Podcasts about Agamemnon

In this week's episode, I take a look back at the movies and streaming shows I watched in Summer 2026 and rate them. This coupon code will get you 25% off the ebooks in the Ghost Armor series at my Payhip store: FALLARMOR The coupon code is valid through September 21, 2026. So if you need a new ebook this fall, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 319 of The Pulp Writer Show. My name is Jonathan Moeller. Today is September the 4th, 2026, and today I'm looking back at the movies and streaming shows I watched over Summer 2026. We will also have Coupon of the Week and an update on my current writing, publishing, and audiobook projects. So let's start off with Coupon of the Week. This week's coupon code will get you 25% off the ebooks in the Ghost Armor series at my Payhip store. That coupon code is FALLARMOR. As always, you can get the coupon code and the links to my Payhip store available in the show notes for this episode. This coupon code will be valid through September 21st, 2026, so if you need a new ebook for this fall, we have got you covered. Now an update on my current writing, publishing, and audiobook projects. I'm pleased to report that the rough draft of Blade of Visions is done. It came to 99,000 words. It'd be kind of cool if it came to 100,000, but as I've learned in the 15 years I've been doing this, it's not a good idea to pad things for length. Editing is underway. I'm about 15% through the first pass of edits. I'm working on the cover design, so I'm on good track to have the book out before the end of the month. I also wrote a tie-in short story called Winter Crown and don't forget that [newsletter] subscribers will get a free ebook copy of that short story when Blade of Visions comes out later this month. So this makes a very excellent time to subscribe to my new release newsletter. I am also 12,000 words into Elven-Warlock, which will be the seventh book in the Half-Elven Thief series. Hopefully that will be out in October, if all goes well. In audiobook news, I think Blade of Thieves (as narrated by Brad Wills) and Cloak of Worlds (as narrated by Hollis McCarthy) are now finally available at all the usual audiobook stores, which includes Audible, Apple, Amazon, Kobo, Google Play, Chirp, and all the others. So if you want to listen to those if you are going on a Labor Day road trip, you can check those out. A reminder that Stealth and Spells Online: The Complete LitRPG trilogy (narrated by C.J. McAllister) is also available on Audible, so check that out. That's 32 hours long and that would also cover all your Labor Day travels. So that is where I'm at with my current writing, publishing and audiobook projects. 00:02:22 Main Topic of the Week: Summer 2026 Movie Roundup So let's move on to our main topic this week. Our main topic this week is the Summer 2026 Movie Roundup and I always enjoy doing those. These episodes are a little less serious than some of the other episodes and it's fun to talk about things I enjoyed and that you might enjoy as well. And I did see a lot of new movies this summer. In fact, I went to the actual theater four times for Masters of the Universe, The Odyssey, Spider-Man, and Coyote vs. Acme, which is probably more than I've gone in a single season since before COVID times. So as usual, here are the movies I saw this summer (rated from least favorite to most favorite). The grades are totally subjective and based on nothing but my own thoughts and opinions. First up is The Breadwinner, which came out in 2026. This is basically standup comedian Nate Bargatze's act come to life as a movie. If you've seen Bargatze's standup, his usual routine is to portray himself as the dumb husband and bumbling Girl Dad, which is actually quite clever from a comedic standpoint since you're unlikely to have outraged mobs calling for your head if all you're doing is making fun of yourself. Anyway, Bargatze portrays Nate Wilcox, the best Toyota salesman in Nashville. (Don't worry, this is the first of only many product placement moments.) He lets his wife Kate manage the household and do the bulk of the work with their three daughters. When Kate's invention takes off on Shark Tank, she has to go to South Korea for two weeks to oversee manufacturing, leaving Nate in charge of the kids. Comedic chaos ensues. On the positive side of this movie, I did approve how this movie showed a married couple trying to work through a rough patch and do what's right for their kids and each other in a semi-productive way rather than blowing up their lives over nonsensical trivialities in the style of Eat, Pray, Love. On the downside, there was a lot of product placement, to the point where it at times felt like an extended commercial with bits of plot jammed in between product endorsement. No doubt most of the production budget came from product placement money. Will Forte was funny as an eccentric roofing contractor and Martin Herlihy as a shifty DoorDash employee. Kumail Nanjiani was funny as Nate's rival salesman at the car dealership. So overall, I would say this was blandly amusing and inoffensive with some funny slapstick moments. Overall grade: C- Next up is Supergirl, which came out in 2026. This movie really was sort of a strange combination of John Wick and the human trafficking subplot from 2020's Black Widow. The end result wasn't quite as good as Superman from 2025, alas. I did like this movie's interpretation of Supergirl. Kara Zor-El's departure from Krypton was way more traumatic than Superman's, so she's dealing with her unresolved emotional issues by traveling from planet to planet with red suns and getting hammered since the same yellow sun that gives Kryptonians their superpowers on Earth also keeps them from getting drunk because their bodies process alcohol too efficiently. However, Kara comes to a planet where a girl named Ruthye lives. Ruthye's family has been slaughtered by ruthless brigands yet led by Krem of the Yellow Hills and she's going on a quest for revenge. When Ruthye tries to recruit Kara for the quest, she's not interested, but then Krem steals Kara's spaceship and poisons her dog Krypto. Krem carries the antidote on his person, so now Kara and Ruthye team up to get vengeance on Krem and to heal Krypto. Krem is a nasty piece of work and he and his space gang travel from planet to planet abducting women to be their wives. I think the problem was that Krem was kind of a boring but nasty villain, but he was still boring. He was basically a space thug with too many piercings. Lex Luthor from 2025 Superman, by contrast, was a really interesting villain, this malignant narcissist who knows that his obsession with Superman is over the top, but he's going to act on it anyway. Additionally, I don't think this version of Supergirl is quite capable of being a lead character on her own. She'd make a superb secondary character, but I don't think she could quite carry a movie on her own. And Jason Momoa was pretty good as Lobo. Overall grade: C- Next up is Troy, which came out in 2004. I wanted to see this either before or after I watched The Odyssey this summer and ended up watching it the day before I went to see The Odyssey. I would say this movie was slow and ponderous, but I did enjoy watching it. This is an adaption of The Iliad and has the sort of slow stateliness of epic films from the '60s. It had good performances and good battle scenes. Brian Cox was enjoyable as a scenery chewing Agamemnon and Brad Pitt worked as Achilles. Interestingly, his version of Achilles reminded me of the interpretation of Feyd-Rautha Harkonnen from Dune 2 as sort of a violent psychopath with his own twisted sense of honor. Oddly, despite the fact that this was rather a long movie, the ending seems a bit rushed, like we needed to hurry up and get to the Trojan Horse. It was amusing how Achilles' relationship with Patroclus was changed to "cousin" for the modern audience, but Greek views on sexuality would definitely be unpalatable with both right-wing and left-wing versions of the modern mind, which is a good thing because while the Greeks contributed a great deal to the development of civilization, they were into a lot of unsavory stuff. So overall, I would say this was a fun, epic movie, but I think this walked so the 2026 version of The Odyssey could run. Amusing fact: Christopher Nolan was apparently supposed to direct this, but the deal fell through and he got Batman Begins as a consolation prize instead. Overall grade: B- Next up is The Dink, which came out in 2026. This is an Apple TV comedy movie about pickleball of all things. I feel like this was made because some Apple executive got made fun of by some tennis players for playing pickleball and then decided to take revenge through media. Jake Johnson plays Dustin Boyd, a washed up former child tennis star who now works at his father's tennis club. The club has difficulties because of a growing influx of pickleball players who the hardcore tennis players hate. Dustin's father decides to use the club's bylaws to force a duel match to decide the issue, in the grand tradition of wacky comedy stakes. Dustin really wants to play the duel match, but his wrist is injured in an accident. To get his wrist mobility back, the doctor suggested he play some pickleball and Dustin views this as beneath him, but he really wants to play again, so he signs up for pickleball. This ends up being a wacky sports company/buddy movie as Dustin gradually befriends an eccentric older pickleball player. Ed Harris should really do more comedic roles. He was great as Dustin's stern, yet unscrupulous father. I do admire Apple TV's dedication to making random stuff. Overall grade: B- Next up is Green and Gold, which came out in 2025, and this is a melodrama about a farmer and his granddaughter dealing with the grim economic realities of farming. This is set in 1992/1993 era Wisconsin. Buck refuses to modernize his dairy farm in Door County, Wisconsin. His granddaughter Jenny is a talented musician and also a skilled farmer, and Buck wants her to take over the farm one day, but Jenny's ambitions are looking elsewhere. Events come to a head when Jenny realizes that Buck is deeply in debt to the bank, which is about to foreclose on the farm. However, Buck and the chief banker have a personal animosity, so they settle on a bet. If the Green Bay Packers win a Super Bowl title in 1993, the banker will give Buck one more year to turn things around on the farm. Meanwhile, Jenny begins to wonder if her music ambitions might generate the money to save the farm. Of course, if you are familiar with the history of the Packers, you know that they won a Super Bowl in 1996, not 1993. The movie has carried on the back of the very strong performances of its actors. It also has an ambiguously happy ending, as is true with so many things in farming. I like this movie because I've spent a lot of my life in the American Midwest, [and] I did appreciate how it shows the difficulties of the farming life. Also, this is important: a fall from a ladder is a plot point. Ladder safety is important, people! If you are going up a ladder, for heaven's sake don't climb the ladder in high heels like the character in question does. Wear sensible, well-fitting shoes with good soles. A very long time ago, I used to work with a guy who would climb extension ladders in cowboy boots. It is nothing short of the mercy of God that he didn't fall off and shatter half the bones in his body. Overall grade: B Next up is Grumpy Old Men, which came out in 1993. Apparently this is set in Wabasha, Minnesota, which is amusing because filming actually took place in several areas in the Twin Cities in Eastern Minnesota, but not actually in Wabasha. I found that personally amusing because I'm quite familiar with the area and so I recognize several filming locations. Anyway, the movie is about two retirees, Max and John, who are enemies and have been enemies for years, but Max is lonely and wants to get married again, and John is about to lose his house to the IRS due to tax problems. Things come to a head when an attractive literature professor moves across the street and both Max and John take an interest in her and start competing for her affections. However, it turns out that Max and John are actually best friends whose love language happens to be hatred and practical jokes, kind of like Wile E. Coyote and Road Runner, but more on them below. This was a good character comedy/drama. It was interesting that the professor was an early version of the Manic Pixie Dream Girl trope, albeit several decades before someone came up with the term. This is worth watching both as a character and comedy drama and a time capsule of the 1990s. Sometimes a movie ages a bit badly (Airplane and the Thomas Crown Affair from the Spring Movie Roundup come to mind), but this didn't. The sequel Grumpier Old Men from 1995 is basically the same movie, but with the characters acting about 20% dumber so a sitcom style plot can happen. Still entertaining, but not as good as the first one, so Grumpier Old Men only gets a B-, but Grumpy Old Men gets a B+. Next up is Masters of the Universe, which came out in 2026. It was amusing to read reviews of this movie because people thought way too hard about a movie that is essentially about battling action figures. Anyway, this was pretty good. It was nice to see a movie about a science fiction property that doesn't actually hate the source material. Basically it's a live action version of the cartoons from the '80s, albeit with somewhat more thoughtful moments. I heard someone suggest that it was close in tone to Thor: Ragnarok, and that seems accurate. The plot is that Skeletor conquers Eternia and 10-year-old Prince Adam is sent with the Sword of Power through a magical portal to Earth to keep him and the sword out of Skeletor's reach. However, Adam loses the sword while passing through the gate and 15 years later is working in human resources. He's still seeking for the sword despite his therapist trying to convince him that it was a trauma-induced fantasy. However, his persistence pays off and he does find the sword. Teela, who is one of the resistance leaders against Skeletor's rule, comes to Earth to find him and bring him back, but Skeletor's minions arrive to claim the sword as well. Adam and Teela escape back to Eternia and it's up to Adam to find a way to use the Sword of Power to become the hero that Eternia needs. Dolph Lundgren's cameo was great. Overall, I would say this is a fun movie to watch, especially if you're a Millennial or Gen Xer who saw the cartoons or the live action movie back in the '80s. Jared Leto has something of an increasingly questionable reputation these days, but he did a good job as Skeletor, played him halfway between the solemn gravitas of the 1987 version and the malevolent comedic cornball of the cartoons. Of course, in my opinion, the Frank Langella version from 1987 is the best version of Skeletor since he placed it with all the seriousness of a Shakespearean villain monologue at the Royal Shakespeare Company. In hindsight, it wasn't terribly surprising that this underperformed at the box office. It felt like it was made for guys my age, not for kids. I would've been comfortable bringing an eight-year-old to see The Mandalorian and Grogu or Super Mario Galaxy, but I would've been less certain bringing a kid that age to see Masters of the Universe. Additionally, it seemed very Marvel in tone, and I think the overall mood of the US these days is less "Marvel Cinematic Universe quips and banter" and more sort of the grimness of The Odyssey, which we'll talk about shortly. Overall grade: B+ Next up is Young Washington, which came out in 2026, a biopic of the early life of George Washington, covering how he more or less accidentally started the French and Indian War and how he recovered his reputation at the Battle of Braddock's Field. To be fair, the international situation at the time meant that someone was going to start the French and Indian War. It just happened to be Washington, who was in the wrong place at the wrong time. Overall, I liked this. It was reasonably historically accurate, though some of the emotional and family dialogue at times was a bit clunky. Additionally, Washington was portrayed as having revolutionary