORRA DO JOGO... Persona ter virado mainstream foi um erro. Ainda bem que Shin Megami Tensei não tem essas putarias.

Eu estou pegando ranço enorme de remakes, e ficando complemente contra jogos receberem remakes.

 

[Tarvos]

Reviews do Assassins Creed Black Flag Resynced saindo, e o que eles pioraram no jogo? Além de terem embaragado as NPCs do jogo?

Quem vai ser o boi de piranha que vai testar pra gente?

 

[Tarvos]

Se você:

--- Toma banho
--- Faz academia
--- Gosta de mulher bonita

Parabéns, você é um Fascista.

 

[SithLord]

Quem vai ser o boi de piranha que vai testar pra gente?

Testei via YouTube

A mulher do Edward tá um pitelzinho, bem bonita só que com mais vestes…

O jogo tá quase o mesmo, mas tiraram o animus, ele tá mais rápido na movimentação e o que me incomodou é que parece que adicionaram mais falas e não é o mesmo dublador, pelo menos fiquei com essa impressão…

Vale a compra quando tiver por 100 merreis

 

[Bloodstained]

TROJAN HORSE - TROY (2004)

TROJAN HORSE - THE oDEIssey (2026)

 

[Tarvos]

O goleiro da Noruega lembra uma pessoa:

 

[velhopilantra]

O que o Robin Hood calvo esta fazendo na odisseia?