leanings much earlier in life than he actually did, since when he was a young man, he had no thoughts of being anything but a British subject and officer. That said, some of the most implausible stuff in the movie actually happened in real life. Like if I were to write in a novel that the future president of the United States personally rallied the army's rear guard to save as many men as possible from an ambush, and in the process had two horses shot out from under him and ended up with bullet holes in his hat and coat (all while fighting continuously), you would probably find that a bit implausible, but it actually happened that way. Washington's daring actions during that battle were one of the reasons he was appointed commander of the Continental Army during the Revolutionary War, that and there weren't many other colonials with as much experience of military command as Washington. In that vein, the battle scenes were the best part of the movie. They captured the brutality and messiness of 18th Century warfare without being especially graphic. Anyway, I'm glad this is getting a sequel. Maybe we'll end up with a Young Washington Cinematic Universe. Overall grade: B+ Next up is Meet the Parents, which came out in 2000, and this is probably one of the apex forms of cringe comedy. Ben Stiller plays Greg Focker, a nurse who's in love with schoolteacher Pam Burns. Greg wants to marry Pam, but overhears a phone call with her sister where she says her fiancé asked permission of her traditional father first. Greg decides that he's going to ask Pam's father's permission first to get off on the right foot, and so accompanies Pam to her sister's wedding and her parents' house to, as the title says, Meet the Parents. However, Pam's father is the former CIA counterintelligence officer Jack, and he and Greg immediately get on each other's nerves. To make things worse, the airline has lost Greg's luggage. From these two starting premises follow a cascading series of hilarious disasters that accumulate in a septic tank fire on the lawn. I'm not sure, but I think I saw this one in the theaters when it came out in 2000, and I thought it was funny then. With 26 years of additional life experience under the belt, I still think it's pretty funny, though you could still tell that this movie was filmed before 9/11 because if Greg had his airport meltdown seen today, the consequences would've been much worse. Overall grade: B+ Next up is O Brother Where Art Thou, which came out in 2000. This is a very, very, very specific adaptation of The Odyssey directed by the Coen brothers. George Clooney plays Everett, a convict who escapes from a chain gang in Mississippi during the Great Depression. He wants to find a treasure and he recruits fellow convicts Delmar and Peter to assist him. Along the way, Everett and his team encountered 1930s era versions of the Sirens, the cyclops, the blind prophet Tiresias, and other characters and foes from the original Odyssey myth. Everett and his friends end up running a scam where they pretend to be a Christian music group, but as it turns out, they're actually pretty good at singing, so this leads to unexpected hilarity and opportunities. This was also a very funny movie. Imagine The Odyssey is a comedy with a lot of singing set in the Deep South during the Depression, and you're there. If you're a fan of bluegrass music, this is worth watching. If you've seen Christopher Nolan's The Odyssey, it's worth watching this just to ponder how the same source material can produce such wildly divergent interpretations. If you don't care about The Odyssey, then this is still a fun movie to watch. Proof: I mentioned to someone that I had seen this and she responded that she both loved the movie and was surprised to learn that he had in fact been inspired by The Odyssey. Overall grade: A- Next up is Hoppers, which came out in 2026. Like most Pixar movies, this was very high concept. Unlike many recent Pixar movies, it wasn't too depressing and didn't disappear up its own tailpipe. In the city of Beaverton, hot tempered girl Mabel bonds with her grandmother in their favorite place, a woodland grove favored by beavers. Years later, Mabel is a biology student under Dr. Fairfax, but is neglecting her studies to face off against her nemesis, the popular yet sketchy Mayor Jerry of Beaverton. Mayor Jerry wants to build an expressway that will wipe out the woodland grove, and he's perfectly within his rights to do it since no animals have been found living there. Since Mabel's grandmother has died, she's unwilling to give up the grove. However, Dr. Fairfax's research might give her a way. Dr. Fairfax has worked out a way to temporarily transfer human consciousness to a robotic beaver capable of speaking to real beavers, much like the plot of Avatar. In a funny scene, Fairfax angrily denies that it's just like Avatar. Mabel gets the idea to use this to convince real beavers to settle in the grove, thereby thwarting Mayor Jerry's plans. This touches off both a wacky yet poignant adventure. The plot was very well structured and it followed the proper rules of story structure, which I've talked about before. Mabel definitely is a protagonist who takes action, but experiences setbacks and problems of her own creation. It was pretty good. I say it was a return to form for Pixar after some of their weaker movies in the 2020s. Overall grade: A Now it's time for my three favorite movies of summer 2026, all of which I actually saw in the theater. First up is Coyote versus Acme, which came out in 2026. This movie had an extra surge of popularity from the fact that Warner Brothers canceled it as a tax write-off, but distributor Ketchup Entertainment revived it. That makes it a plucky underdog since Warner Brothers senior executives are kind of like the apex version of soulless corporate bug men. Like if I wrote characters in my books who acted like Warner Brothers senior executives, people would think I was being didactic and heavy-handed. Anyway, after decades of failures in efforts to capture the Road Runner, Wile E. Coyote decides to sue Acme Corporation for its numerous defective products. Coyote teams up with a lazy strip mall lawyer named Kevin Avery, who specializes in getting small settlements from Acme. However, Avery and Coyote end up filing a massive lawsuit against Acme, which means they'll face the full wrath of Acme Corporation, including its ace lawyer Buddy Crane and its ruthless CEO, Foghorn Leghorn. What follows is a comedic courtroom battle as Coyote and Avery try to defeat Acme Corporation, defeat its sinister plans, and Coyote starts to realize that Road Runner might actually be his best friend. Both quite amusing and touching, and I'm glad this was rescued from the tax write-off vault. Overall grade: A Next up is The Odyssey, which came out in 2026. This wasn't quite as good as Oppenheimer in 2023 in my opinion, but it was still very good and very much worth seeing. It was weird that The Odyssey was briefly a football in the never-ending US culture war scrum because the movie isn't really political and doesn't really have a message beyond "war is destructive and bad", which every sensible person would agree with, and a lesser message of "violating the law of morality has unforeseen cascading bad consequences, including the destruction of civilization", which is also quite true and was one of the themes of Oppenheimer. Nolan himself dismissed the controversies as "irrelevant" and "part of the territory" since no one had actually seen the movie yet, and given that The Odyssey has made a billion and a half dollars as of this recording, I think that may have proved his point. I imagine the scrutiny from Batman fans back in the 2010s was way more intense since in the modern era, many people care more deeply about the accuracy of Batman than The Odyssey. I do think the debate over the historical accuracy in The Odyssey is pointless because the Odyssey is myth, not history. The Iliad and The Odyssey are a lot like Arthurian myth in terms of their actual historicity. Even when Arthurian legend was massively popular with English kings and nobles in the late medieval and early modern period (for example, Henry VIII's older brother was named Arthur in imitation of King Arthur), the version of Arthurian myth they celebrated and wished to emulate had virtually no connection to the reality of Britain in the 500s AD and was instead a sort of fantasy version of their own time in the 14th and 15th centuries. By the time The Odyssey was written down, no doubt a similar process was underway. Both The Iliad and The Odyssey and the Arthurian cycle probably have a kernel of historical truth buried underneath the tales of magic swords, sirens, cyclopses, and vengeful witches with magic islands. There likely was a Romano-British warlord who might have been named Arthur (or possibly Ambrosius Aurelianus) who held off the Saxons for a while before he was overwhelmed and killed. Likewise, Heinrich Schliemann was a highly eccentric and very sketchy crazy rich guy, but he did prove that there really was some version of the city of Troy that was destroyed at the end of the Bronze Age. But everything beyond those basic details came from thousands of years of embellishments and flourishes from later poets and writers. So arguing about the historical accuracy of The Odyssey is a bit like arguing if Star Wars portrays faster than light travel in an accurate way. That kind of argument is just missing the point entirely. It's also interesting to see how modern standards clashed with the ancient mindset. You know how I always say that everywhere in the United States is exactly the same right until it really, really isn't? I think ancient people are just like us until they really, really weren't. Like ancient people would have been superstitious to an extent that even the most credulous crystal and aura influencer on TikTok would find horrifying and frequently violent in a way that the most strident self-defense advocate would find shocking. The Odyssey's version of Odysseus feels guilt and remorse over his actions in a way an actual ancient Greek probably wouldn't have, but so what? This is The Odyssey viewed through the lens of the 21st century, just as those English nobles viewed the myth of King Arthur and his knights through the lens of their time. As I mentioned with Troy above, the ancient Greeks were often quite brutal and would celebrate sacking an enemy city. One side note before we get to the movie, I probably found it funnier than I should have how Nolan favorably cited classicist Emily Wilson's translation of The Odyssey as a source, and Wilson then had an extended and unintentionally comedic multi-article crashout about how much she hated the movie and of course how much she hated the commemorative Trojan Horse popcorn bucket. Apparently Wilson hated the movie so much she's going to do a new translation of The Odyssey, much to her publisher's baffled dismay. No one does offended huffy petulance quite like an academic. Anyway, back to the movie. It follows the familiar story of Odysseus through Christopher Nolan's preference for non-linear storytelling and practical effects. I did think it was interesting how in this interpretation, Odysseus explicitly connected the ruse of the Trojan Horse with the collapse of the Bronze Age and the rise of the Sea Peoples. It's also probably the most supernatural film Nolan has ever done with actual fantasy and supernatural elements as opposed to science fiction like Inception, Tenant, and Interstellar. Odysseus talks to Athena throughout the movie and it's left up to the viewer's interpretation whether or not he's actually talking to Athena or his own guilt-ridden hallucinations. That said, Odysseus encounters a witch with actual magic powers and travels to the underworld to speak with the shades of the dead, so it's entirely possible he's talking to the actual Athena. In this version, as I mentioned, Odysseus is guilt-ridden over the ruse of the Trojan Horse, which is shown as a violation of the sacred hospitality of Zeus's law and as great a crime as the creation of the atomic bomb in Oppenheimer, which of course is similar to Oppenheimer, where Oppenheimer's creation of the atomic bomb is treated similarly. There are also some genuinely scary sequences in the movie. The bit with the underworld is very spooky, the cyclops is actually quite frightening, and the character of Circe reaches the level of scary previously attained by Heath Ledger's version of The Joker in The Dark Knight. If Nolan ever decides he wants to do a horror movie, it will probably be one of the scariest ones ever made. To sum up, The Odyssey has great performances, great spectacle, great cinematography, and great action sequences. As an interesting interpretation of the original myth, definitely worth seeing. I think you can tell it was a great movie because of all the arguments on the Internet about "what does it really mean?" Great art often has that effect. Overall grade: A The final of my three favorite movies of [Summer] 2026 is Spider-Man: Brand New Day, which came out in 2026. There's a rumor, and I don't know if it's true or not, that Tom Holland found the experience of working with Christopher Nolan on The Odyssey so eye-opening that he insisted that if they made another Spider-Man movie, it had to have a reason for existing other than "make a lot of money". If this story is true, it clearly worked. Previously, I though the two best Spider-Man movies were Spider-Man 2 from 2004 and Spider-Man: No Way Home from 2021. I must now amend that opinion to say that there are three best Spider-Man movies and Spider-Man: Brand New Day is one of the three. It is pretty good. I would've trimmed it here and there, but I thoroughly enjoyed it and is an excellent Spider-Man story that totally captures the essence of the character within a good story. It takes place four years after the events of No Way Home erased everyone's memory that Peter Parker was Spider-Man. Peter has now been crime fighting full time, but it is taking a severe toll on his emotions and personal life that he's deliberately ignoring. Meanwhile, Spider-Man has become the beloved crime fighter of New York, trusted by both the NYPD and the Federal Department of Damage Control, which is a reoccurring frenemy for superheroes from other movies. When someone launches an attack on the headquarters of Damage Control, the director recruits Peter to fight their new enemy, a mysterious figure who uses telepathy to possess people from a distance. Peter is the only one who can sense it thanks to his spider sense, and he's also the only one able to resist the telepath's possession abilities. But despite his resistance to possession, fighting a telepath is a dangerous proposition for someone with as many emotional issues as Peter, and things start to spiral out of control when the telepath starts digging into his life. But there's another lesson Peter has to learn. People (and especially superheroes) who take the federal government at its word tend to regret it. For that matter, ignoring his emotional issues is causing Peter's spider powers to start acting in strange ways. But of course, at the end of the day, Spider-Man always follows his conscience, no matter how high the cost to him personally. Definitely an enjoyable movie. All the scenes with Spider-Man and Punisher were great, and the two of them had a great dynamic together. A few other Marvel Cinematic Universe people show up, but this is probably one of the most standalone movies the MCU has done in a while. Of course, the risk of MCU Continuity Lockout is always there (which is one of the reasons I started writing Half-Eleven Thief in 2023). Overall grade: A So I would say it was a pretty good summer for movies. It's also valuable lessons in not taking the Internet too seriously, which too many people do nowadays. There are all these dedicated analyses on X, Threads, and Reddit in June and May explaining why The Odyssey was going to fail for whatever reason, and instead it made $1.5 billion. So I think that's a good lesson in not taking everything you read on the internet a little too seriously. So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show enjoyable. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.  

Dans cet épisode, je vous propose une histoire qui finit presque bien, celle d'un trésor perdu et retrouvé mais pas récupéré, là, ça coince encore. Le trésor de Priam, c'est une histoire flamboyante, de son invention à sa localisation récente. Un parcours de la mythologique guerre de Troie avec sa Belle Hélène et ses héros tapageurs Pâris, Ménélas, Agamemnon et un cheval perfide jusqu'à la chute du Mur de Berlin et les couloirs du musée Pouchkine à Moscou aujourd'hui. De quoi est composé ce trésor de Priam si convoité ? Avec Annick Louis, historienne et spécialiste du mythe de Troie, autrice de L'invention du mythe de Troie paru en 2020 aux éditions de l'EHESS.

A whole new world. This is not a beginner conspiracy class. Shout out to the Odd Man Out and his podcast.Introduction to advanced mathematics, duality and being in a relationship with math.New interpretations of the Odyssey undiscovered for thousands of years.How dreams work and why they're cryptic.The entire idea behind shadow work. Your conscious mind conforms to the super ego. The Lizard people is you.The religion of the empire, they're all gay pride flags. Pledging allegiance to the flag is gay.What the empire wants, God wants.We want to sell colloidal silver.The smell of bleach loudly pointing to something.Hypocrisy pays. People love hypocrisy. People don't want to know the meanings of their dreams.Agency laundering, confessing without confrontation. Your evil shines through when you're compromised.Dr. Fauci's role in the AIDS crisis.Innerstanding, what if you already know what's true.Deception is the organic will of the people.Agamemnon was killed in the bath.SIDS.This is how conspiracies happen, not with a bang but with a whimper.Links:The Odd Man Out PodcastSupport the showSumo's New BookTheology With A Spear, Volume 1 - Now Available!My attempt to make God make sense again. Others have tried. They failed. I probably have too. Volume 1 rebuilds the basic picture: a world where ghosts, miracles, spirits, angels and demons are probable, where Genesis and the Gospels are one continuous story, and where God is a Mother rocking you to sleep, a Father crossing the room to hold you after you've scraped your knee.Available on Amazon HereMore Linkswww.MAPSOC.orgFollow Sumo on TwitterAlternate Current RadioMAPSOC back on YouTube Again!Support the Show!Become a True FanBecome a Micronation CitizenSubscribe to the Podcast on GumroadSubscribe to the Podcast on PatreonSubscribe to the Podcast on BuzzsproutSubscribe to the Podcast on Substack...

Rage — Goddess, sing the rage of Peleus' son Achilles,murderous, doomed, that cost the Achaeans countless losses,hurling down to the house of death so many sturdy souls,great fighters' souls, but made their bodies carrion feastsfor the dogs and birds,and the will of Zeus was moving toward its end.Begin, Muse, when the two first broke and clashed,Agamemnon lord of men and brilliant Achilles.Those were of course the opening lines of the Illiad, written by someone who we might as well call Homer. And since in this summer of 2027 it seems that very few people are without an opinion of Homer, or The Odyssey, or how Christopher Nolan may have violated Homer's copyrights, I thought it a good time to talk with Barry Strauss, for among his many books is The Trojan War: A New History.Barry Strauss is Corliss Page Dean Senior Fellow at the Hoover Institution and Bryce and Edith M. Bowmar Professor in Humanistic Studies Emeritus at Cornell University. He is the author most recently of Jews vs. Rome: Two Centuries of Rebellion Against the World's Mightiest Empire, which he and I discussed in Episode 421. This is his sixth appearance on Historically Thinking.

In this mythical episode of Sorry We Tried, we're finally talking about Christopher Nolan's BIGGEST movie ever, The Odyssey! The fantasy epic has been dominating for a while now, but is it as good as everyone says it is? Were all the chuds online right about it being a disaster? Well, the answer to that second question is obviously no, because online chuds are never right about anything. But the answer to that first question...Also in this episode, Harrison breaks down the big question — what even is IMAX anyway? Robby can't get enough of Agamemnon. Spencer doesn't trust Sesame Street's Count. And the guys gush about how MOVIES ARE BACK. Website: sorrywetried.comMerch: bit.ly/swtmerchInstagram: @swtpodcastTwitter: @sorrywetriedEmail: thepodcastmen@gmail.com(As always, a huge thank you to Richard Hackley for the music.)Send us Fan MailSupport the show

Jamelsback on the airwaves as we chat about everything from Adirondack to Agamemnon.

Christopher Nolan's The Odyssey serves as a massive anti-war critique of the insatiable appetites of men and the erosion of trust.From useless suitors to disgraced conquerors, and from Agamemnon's bloody fate to the dishonour trailing Odysseus' crew everywhere they go, the film isn't subtle about its themes.We also talk about the terrifyingly atmospheric hell scene, contrast the stunning visual spectacle with its rushed pacing in parts, and question why the dialogue swings wildly between cryptic symbolism and super basic hand-holding.—Hosted by Akhil Arora and Devika Sreekumar, The Long Take is fully bootstrapped. Please consider donating if you enjoy our work.The Long Take is available on Spotify, Apple Podcasts, Amazon Music, Gaana, JioSaavn, Overcast, Pandora, RadioPublic, iHeart Radio, YouTube Music, and wherever you get your podcasts.Follow The Long Take on Instagram, Facebook, Threads, and YouTube. Write to us at thelongtakepod@gmail.com.

There was SO much to say about Christopher Nolan's The Odyssey that we couldn't fit it into one episode — we tried, we failed miserably, and honestly we're thrilled about it, so you're getting a two-parter.This is Part 1, where we set sail into the three-hour epic everyone's been waiting for. We get into the Trojan Horse reimagining that traces back to the Troy movie Nolan never made, and the brutal sacrifice that recontextualises the whole opening. We defend the Cyclops (hear us out — on a rewatch, he's the victim).We break down the slow, skin-crawling transformation scene that out-brutals every battle. And we get into why the first woman to translate The Odyssey, absolutely hates this film — the missing sex, the grim food, all of it. It's epic, brutal and occasionally unhinged. Part 2 drops soon.TAKE THE SPILL QUIZ HERETHE END BITS Find and follow us on socials: Instagram: https://www.instagram.com/thespillpodcast/ TikTok: https://www.tiktok.com/@thespillpod Facebook: https://www.facebook.com/thespillpodcast/ Read all the latest entertainment news on Mamamia: https://mamamia.com.au/entertainment/Support Independent Women’s Media. Support independent women's media The Out Loud hosts have handpicked their all-time favourite reads and one subscriber is winning the entire 12-book stack. Subscribe to Mamamia here to be automatically entered to win. Current subscriber? You're already in the draw. T&Cs apply.Get access to Very Peri, Mamamia's exclusive perimenopause series, for just $59. 25 world-leading experts, over 20 on-demand sessions, available now. We’ve sorted through the noise so you don't have to. Go to veryperi.com.au and join me today. You hot? Same. Buy today and save 40% Want to join the conversation? Have feedback or a topic you want us to discuss? Send us a voice message or email us at thespill@mamamia.com.au and we’ll get back to you ASAP! Executive Producer: Monisha Iswaran Audio & Video Producer: Michael Kean Mamamia acknowledges the traditional owners of the land on which we have recorded this podcast.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

We're living in truly crazy times, and things that would not even be remotely controversial ten years ago now bring ire to certain parts of society. A while ago, the idea of Christopher Nolan filming an adaptation of THE ODYSSEY would bring universal interest, but now any perceived ""woke" decision brings multitudes of vitriol and "discourse".Today we take a look at this film on it's own merits, and see how a myth that has evolved through centuries is recontextualized for our day and age. Join us as we aura farm with Agamemnon and take a journey with Odysseus to Ithaca as we encounter war, trauma, acceptance, and forgiveness on 70mm IMAX (none of us saw it on this format). • • •TRIAD Of The FORCE is a STAR WARS+ podcast hosted by Gus, Nani, Nad, & Chase—Puerto Rican and queer creators sharing deep dives, and heartfelt conversations from a galaxy far, far away. Featured on the STAR WARS CELEBRATION Podcast Stage (2022 & 2023), we explore STAR WARS, fantasy, comic books, and other POP-culture media honestly. We engage in inclusive commentary across film, TV, books, comics, and beyond with humor, critical analysis, and cultural perspective (without the toxicity).Follow TRIAD Of The FORCE at:BlueSky: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/triadoftheforce.bsky.social⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/triadoftheforce/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/c/TriadoftheForce/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠If you like us, get some merch and help the channel:TeePublic: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/user/triad-of-the-force⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠• • •Acknowledgement: The Intro and Outro music is the Triad of the Force Theme, composed and performed by Grushkov with full permission for use by Grushkov (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/Grushkov⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠).• • •This channel is not affiliated in any way with Lucasfilm Ltd. LLC, The Walt Disney Company, or any of their affiliates or subsidiaries.

Subscribe now for the full episode. Joel Christensen, professor of classics at the CUNY Graduate Center, joins Danny and Derek for a discussion about Christopher Nolan's adaptation of The Odyssey. They talk about the scholarly debate over Homer as an idea rather than an individual; the mythic Trojan War; guilt and moral responsibility in Homer's Odysseus vs. Nolan's; the roles of Penelope, Telemachus, and Agamemnon; the film's monsters, casting choices, and depictions of the gods; and how Nolan's ending departs from that of the original.  Be sure to check out Joel's book Why Odysseus? Survivor, Scoundrel, Anti-Hero. Learn more about your ad choices. Visit megaphone.fm/adchoices

***⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Complete our⁠ listener survey⁠ for a chance to win a $50 gift card!⁠⁠⁠⁠⁠⁠⁠⁠⁠ *** Just as Troilus and Cressida finally unite, her father Calchas, a traitor who betrayed Troy to join the Greeks, petitions the Greek generals to trade for her so he can have her with him again. Agamemnon orders Diomedes to supervise the exchange. Ulysses then convinces the Greek commanders to rile up Achilles by walking past his tent without acknowledging him. When Achilles asks Ulysses what's going on, Ulysses tells him Ajax is the new hero because he took up Hector's challenge, but that if Achilles would break off his secret relationship with a Trojan princess and get back to fighting, his could restore his reputation. Thersites rubs it in by reporting that Ajax is strutting around the Greek camp completely full of himself. Achilles tells Thersites he wants to see Hector at his tent after the fight. Back in Troy, Diomedes arrives at Aeneas's home to finalize the prisoner exchange for Cressida. Aeneas rushes to Troilus's house to break the news to him. He gets there just as Pandarus is teasing the couple in their love nest. When Aeneas finally delivers the royal decree demanding that Cressida be handed over immediately, Troilus is devastated, and Cressida swears she will not leave. The PLAY ON PODCAST SERIES, “TROILUS AND CRESSIDA”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by LILLIAN GROAG. All episodes were directed by KIM MARTIN COTTON. Radio play by CATHERINE EATON.   Executive Producer: MICHAEL GOODFRIEND   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   BENJAMIN BONENFANT         as    TROILUS AWNI ABDI-BAHRI                       as    CRESSIDA JAMES UDOM                          as    ACHILLES GEOFFREY ALLEN MURPHY    as    AJAX STEVEN RATTAZZI                     as    PANDARUS and MENELAUS DAISUKE TSUJI                           as    THERSITES ANNA SUNDBERG                       as    ALEXANDRA, CASSANDRA and HELEN NOAH KEYISHIAN                       as    AENEAS, MARGARELON and HELENUS ROB NAGLE                                  as    AGAMEMNON LISA WOLPE                                 as    ULYSSES WAYNE T. CARR                          as    HECTOR and CALCHAS EDWARD GERO                           as    NESTOR and PRIAM EDDIE LOPEZ                               as    PATROCLUS and PARIS JOHNNY WU                                 as    DIOMEDES KIM MARTIN COTTON                as    ANDROMOCHE   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original Music Composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES).   The Play On Podcast Series “TROILUS AND CRESSIDA ” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit ⁠⁠⁠NEXTCHAPTERPODCASTS.COM⁠⁠⁠ for more about the Play On Podcast Series. Visit ⁠⁠⁠PLAYONSHAKESPEARE.ORG⁠⁠⁠ for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “The proud man eats himself”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Well heck, everyone else and their scylla is talking about the Odyssey so we might as well too.After watching Christopher Nolan's brilliant new blockbuster, and after Andrew read two different translations, we talked about what we thought of it, reminisced about some of our favorite parts (Circe! And that Cyclops!) and addressed a few of the more controversial aspects of the film.Today's root beer is Frostop.Intro and Outro music by Stockmusic331 on Pond5Send us Fan Mail

Eines vorweg: Christopher Nolan hat das Epos von Homer (und das Publikum) mit Respekt behandelt. Gerade für Zuschauer, die sich kaum oder gar nicht mit griechischer Mythologie oder den Geschichten rund um den trojanischen Krieg auskennen, ist Nolans Film ein wirklich guter Einsteig. Mich hat begeistert, wie viel in der Pause und nach dem Kino von fast allen Zuschauern über die Menschen, Monster und Götter der Odyssee gefragt, geantwortet und diskutiert worden ist. Vom Gilgamesch-Epos abgesehen sind Ilias und Odyssee die ältesten literarischen Werke, die wir kennen – mit Odysseus als einem modernen Helden, der neugierig und eigensinnig ist und lieber auf seinen eigenen scharfen Verstand vertraut als auf die Götter.Nolan entblättert nach und nach seine depriminierende Botschaft: Wir selbst sind der Untergang unserer Zivilisation – und er zeigt Odysseus (Matt Damon) als den klügsten Krieger, der nicht nur den Trojanischen Krieg mit seiner List gewinnt sondern auch die Schuld erkennt, die die siegreichen Griechen mit dem Massaker in Troja auf sich geladen haben. Ein Held mit posttraumatischer Belastungsstörung, der in den Armen der Nymphe Calypso (Charlize Theron) seine schrecklichen Erinnerungen verdrängt. Nolans ODYSSEE wirkt in keiner Szene wie ein Sandalenfilm, weil immer an realen, wunderbar ausgesuchten Orten gedreht wurde und CGI-Effekte zwar existieren aber praktisch unsichtbar sind.Im Podcast direkt nach dem Kino sind wir unterschiedlicher Meinung und sprechen über Frauenfiguren, nonlineares Erzählen, über Vorteile und Nachteile einer Starbesetzung und ob Nolan mit IMAX einer fixen Idee nachgejagt ist, die dem Film vielleicht nicht gut getan hat … Am Mikrofon nach drei Stunden Kino: Heidi, Johanna, Anke, Marc, Tom und Thomas.Thomas war zu seiner großen Freude Gast bei Christian im Filmpodcast Second Unit und die beiden haben sich etwas ausführlicher mit Nolans Film beschäftigt – 2,5 Stunden :-) Wir empfehlen: Erst Film schauen, dann bei SchönerDenken ersten Eindruck hören, dann die Langfassung bei Second Unit (aber immer noch kürzer als der Film).

Greg Jenner is joined in ancient Greece by historian Dr Emily Hauser and comedian and actor Kiell Smith-Bynoe to learn about the epic poems the Iliad and Odyssey. Traditionally attributed to the poet Homer, these works tell parts of a legend that has fascinated us for centuries: the story of the Trojan War. Featuring a cast of unforgettable characters – Achilles, Odysseus, Paris, Helen, Hector and Agamemnon – the war between ancient Greece and Troy has inspired writers, artists and filmmakers for over a millennium. But the Iliad and Odyssey only recount episodes of this much bigger story. The Iliad, focusing on the hero Achilles, takes place in the closing stretches of the war. And the Odyssey tells the tale of Odysseus's perilous voyage home after the Greeks have triumphed. In this episode, we trace the origins of the poems in the 8th century BCE, looking at whether Homer really wrote them and how these originally oral tales came to be written down, before exploring the fantastical tales they tell. Along the way, we also look at whether or not the Trojan war really happened, how the ancient Greeks defined heroism, and examine the role of gods and monsters in the poems and the lives of their heroes.If you're a fan of fantastical myths and legends, heroes behaving badly, and ancient Greek culture, you'll love our episode on the Iliad and Odyssey.If you want more from Kiell Smith-Bynoe, listen to our episode on Viking explorer Leif Erikson. And for more historical epics, check out our episodes on the Legends of King Arthur, and the Mesopotamian Epic of Gilgamesh.You're Dead To Me is the comedy podcast that takes history seriously. Every episode, Greg Jenner brings together the best names in history and comedy to learn and laugh about the past.Hosted by: Greg Jenner Research by: Auréliane Perrin Written by: Dr Emmie Rose Price-Goodfellow, Dr Emma Nagouse, and Greg Jenner Produced by: Dr Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Gill Huggett Senior Producer: Dr Emma Nagouse Executive Editor: Philip Sellars

Christopher Nolan's The Odyssey is finally here, and we gave all three hours a proper sit-down. This is our full spoiler review of the 2026 movie: what Nolan kept from Homer, what he changed, and why a 3,000-year-old poem feels this pointed right now.   Matt Damon plays an Odysseus who is very much not the perfect hero (he fires the extra arrow, and even his men know better). Tom Holland is Telemachus, Anne Hathaway is Penelope stuck ruling Ithaca while the suitors circle, and Robert Pattinson is so hateable as Antinous you will want to reach through the screen. We get into Zendaya's Athena, Samantha Morton's Circe (the body-horror magic scene that had non-horror people squirming in their seats), Charlize Theron's Calypso, and Elliot Page as Sinon, a character who isn't even in the original poem.   Nolan's Odyssey vs. Homer: What Stayed, What Changed The film tracks the epic's major beats closely (post-Trojan War, Poseidon's wrath, the long road to Ithaca) while braiding present-day Ithaca with flashback. Elliot Page's Sinon isn't in the Odyssey at all; he surfaces in other tellings, and here he works as a mentor-figure insert that deepens Antinous. Penelope gets a more modern, furious framing, even if the ending pulls her back toward the original.    The Set Pieces: Cyclops, Circe, and the Underworld The Cyclops (Polyphemus) was a real ten-piece puppet, filmed in an actual cave. Horror people and non-horror people left equally rattled. Samantha Morton's Circe plays visceral and grotesque, closer to the old myth than any wand-waving magic. The underworld was shot in Iceland under all-day daylight, which gave it that eerie glow with no lighting rig needed.   The Ensemble and the Cameo Hunt Matt Damon (Odysseus, real beard included), Tom Holland (Telemachus), Anne Hathaway (Penelope), Robert Pattinson (a gloriously hateable Antinous). Deep bench: Jon Bernthal as Menelaus, Lupita Nyong'o in a dual role as Helen and Clytemnestra, John Leguizamo as Eumaeus, Ryan Hurst as Mentor. Blink-and-miss-it faces: Jovan Adepo, Corey Hawkins, Logan Marshall-Green. The recognize-that-actor game is a feature and, for some of us, a distraction.   Zeus' Law and the 2026 Read The film leans on xenia (Zeus' law of hospitality) and ties Odysseus' suffering to breaking it first, with the Trojan horse. Agamemnon's war for trade routes and power (not honor) reads straight into now. History repeats. The "people from the sea" reveal reframes the whole journey as a reckoning, not just a string of monsters.   Production Worth the Oscars Talk IMAX cameras run three minutes and roar. The crew built silencing boxes and mirror rigs so actors could act. Tom Holland thought he was getting cut for being bad. Costume designers degraded fabric with real salt and sun to age it accurately. The cast learned real rowing and boating (not the movie kind). Everyone came back wet, miserable, and in the best shape of their lives. Subscribe on your favorite platform!SpotifyApple PodcastAmazon MusiciHeart RadioPodchaserYoutubeDon't forget to follow us on socials too!InstagramThreadsTikTokBlueSkyFacebook Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

BROS ITS FINALLY ODYSSEY DAY! Grab your gold Athena pin, your gladiator sandals, and a nice lil spanakopita to-go, because we're going on an EPIC JOURNEY through Christopher Nolan's highly anticipated adaptation of The Odyssey! Along the way, we discuss the morality of Greek tales, what the Sirens were REALLY singing, and, of course, the sluttiness of Agamemnon's helmet. Did you go through a Greek Myths phase?? Head to our PATREON for the full video episode and more!

The Odyssey - Ep. 405 The journey home begins! This week the Normies set sail into the epic world of Christopher Nolan's The Odyssey, tackling Homer's timeless tale through the lens of one of modern cinema's most ambitious filmmakers. From breathtaking practical spectacle and mythic monsters to Nolan's signature twists of time, memory, and destiny, the hosts break down how this legendary voyage was reimagined for the big screen. Did the film live up to its monumental expectations? Which performances stole the show? And where does The Odyssey rank among Nolan's incredible filmography? Hoist the sails, beware the Cyclops, and chart a course for adventure as we journey across the wine-dark sea with The Odyssey—only on Normies Like Us! Insta @Normies_Like_Us https://www.instagram.com/normies_like_us/ @_j__a___c___o__b_ https://www.instagram.com/_j__a___c___o__b_/ @Mike_Has_Insta https://www.instagram.com/mike_has_insta/ https://letterboxd.com/BabblingBrooksy/ https://letterboxd.com/hobbes72/ https://letterboxd.com/mikejromans/

***⁠⁠⁠⁠⁠⁠⁠⁠⁠Complete our⁠ listener survey⁠ for a chance to win a $50 gift card!⁠⁠⁠⁠⁠⁠⁠⁠ *** Thersites delights in insulting Patroclus, Achilles, Agamemnon and everyone they command. When Agamemnon arrives with his entourage, Achilles withdraws into his tent and refuses to meet with him. Agamemnon turns to Ajax and heaps praise on him, encouraging him to be their champion in single combat with Hector instead of Achilles. Back at the palace in Troy, Pandarus meets with Paris and Helen in their decadent love nest to make excuses for Troilus's absence from their dinner. Helen persuades him to sing them a love song before sending him on his way. Pandarus finds Troilus anxiously awaiting Cressida in an orchard and finally brings the lovers together. They promise each other complete fidelity with Pandarus as their witness before hurrying into a bedroom to consummate their relationship. The PLAY ON PODCAST SERIES, “TROILUS AND CRESSIDA”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by LILLIAN GROAG. All episodes were directed by KIM MARTIN COTTON. Radio play by CATHERINE EATON.   Executive Producer: MICHAEL GOODFRIEND   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   BENJAMIN BONENFANT         as    TROILUS AWNI ABDI-BAHRI                       as    CRESSIDA JAMES UDOM                          as    ACHILLES GEOFFREY ALLEN MURPHY    as    AJAX STEVEN RATTAZZI                     as    PANDARUS and MENELAUS DAISUKE TSUJI                           as    THERSITES ANNA SUNDBERG                       as    ALEXANDRA, CASSANDRA and HELEN NOAH KEYISHIAN                       as    AENEAS, MARGARELON and HELENUS ROB NAGLE                                  as    AGAMEMNON LISA WOLPE                                 as    ULYSSES WAYNE T. CARR                          as    HECTOR and CALCHAS EDWARD GERO                           as    NESTOR and PRIAM EDDIE LOPEZ                               as    PATROCLUS and PARIS JOHNNY WU                                 as    DIOMEDES KIM MARTIN COTTON                as    ANDROMOCHE   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original Music Composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES).   The Play On Podcast Series “TROILUS AND CRESSIDA ” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit ⁠⁠NEXTCHAPTERPODCASTS.COM⁠⁠ for more about the Play On Podcast Series. Visit ⁠⁠PLAYONSHAKESPEARE.ORG⁠⁠ for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “The proud man eats himself”. Learn more about your ad choices. Visit megaphone.fm/adchoices

“I want someone who has regrets. I want someone who's learned the hard way. I want someone who understands that life is made of those messy compromises.” — Joel Christensen on the Odysseus he hopes to see in Matt Damon Christopher Nolan's The Odyssey is out — the controversial movie of the year, much of the controversy raging before anyone had seen a frame. So, before either of us had seen the epic, I talked to the CUNY classicist Joel Christensen, author of the timely Why Odysseus? Survivor, Scoundrel, (Anti)hero. What, I asked Christensen, did he most dread about Hollywood's treatment of his beloved Odyssey? His answer: a hero too noble to be interesting. The Odysseus of the epic is a survivor, a scoundrel, an antihero — the master sergeant who does what needs to be done, from engineering the Trojan Horse to making sure Hector's infant son doesn't survive it. Christensen's worry about Matt Damon came down to one word: too likeable. What he wanted instead was a man with regrets — De Niro in Raging Bull rather than anybody noble. So did Christensen get the Odysseus he wanted? Below is his review, written after seeing the film when it came out. Postscript: Joel Christensen's Verdict on the Film Nolan's Odyssey is not Homer's Odyssey. This should be clear to anyone. Nolan faced an almost impossible task well: ancient audiences knew the story already. Modern audiences do not, so he created a ring structure with the beginning union of Penelope and Odysseus anticipating the reunion at the end, also introducing plot elements like the dog Argos and the pin by which Penelope will recognize Odysseus. The film is not Homer. Homer's power is poetry; the film's is image. Some of the images are striking: the scene when Circe turns his men into animals is the most arresting in the whole movie, showing everything that can be done with visceral imagery and a slight adaptation (Circe here is a survivor of sexual assault). The changes made to the plot such as omitting the Phaeacians, Nestor, Laertes, the bed and more are not as jarring as some of the general decisions. Calling “Zeus' Law” “do unto others…” makes an understandable translation to a Christian context, but it is somewhat nonsensical for Homer. Depicting a mutilated Helen is a strange decision that I am struggling with. What the movie gets right is making humans responsible for their own suffering. In a novel take on Odysseus as a traumatized warrior, the hero spends seven years with Calypso eating Lotus to forget the loss of his men. Damon, too likeable, regrets the trick of the Trojan Horse after witnessing the slaughter during the sack of Troy. We find out as well that the “sea people” from history, bringing an end to the “civilization” are actually the Greeks returning from the Trojan War and suffering for the transgressions they committed there. Is this ending an echo of Zeus' plan to end the race of heroes in the Trojan War? Is it an allegory for our civilizational collapse in the future thanks to technology, environmental catastrophe, and fascism? Any potential social critique dissipates with the movie's end. The traumatized veteran turns out to be merciful and kills only some of the suitors, showing many mercy. Then, guilty of violating “Zeus' Law”, Odysseus happily goes into exile with Penelope, leaving Telemachus to be king. There's no way to make Homer's Odyssey into a film and convey all its ambiguity and depth. That would be an unfair expectation. Nolan's film is a compelling spectacle and it makes me wonder more about how it reflects who we are as an audience. Do we need the hero to be ultimately good, even if he messed up? Are we so simple that we need to hear about Zeus' Law and the Sea People so repetitively? I fear that in this age where fiction and fact are so hard to disentangle, that we long for narratives that are just simpler. We don't get the Odyssey we want; we get the one we deserve. Five Takeaways •       A Complicated Man: The Translation Problem. Every word of Homer carries echoes no English can hold, and the fights over Nolan's dialogue replay the fights over translation. Emily Wilson detonated a controversy by rendering polytropos — poly, many; tropos, turn — as “a complicated man,” alluding at once to Odysseus's travels and the many forms of his character; Daniel Mendelsohn's “man of roundabout ways” does the work too, if you can stop thinking about rotaries. Even the objection to Tom Holland's Telemachus saying “dad” collapses on inspection: Telemachus uses the colloquial form in Homer. And the “authentic” dialect purists want was an artificial amalgam that no ancient Greek ever spoke. •       The Culture Wars Come for Homer. Nobody remembers a brouhaha over Wolfgang Petersen's Troy — a pretty bad movie, Christensen notes — but Nolan's Odyssey generates more controversy than a scholar can track daily. Lupita Nyong'o's Helen is attacked as inauthentic by one side and as cultural appropriation by the other; since 2015, classicists have watched the Western tradition weaponized by the alt-right while their own field argues about who owns it. Christensen's advice channels the epic itself: between Scylla and Charybdis, take Scylla. You'll lose six men. The alternative is losing the ship — and if the story doesn't persuade in three hours, nobody will remember the armor anyway. •       The Valence of Violence. Modern audiences are more accustomed to represented violence than any in history — you don't need Natural Born Killers when Twitter serves unverifiable clips from Gaza and Iran. The question Christensen brings to the film is what the violence is for. Uberto Pasolini's The Return gave Ralph Fiennes's Odysseus a steady, untroubled thump of arrows; the epic's own slaughter of the suitors, read closely, approaches Tarantino-adjacent parody. And the hardest tests are the atrocities the adaptations always cut: the mutilation of the goatherd Melanthius, and Telemachus hanging the enslaved women. Does the violence glorify the hero — or show what even the best of us are capable of? •       Keep Penelope Ambiguous. The great interpretive question of the Odyssey is when Penelope knows the beggar is her husband — the suitors, dead in the underworld, are convinced she was in on it all along. The epic grants her remarkable intelligence and agency, then reins it in: Agamemnon's ghost praises her by way of insulting all women, and she vanishes from the text. Christensen's advice to Nolan wouldn't be Margaret Atwood's Penelopiad, which centers the women's voices; it would be more screen time and total ambiguity — no access to her mind, a wife who matches her husband in wits and may even have outwitted him. Though based on Nolan's arc, he doubts we'll get a woman at the center. •       Survivor, Scoundrel, (Anti)hero. Christensen's worry about Matt Damon was simple: too likable. Odysseus is the master sergeant — the one who takes the hard orders, tricks Achilles into the war, engineers the Horse, and makes sure Hector's infant son doesn't survive to rebuild Troy. The ancient hero is neither good nor ...

In today's Daily Fix:Another casualty in the big Xbox reset of 2026 is reportedly an unannounced Halo multiplayer project. The game was in development at Certain Affinity, who is a support studio with credits on several other Halo and Call of Duty titles. Halo 5's Warzone mode was apparently an inspiration for the game, and was to be built in Unreal Engine, like the soon-to-be-released Halo: Campaign Evolved. In other news, Matt Reeves' The Batman Part 2 is being delayed to 2028 (!) which would make it about six years since Part 1 dropped in 2022. For comparison, all three of Christopher Nolan's Dark Knight movies were released in a seven-year period. And speaking of Christopher Nolan, The Odyssey will be journeying to theaters this weekend, as well as in Fortnite. Skins for Matt Damon's Odysseus and Benny Safdie's Agamemnon will be available in the game starting tomorrow.

Today, we end our 12-week study of the Odyssey with a discussion on Books 23-24 with Dr. Justin Jackson and Dr. Benedict Whalen of Hillsdale College alongside host, Dcn. Harrison Garlick.There is yelling, laughter, cursing, and general chaos--but more of Homer's truth is unearthed in the process.Check out our ONLINE LIBRARY for resources on the great books.Check out Dr. Justin Jackson's Substack working through the Bible.Check out Dr. Justin Whalen at Hillsdale College.The long-awaited homecoming unfolds with Odysseus and Penelope's emotional reunion, the famous test of the immovable olive-tree bed, and the climactic confrontation with the suitors' vengeful families. The conversation crackles with insight as the guests unpack Penelope's cunning, Odysseus' complex character, parallels to Achilles and Heracles, and the poem's meditation on fidelity, mortality, justice, and the costs of homecoming.Dr. Jackson brings contrarian fire—challenging heroic ideals, celebrating the domestic, and wrestling openly with whether Odysseus' reckoning is justice or raw revenge—while Dr. Whalen offers sharp textual observations on themes of rootedness, temptation, and the poem's unresolved tensions.Expect yelling, laughter, heartfelt disagreement, and the kind of raw intellectual energy that makes great books come alive.Whether you've followed the whole series or are just dipping in, this capstone will leave you rethinking everything you thought you knew about the Odyssey. Stick around after the discussion for a look ahead at Plato's Republic and more. If you love the Great Books, this is unmissable.Chapters00:00 - Introduction: Finishing the Odyssey Journey04:46 - Host Welcome & Episode Setup06:27 - Guest Introductions: Dr. Justin Jackson & Dr. Benedict Whalen07:04 - Dr. Jackson's New Book on Reading Literature16:28 - Diving into Book 23: Penelope Learns Odysseus Has Returned21:07 - Penelope's Skepticism & the Secret Signs25:05 - The Great Rooted Bed Test & Recognition Scene36:36 - Odysseus & Penelope Reunion, Emotional Moments47:05 - The Final Labor & Comparison to Heracles59:11 - Temptations: Calypso, Nausicaa & Penelope1:11:32 - Transition to Book 24: Laertes & the Avenging Families1:15:26 - Achilles & Agamemnon in the Underworld1:35:02 - Reunion with Laertes & Proof Scenes1:49:10 - Dolius, the Final Battle & Deus Ex Machina Ending2:11:04 - Reflections on Justice, Revenge & the Poem's Message2:16:50 - Closing Thoughts & Upcoming EpisodesKeywordsOdyssey Books 23 and 24, Homer's Odyssey finale, Odysseus Penelope reunion, rooted bed test, immovable olive tree bed, suitors slaughter, Ithaca homecoming, Penelope cunning, Odysseus homecoming, Great Books podcast, Ascend podcast, Hillsdale College professors, Dr. Justin Jackson, Dr. Benedict Whalen, Homer teacher philosopher, Telemachus maturation, Achilles Agamemnon underworld, Laertes reunion, Poseidon penitential journey, justice vs revenge Odyssey, classical literature podcast, Western canon Odyssey analysis, father son reunion Odyssey, Penelope faithfulness, heroic fate comparison, Plato Republic preview.

Something is very wrong in the opening scenes of the Odyssey. The master of the house is gone. His wife is besieged. His son is powerless. And the men eating him out of house and home are waiting for the right moment to strike. Welcome to Part 1 (of 6!) of our new series, where we cover Homer's great epic. Part 1 covers Books 1 to 4, the monsters haven't arrived yet — but the groundwork for everything is laid here. What does it take to reestablish order once it has fallen? What kind of man can do it? Follow Telemachus as he learns to speak, to threaten, and to travel among serious men, and meet the figures who shape his fate: Athena, Penelope, Nestor, Menelaus, Helen, and the doomed suitors led by Antinous. As Christopher Nolan's film approaches, it's a perfect time to dust off a copy of Homer's Odyssey, and follow along this epic story in our 6-part retelling.Timestamps:0:00 Why the Odyssey begins with Odysseus's absence1:08 Introducing the show1:25 Book One: Athena visits Ithaca4:05 Telemachus welcomes the stranger7:33 The poem's opening lines and Odysseus's epithets10:06 Odysseus and the wrath of Poseidon11:43 The Council of the Gods13:58 Athena's plan to help Telemachus17:20 Athena's instructions: call an assembly19:08 The story of Orestes and Telemachus's zeal22:08 Penelope's first appearance27:00 Telemachus finds his courage29:25 Book Two: The Assembly begins31:56 Antinous defends the suitors35:59 The omen of the eagles37:55 Telemachus's plan revealed40:16 Athena returns as Mentor45:15 Telemachus sets sail for Pylos46:48 Book Three: Arrival at Pylos52:41 The story of Agamemnon and Aegisthus1:02:17 Book Four: Arrival in Sparta1:05:28 Helen's grand entrance1:11:41 Helen's magic drug1:19:50 Menelaus and Proteus, the shapeshifting sea god1:27:08 Menelaus's fate: the Elysian Fields1:32:09 The suitors plot to kill Telemachus1:33:23 Closing thoughtsCallouts:Special thanks to Dr. Richard Johnson for his longtime support of the show. You are Caesar and Odysseus's Top Guy!In tribute to the life and aspirations of Savitha Shanmugasundaram, a University of Texas at Austin honors student who died tragically in the March 1 mass shooting, her parents have established the Savitha Shan Endowed Scholarship at UT Austin. The fund is intended to extend Savitha's legacy by supporting the educational journeys of future UT Austin students. Please consider donating if you can. 

Mortality and the End of the Iliad. Guest: Professor Emily Wilson. The final stages of the Iliad focus on Achilles' intense grief and the rituals surrounding death. Following the violent funeral pyre for Patroclus, Achilles organizes funeral games, which Wilson suggests represent his growing realization that all mortals are ultimately "losers" in the face of death. These games provide a new model for competition where skillful men can win prizes without the conflict ending in the destruction of society. A significant moment of reconciliation—or perhaps a "sick burn"—occurs when Achilles gives Agamemnon a prize for spear-throwing without requiring him to compete, acknowledging Agamemnon's status while potentially mocking his habit of taking things he did not earn. The poem notably concludes not with the fall of Troyor the Trojan Horse, but with the voices of three women—Andromache, Hecuba, and Helen—singing laments. Their grief highlights the future of enslavement and loss facing the survivors. This ending, marked by a humanitarian pause for Hector's funeral, underscores the poem's central theme: the universal struggle to accept human mortality. 1

The Homeric Question and Epic Tradition. Guest: Professor Emily Wilson. The identity of Homer remains a subject of intense scholarly debate, as the Iliad emerged from a long oral tradition that existed before the return of literacy to Greece in the 8th century BCE. For centuries, performing poets developed stories of heroes like Achilles and Agamemnon, using dactylic hexameter to aid memory and performance. The Iliad is a monumental written poem that takes a sophisticated approach to these familiar tales, often subverting expectations. Interestingly, it omits many "famous hits" like the Trojan Horse, the judgment of Paris, and the actual fall of Troy. Instead, it focuses on a mere month and a half of the ten-year war, centering on internal Greek conflict rather than just a battle against Trojans. Wilson notes that while she translates the work into iambic pentameter to capture its drive, the poem itself possesses the narrative complexity of a modern novel, utilizing techniques like shifting perspectives and narrator omniscience. She also mentions lost epic poems like the Cypria, which provided more backstory on Zeus's plan to reduce the human population through war. 2

Goddesses, Trophies, and the Bond of Achilles. Guest: Professor Emily Wilson. The gods in the Iliad often represent extreme human instincts, such as Aphrodite representing lust and Ares representing aggression. These deities are sometimes depicted as ridiculous because they flee the battlefield when wounded, whereas mortals must face their pain heroically. Within the Greek camp, the social structure is built around honor and "trophies," specifically enslaved women like Briseis, who are parceled out after military victories. While Briseis has a limited voice, she is shown to have a kind relationship with Patroclus, who is described as a multi-faceted character capable of both great kindness and brutal violence. Patroclus is not a "beta male" but a skilled warrior who mocks his victims as he kills them. The bond between Achilles and Patroclus is the most intimate and emotionally vulnerable relationship in the poem. Achilles' awareness of his own impending death and the violation of his honor by Agamemnon creates a deep-seated rage that drives the central plot. 41919

The Plot Begins: Rage and Divine Bargains. Guest: Professor Emily Wilson. The plot of the Iliad is ignited by a clash of egos between Agamemnon and Achilles. When Agamemnon is forced to return his own war prize to appease Apollo, he seizes Achilles' enslaved woman, Briseis, to recoup his lost face. This action causes Achilles to withdraw from the fighting, perversely restoring his honor by demonstrating how much the Greeks suffer without him. This human conflict is mirrored by divine bargaining; for instance, Hera is so intent on destroying Troy that she offers to let Zeus destroy three of her own beloved cities, including Sparta, in exchange for his cooperation. The Greek audience would have recognized the historical weight of these fallen cities. Wilson interprets Agamemnon not as a simple villain, but as a weak and struggling leader who often blames his poor decisions on divine delusion rather than taking personal responsibility. Despite his flaws, the poem illustrates the immense difficulty of maintaining power and making decisions under the influence of manipulative gods. 5

Mortality and the RAGE OF ACHILLES. Guest: Professor Emily Wilson. The conclusion of the Iliad explores the resolution of Achilles' rage following the death of Hector. Initially, Achilles attempts to prolong Hector's humiliation by dragging his body behind a chariot and refusing to allow a proper burial. However, the funeral games for Patroclus mark a shift toward maturity, as Achilles provides a space for competition that does not end in death. He even shows a degree of grace—or perhaps a subtle insult—by awarding Agamemnon a prize without a contest. The poem finishes with a humanitarian pause that allows the Trojans to bury Hector, bookending the story with funerals. The final voices are those of mourning women, emphasizing the shared human experience of grief and the inevitable suffering that follows war. Wilson concludes that the Iliad is fundamentally about the struggle to accept mortality, a theme that has provided comfort and insight to readers for over 2,700 years. 8

Most people approach The Iliad expecting the Trojan Horse. Instead, they find something darker: a story about wounded pride, uncontrollable rage, brutal violence and the moment vengeance finally gives way to pity.In this review, I break down Samuel Butler's translation of Homer's epic, the feud between Achilles and Agamemnon, Hector's terrifying presence, the petty interference of the gods, the oral tradition behind the poem, and whether a modern reader should actually tackle this ancient monster of a book.00:00 — An Ancient Epic in My Hands00:42 — The Samuel Butler Translation01:03 — Did Homer Actually Write The Iliad?02:23 — What Is an Epic Poem?03:05 — This Is Not the Trojan Horse Story03:40 — Achilles, Hector and the Gods04:53 — How This Edition Structures the Story06:15 — The Core of The Iliad: Rage07:33 — Achilles Loses Everything08:19 — The Gods Are Petty as Hell09:49 — Violence, Nature and Ancient Imagery11:41 — The Sections I Fast-Read13:19 — The Power of Oral Storytelling15:00 — The Brutality of Battle15:43 — Hector Smashes Through the Gates17:29 — No Simple Villains, Only Human Beings18:13 — Honour, Glory and the Heroic Code19:03 — Should You Read The Iliad?19:22 — The Odyssey Review Is Coming Connect with Mere Mortals:Website: https://www.meremortalspodcasts.com/Discord: https://discord.gg/Xs9DjsurFqTwitter/X: https://twitter.com/meremortalspodsInstagram: https://www.instagram.com/meremortalspodcasts/TikTok: https://www.tiktok.com/@meremortalspodcastsValue 4 Value Support:Website: https://www.meremortalspodcasts.com/supportPaypal: https://www.paypal.com/paypalme/meremortalspodcast

Today on Ascend: The Great Books Podcast, Dcn. Harrison Garlick discusses Books 11-12 of the Odyssey with Dr. Frank Grabowski and Mr. Luke Heintschel, the Academic Headmaster of Coeur du Christ Academy.Check out Ascend's LIBRARY of written guides and SOCIAL MEDIA. Check out Luke's Substack at CoCrucified and Dr. Grabowski's at Porch & Altar.SummaryListeners are taken on Odysseus' harrowing katabasis into the underworld, where he confronts shades of the dead, including his mother, the tragic Agamemnon, and especially Achilles, whose devastating reflection on glory versus life delivers one of the most “blood on the floor” moments in Western literature. The conversation masterfully unpacks themes of piety, humanization, fate and free will, and the meaning of a well-lived life, while drawing illuminating connections to Plato, Dante, Boethius, and the Christian tradition.The discussion continues into Book 12 with the irresistible Sirens, the terror of Scylla and Charybdis, and the fateful transgression with the Cattle of the Sun. Throughout, the guests offer sharp insight into Odysseus's evolving character, the tensions between cunning and virtue, and why these ancient stories remain essential for forming minds today. Whether you're a longtime lover of Homer or new to the Great Books, this episode delivers rich intellectual conversation, pedagogical wisdom, and profound reflections that will leave you eager to pick up the text—or re-read it with fresh eyes.Chapters00:00 Introduction to the Great Books Podcast06:01 Exploring the Odyssey: Books 11 and 1212:54 The Theme of Descent into the Underworld16:57 Elpenor's Ignoble Death and Its Significance23:42 Tiresias and the Prophecies for Odysseus31:43 Fate vs. Free Will in the Odyssey38:29 The Role of Women in the Odyssey43:24 The Significance of Penelope in the Odyssey45:48 Odysseus' Emotional Journey and Family Dynamics53:13 Agamemnon's Narrative and the Role of Women58:32 Achilles' Regret and the Nature of Glory01:09:41 Ajax's Silence and the Weight of Honor01:17:53 Exploring the Underworld: Tantalus and Heracles01:20:34 Odysseus's Descent: Fear and Fate in Hades01:21:38 Homer's Philosophical Insights: Preparing for Christ01:22:29 Homer as a Teacher and Philosopher01:24:15 The Sirens: Temptation and Knowledge01:33:46 Scylla and Charybdis: Leadership and Sacrifice01:39:31 The Cattle of the Sun: Fate and Free Will01:46:04 Odysseus's Reflection: Mortality and LeadershipKeywordsHomer Odyssey Books 11 and 12, Odyssey Book 11 summary and analysis, Odyssey Book 12 summary, Odysseus katabasis underworld descent, Achilles in Hades dialogue, Odysseus meets Achilles, Sirens episode Odyssey, Scylla and Charybdis, Cattle of the Sun God, Tiresias prophecy, Elpenor burial, Odysseus piety and character development, fate versus free will in Homer, classical education podcast, Great Books discussion Homer, Ascend the Great Books Podcast, Deacon Harrison Garlick Odyssey, Dr. Frank Grabowski, Luke Heintschel Court of Christ Academy, Homer philosophy and theology, katabasis tradition Plato Dante, Christian reading of the Odyssey, Odysseus hero journey analysis.

What happens when our modern visual culture, which demands we constantly observe global atrocities on our phones, actually leads to apathy instead of a meaningful moral response? The University of Chicago's Associate Professor of English Language and Literature, Dr. Ben Saltzman, joins host PJ Wehry to discuss the overlooked significance of a common, deeply human reaction.Dr. Saltzman explores the history and meaning of this physical act in his book, Turning Away, The Poetics of an Ancient Gesture. They examine how looking away is frequently not a sign of disengagement, but rather an indication of deep emotional involvement, and how understanding this can help us navigate the horrors of the contemporary world.In this conversation they explore: How the book traces archaic scenes—like the ancient painting of Agamemnon's sacrifice of Iphigenia—by treating them as rocks tossed into a pool, following their cultural and artistic ripples across time. The surprising realization that turning away from a distressing event often signifies a deep engagement with the pain of the world, rather than simple indifference. Why our contemporary habit of scrolling through images of suffering on our phones can create a false sense of moral duty while actually fostering an empty act of looking. The concept of the divided soul, exemplified by Plato's tale of Leontius, which demonstrates how humans experience an inner conflict and oscillation between looking and turning away. How ancient rhetoric and art utilized the covered face to convey states of emotional extremity that existed entirely at the limits of representation. The relationship between covering one's eyes and the acquisition of painful knowledge, illustrated by figures ranging from a newly fallen Adam and Eve to a young girl watching a cruel scientific experiment on a bird.This is a conversation for anyone interested in literary studies, art history, and the humanities who wants to understand the historical weight behind our everyday instincts and how we process the painful realities of our modern age.Make sure to check out Dr. Saltzman's book: Turning Away: The Poetics of an Ancient Gesture

The first of a grim pair of episodes depicting filicide within Greek myths. We piece together the story of Agamemnon’s sacrificing Iphigenia for favorable winds – and the fallout of such action after the war. All this with an eye for how the choices parents make either support or harm the parents’ individuation. This episode we will be reading from Mythology, by Edith Hamilton. The following are also referenced in this episode: Mercury Rising: Women, Evil and the Trickster Gods – by Deldon Anne McNeely The Red Book: Liber Novus – by C.G. Jung Our intro/outro music a sample of Seikilos Epitaph with the Lyre of Apollo, by Lina Palera, under an Attribution-NonCommercial-ShareAlike 3.0 International License. You can find the full version at ⁠⁠⁠⁠⁠FreeMusicArchive.org⁠⁠⁠⁠⁠. Banner Image: Agamemnon Condemns Iphigenia by Pierto Aldi Email: jungianeverafter@gmail.com Twitter: @JEA_Podcast Discord: https://discord.gg/GEdn4TPgHR Ko-fi: https://ko-fi.com/jungianeverafter

The first of a grim pair of episodes depicting filicide within Greek myths. We piece together the story of Agamemnon’s sacrificing Iphigenia for favorable winds – and the fallout of such action after the war. All this with an eye for how the choices parents make either support or harm the parents’ individuation. This episode we will be reading from Mythology, by Edith Hamilton. The following are also referenced in this episode: Mercury Rising: Women, Evil and the Trickster Gods – by Deldon Anne McNeely The Red Book: Liber Novus – by C.G. Jung Our intro/outro music a sample of Seikilos Epitaph with the Lyre of Apollo, by Lina Palera, under an Attribution-NonCommercial-ShareAlike 3.0 International License. You can find the full version at ⁠⁠⁠⁠⁠FreeMusicArchive.org⁠⁠⁠⁠⁠. Banner Image: Agamemnon Condemns Iphigenia by Pierto Aldi Email: jungianeverafter@gmail.com Twitter: @JEA_Podcast Discord: https://discord.gg/GEdn4TPgHR Ko-fi: https://ko-fi.com/jungianeverafter

This week, we're joined by Nick During and Abigail Dunn from New York Review Books for a wide-ranging conversation about the world of NYRB. From Classics to Kids, Comics to Poets, we explore what gives these books their distinct spirit and why so many readers find themselves returning to those familiar spines again and again.Along the way, we talk about recent releases, a few titles currently on our nightstands, and some of the surprises that come with bringing books back into print. It's a conversation about discovery, rediscovery, and the quiet pleasure of finding the right book at the right time. Plus, they shed some light on some surprises on the horizon!2026 Novella Book ClubWe have announced the four novellas we will be reading for The Mookse and Gripes Novella Book Club in 2026!* January: Daisy Miller, by Henry James* April: An Episode in the Life of a Landscape Painter, by César Aira* July: The Hour of the Star, by Clarice Lispector* September: Prelude, by Katherine MansfieldDiscussions will be hosted at The Mookse and the Gripes Discord (see below!).We've got some fantastic author-focused episodes lined up for the foreseeable future, and we want to give you plenty of time to dive in if you'd like to read along with us. These episodes come around every ten episodes, and with our bi-weekly release schedule, you'll have a few months to get ready for each. Here's what we have in store:* Episode 135: William Faulkner* Episode 145: Elizabeth Taylor* Episode 155: Naguib Mahfouz* Episode 165: Annie Ernaux* Episode 175: Henry JamesThere's no rush—take your time, and grab a book (or two, or three) so you're prepared for these as they come!Join the Mookse and the Gripes on DiscordWant to share your thoughts on these upcoming authors or anything else we're discussing? Join us over on Discord! It's the perfect place to dive deeper into the conversation—whether you're reading along with our author-focused episodes or just want to chat about the books that are on your mind.We're also just about to read the second novella book club book of 2026: An Episode in the Life of a Landscape Painter, by César Aira, translated by Chris Andrews. It's a fantastic book, and we'd love to have you join the discussion. It's a great space to engage with fellow listeners, share your insights, and discover new perspectives on the books you're reading.Shownotes* East of Dreams, by Nastassja Martin* In the Eye of the Wild, by Nastassja Martin* The Death of a Greek Lover, by David Plante* Difficult Women: A Memoir of Three, by David Plante* Too L.A.: Letters Never Sent (But Some Were), by Eve Babitz* Jesus Christs, by A.J. Langguth* Effingers, by Gabriele Tergit, translated by Sophie Duvernoy* Käsebier Takes Berlin, by Gabriele Tergit, translated by Sophie Duvernoy* Things in Nature Merely Grow, by Yiyun Li* Crazy Genie, by Inès Cagnati, translated by Liesl Schillinger* Light While There Is Light: An American History, by Keith Waldrop* “The Old Forest,” by Peter Taylor* The Netanyahus, by Joshua Cohen* Onward and Upward in the Garden, by Katharine S. White* Divorcing, by Susan Taubes* Lament for Julia, by Susan Taubes* Free Day, by Inès Cagnati, translated by Liesl Schillinger* Family Lexicon, by Natalia Ginzburg, translated by Jenny McPhee* Valentino & Sagittarius, by Natalia Ginzburg, translated by Avril Bardoni* Lies and Sorcery, by Elsa Morante, translated by Jenny McPhee* Pittsburgh, by Frank Santoro* Proper Doctoring: A Book for Patients and Their Doctors, by David Mendel* Shakespeare's Montaigne: The Florio Translation* Proensa: An Anthology of Troubadour Poetry, selected and translated by Paul Blackburn* The Interior Landscape: Classical Tamil Love Poems, translated by A.K. Ramanujan* After Lorca, by Jack Spicer* A Woman of Thirty, by Honoré de Balzac, translated by Jeanine Herman* Turtle Diary, by Russell Hoban* The Marzipan Pig, by Russell Hoban* Château Rouge, by Amit Chaudhuri* First Love, by Gwendolyn Riley* My Phantoms, by Gwendolyn Riley* The Palm House, by Gwendolyn Riley* Memories of the Future, by Sigizmund Krzhizhanovsky, translated by Joanne Turnbull* Smoke, by Ivan Turgenev, translated by Donald Rayfield* Diary Without Vowels, by Aleksander Wat, translated by Alissa Valles* The Lord, by Soraya Antonius* Where the Djinn Consult, by Soraya Antonius* Levitations, by Easton Smith* Bristol, by Jean Echenoz, translated by Mark Polizzotti* Command Performance, by Jean Echenoz, translated by Mark Polizzotti* Bina: A Novel in Warnings, by Anakana Schofield* Library of Brothel, by Anakana Schofield* I Liked Rex, by Diane Williams* The Kingdom of Agamemnon, by Vladimir Sharov, translated by Oliver Ready* Borges, by Adolfo Bioy Casares, translated by Valerie Miles* Morel's Invention, by Adolfo Bioy Casares, translated by Margaret Jull Costa* Zama, by Antonio Di Benedetto, translated by Esther Allen* The Silentiary, by Antonio Di Benedetto, translated by Esther Allen* The Suicides, by Antonio Di Benedetto, translated by Esther Allen* Bomarzo, by Manuel Mujica Lainez, translated by Gregory Rabassa* Life and Fate, by Vasily Grossman, translated by Robert Chandler* Blood Dark, by Louis Guilloux, translated by Laura Marris* An African in Greenland, by Tete-Michel Kpomassie, translated by James Kirkup* A High Wind in Jamaica, by Richard Hughes* Max Havelaar: Or, the Coffee Auctions of The Dutch Trading Company, by Multatuli, translated by Ina Rilke and David McKay* The Enchanted April, by Elizabeth von Arnim* Woman Running in the Mountains, by Yūko Tsushima, translated by Geraldine Harcourt* The Culling Time, by Yūko Tsushima, translated by Dennis Washburn* Loved and Missed, by Susie Boyt* The Sweet Dove Died, by Barbara Pym* Memoirs from Beyond the Grave, by François-Réne de Chateaubriand, translated by Alex Andriesse* The Story of a Life, by Konstantin Paustovsky, translated by Douglas SmithThe Mookse and the Gripes Podcast is a bookish conversation hosted by Paul and Trevor. Every other week, we explore a bookish topic and celebrate our love of reading. We're glad you're here, and we hope you'll continue to join us on this literary journey!A huge thank you to those who help make this podcast possible! If you'd like to support us, you can do so via Substack or Patreon. Subscribers receive access to periodic bonus episodes and early access to all new episodes. Plus, each supporter gets their own dedicated feed, allowing them to download episodes a few days before they're released to the public. We'd love for you to check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

Dr. Kate Cook, a Lecturer in Greek Culture at King's College London, joins Lexie to discuss falling in love with tragedy after reading Aeschylus' Agamemnon and Kassandra's scene, connecting hostility toward prominent or “masculinized” women in modern games to ancient tragic narratives about women, and critiquing the “historical accuracy” discourse in gaming which includes mods that remove women. So tuck in your togas and hop aboard Trireme Transit for this week's exciting odyssey! Don't forget to follow us on Bluesky, Facebook & Instagram or visit our website www.theozymandiasproject.com! Originally recorded June 12, 2025. Learn more about Dr. Cook: https://www.kcl.ac.uk/people/kate-cook Follow her on Bluesky: https://bsky.app/profile/katexe.bsky.social Custom music by Brent Arehart of Arehart Sounds and edited by Dan Maday. Want a transcript of the episode? Email us at theozymandiasprojectpodcast@gmail.com and we can provide one. Hosted on Acast. See acast.com/privacy for more information.

On episode 252, welcome Benjamin Saltzman to discuss the gesture of turning away, the shame and grief behind it, how it became a moral topic, turning away in art and Timanthes's lost painting of Agamemnon, Plato's tripartite concept of the soul and turning away as a mark of confusion, rigidity and steadfastness as signs of courage and character, cognitive flexibility and knowing when to turn away, Hannah Arendt and misinterpreting averted gazes as the foundation of totalitarianism, and understanding aversion without its moral trappings. Benjamin A. Saltzman is associate professor of English at the University of Chicago, where he coedits the journal Modern Philology. Saltzman is the author of Bonds of Secrecy: Law, Spirituality, and the Literature of Concealment in Early Medieval England and the coeditor of Thinking of the Medieval: Midcentury Intellectuals and the Middle Ages. His new book, available April 6, 2026, is called Turning Away: The Poetics of an Ancient Gesture. | Benjamin A. Saltzman | ► Website | https://www.bsaltzman.com ► Twitter | https://x.com/b_a_saltzman ► Instagram | https://www.instagram.com/b_a_saltzman ► Turning Away Book | https://bit.ly/TurningAwayBook Use the code "UCPNEW" for a 30% discount on Turning Away when ordering from the link above!  Where you can find us: | Seize The Moment Podcast | ► Facebook | https://www.facebook.com/SeizeTheMoment ► Twitter | https://twitter.com/seize_podcast ► Instagram | https://www.instagram.com/seizethemoment ► TikTok | https://www.tiktok.com/@seizethemomentpodcast  

Homer's The Iliad, Part 1 (Books 1-16)—the epic tale of Achilles' rage, Hector's honor, and the Trojan War. Translated by Samuel Butler, narrated by Mark Cassidy with full subtitles.

A Little Greek, A Little Sci-Fi 2025 kicked off my goal of reading the great books of Western Civilization. So in typical fashion I read a little Greek, a little sci-fi, and a smattering of everything else. Indiepub still factored into the list with some hits and misses, just like the tradpubs. As always, the goal we should all have isn’t quantity it’s quality. But quality doesn’t just mean classic great books, it means books you enjoy and changes you and allows you to experience escapism and learn more about God’s world as He is the ultimate storyteller. TIMELINE: 00:00:00 – Introduction 00:04:14 – The Lion, the Witch and the Wardrobe by C.S. Lewis 00:07:06 – The God Frequency by Douglas Hemme 00:10:40 – Amorphous – Breaking the Mold by Steven Burgess 00:12:06 – Spectrum Multiview Christian Ethics Four Views edited by Steve Wilkens 00:18:18 – The Peace War by Vernor Vinge 00:22:37 – Greek for the Rest of Us by William D. Mounce 00:26:05 – The Iliad by Homer 00:32:09 – Peter Pan by J.M. Barrie 00:34:31 – Flight of the Eagles by Gilbert L. Morris 00:37:21 – Sundered by Ernie Laurence Jr. 00:38:55 – Horus Rising by Dan Abnett 00:41:37 – The Odyssey by Homer 00:43:17 – D’Aulaires’ Book of Greek Myths by Ingri d’Aulaire 00:44:46 – The Secret Door by Jenny Phillips 00:46:59 – Project Hail Mary by Andy Weir 00:49:34 – Passing the Torch An Apology for Classical Christian Education by Louis Markos 00:53:21 – The Core by Leigh A. Bortins 00:56:06 – Agamemnon by Aeschylus 00:59:10 – The Libation Bearers by Aeschylus 01:00:39 – The Eumenides by Aeschylus 01:02:29 – The Air We Breathe How We All Came to Believe in Freedom, Kindness, Progress, and Equality by Glen Scrivener 01:05:11 – Adam of the Road by Elizabeth Janet Gray 01:07:00 – Maisie Dobbs by Jacqueline Winspear 01:09:45 – The Little Prince by Antoine de Saint-Exupéry 01:12:15 – Mr. Popper’s Penguins by Richard Atwater 01:13:37 – Oedipus Rex by Sophocles 01:16:36 – Oedipus at Colonus by Sophocles 01:18:39 – Antigone by Sophocles 01:21:12 – To Be Continued Next Week Books mentioned in this episode: The Lion, the Witch and the Wardrobe by C.S. Lewis Kindle Paperback Audible The God Frequency by Douglas Hemme Kindle Paperback Audible Amorphous – Breaking the Mold by Steven Burgess Kindle Paperback Spectrum Multiview Christian Ethics Four Views edited by Steve Wilkens Kindle  Paperback  CaveToTheCross Episodes – wwww.CaveToTheCross.com/ChristianEthics The Peace War by Vernor Vinge Kindle Paperback Greek for the Rest of Us by William D. Mounce Kindle Paperback The Iliad by Homer Kindle Paperback Audible Peter Pan by J.M. Barrie Kindle Paperback Audible Flight of the Eagles by Gilbert L. Morris Kindle Paperback Audible Sundered by Ernie Laurence Jr. Kindle Horus Rising by Dan Abnett Kindle Paperback  Audible The Odyssey by Homer Kindle Paperback  D’Aulaires’ Book of Greek Myths by Ingri d’Aulaire Kindle Paperback Audible The Secret Door by Jenny Phillips Paperback Project Hail Mary by Andy Weir Kindle Paperback Audible Passing the Torch An Apology for Classical Christian Education by Louis Markos Kindle Paperback Audible The Core by Leigh A. Bortins Kindle Paperback  Audible Agamemnon by Aeschylus Kindle Paperback The Libation Bearers by Aeschylus Kindle Paperback The Eumenides by Aeschylus Kindle Paperback The Air We Breathe How We All Came to Believe in Freedom, Kindness, Progress, and Equality by Glen Scrivener Kindle Paperback  Audible  Adam of the Road by Elizabeth Janet Gray Paperback Audible Maisie Dobbs by Jacqueline Winspear Kindle Paperback Audible The Little Prince by Antoine de Saint-Exupéry Kindle Paperback Mr. Popper’s Penguins by Richard Atwater Kindle  Paperback Audible Oedipus Rex by Sophocles Kindle Paperback Oedipus at Colonus by Sophocles Kindle Paperback Antigone by Sophocles Kindle Paperback All episodes, short clips, & blog – https://www.cavetothecross.com

TRANSLATION AND THE SEARCH FOR TROY Colleague Professor Emily Wilson. John Batchelor interviews Professor Emily Wilson about her new iambic pentameter translation of the Iliad. They discuss the historical location of Troy in modern Turkey and the archaeological layers discovered by Schliemann, who wrongly believed he found Agamemnon's mask. Wilson explains that while the Greeks viewed the Iliad as partly historical, it is a poetic imagining composed centuries after the events, designed for oral performance and rhythmic reading. NUMBER 1 500 AD ALEXANDRIA AMBROSIAN ILIAD

AGAMEMNON'S FAILURE AND DIVINE POLITICS Colleague Professor Emily Wilson. This segment details the plot's catalyst: Agamemnon seizing Briseis from Achilles, causing the hero to withdraw from battle. Wilson explains the divine politics, including Hera trading three Greek cities to Zeus to ensure Troy's destruction. They analyze Agamemnon's flawed leadership; while he blames Zeus for his bad decisions, the poem portrays the immense difficulty of holding a disparate army together, leading to disastrous choices that necessitate Achilles' eventual return. NUMBER 5 500 AD AMBROSIAN ILIAD

GRIEF, GAMES, AND ACCEPTANCE Colleague Professor Emily Wilson. After Hector's death, Achilles finds a form of healing through funeral games, which offer a non-lethal model of competition. He even awards Agamemnon a prize without a contest, possibly as a slight. The poem concludes not with victory, but with a "humanitarian pause" for Hector's funeral. Wilson notes the ending focuses on women's lamentations, emphasizing the Iliad's enduring lesson on the struggle to accept human mortality. NUMBER 8 500 AD AMBROSIAN ILIAD. WALL BREACHED.

FEMALE AUTHORSHIP AND THE TROJAN WOMEN Colleague Daisy Dunn. Daisy Dunn discusses the legend of Phantasia, a rumored female source for Homer, and the myth of Leda and the Swan. She argues that the Trojan Warlikely reflects real historical conflicts at the site of Hisarlik. The segment highlights key female figures: Andromache, who offers military advice to Hector, and Briseis, the enslaved woman central to the dispute between Agamemnon and Achilles, illustrating the centrality of women to the epic. NUMBER 9 1450 VIRGIL READING AENEID TO AUGUSTUS, OCTAVIA AND LIVIA.

SHOW 12-30-25 CBS EYE ON THE WORLD WITH JOHN BATCHELOR THESDHOW BEGINS WITH DOUBTS ABOUT THE PURPOSE OF WAR-MAKING AS EXPRESSED MOURNFULLY BY HECTOR'S WIFE ANDROMACHE... SHOW 12-30-25 CBS EYE ON THE WORLD WITH JOHN BATCHELOR TRANSLATION AND THE SEARCH FOR TROY Colleague Professor Emily Wilson. John Batchelor interviews Professor Emily Wilson about her new iambic pentameter translation of the Iliad. They discuss the historical location of Troy in modern Turkey and the archaeological layers discovered by Schliemann, who wrongly believed he found Agamemnon's mask. Wilson explains that while the Greeks viewed the Iliad as partly historical, it is a poetic imagining composed centuries after the events, designed for oral performance and rhythmic reading. NUMBER 1 HOMER'S NARRATIVE CHOICES AND ORAL TRADITION Colleague Professor Emily Wilson. Wilsondiscusses the "Homeric Question," noting that oral stories existed for centuries before the alphabet arrived in the 8th century BCE. She highlights the Iliad's sophisticated narrative structure, which omits famous events like the Apple of Discord and the Trojan Horse to focus intensely on a specific period of the war. The conversation compares the Iliad'sfocus on Greek infighting with Virgil's Aeneid, noting the distinct goals of each epic tradition. NUMBER 2 TRAGIC COUPLES AND DIVINE INTERVENTION Colleague Professor Emily Wilson. The segment explores key character pairings, starting with Helen's complex view of Paris and her weaving as a metaphor for the story. Wilsonanalyzes the tragic relationship between Hector and Andromache, emphasizing Hector's choice of duty over family. They discuss the gods' roles, particularly Thetis's prayer to Zeus which seals Achilles' fate, and Hera's bargaining with Zeus to ensure Troy's destruction, highlighting the interplay of divine will and mortal suffering. NUMBER 3 TRANSLATION AND THE SEARCH FOR TROY Colleague Professor Emily Wilson. John Batchelor interviews Professor Emily Wilson about her new iambic pentameter translation of the Iliad. They discuss the historical location of Troy in modern Turkey and the archaeological layers discovered by Schliemann, who wrongly believed he found Agamemnon's mask. Wilson explains that while the Greeks viewed the Iliad as partly historical, it is a poetic imagining composed centuries after the events, designed for oral performance and rhythmic reading. NUMBER 1 HOMER'S NARRATIVE CHOICES AND ORAL TRADITION Colleague Professor Emily Wilson. Wilsondiscusses the "Homeric Question," noting that oral stories existed for centuries before the alphabet arrived in the 8th century BCE. She highlights the Iliad's sophisticated narrative structure, which omits famous events like the Apple of Discord and the Trojan Horse to focus intensely on a specific period of the war. The conversation compares the Iliad'sfocus on Greek infighting with Virgil's Aeneid, noting the distinct goals of each epic tradition. NUMBER 2 TRAGIC COUPLES AND DIVINE INTERVENTION Colleague Professor Emily Wilson. The segment explores key character pairings, starting with Helen's complex view of Paris and her weaving as a metaphor for the story. Wilsonanalyzes the tragic relationship between Hector and Andromache, emphasizing Hector's choice of duty over family. They discuss the gods' roles, particularly Thetis's prayer to Zeus which seals Achilles' fate, and Hera's bargaining with Zeus to ensure Troy's destruction, highlighting the interplay of divine will and mortal suffering. NUMBER 3 APHRODITE, PATROCLUS, AND TROPHY WOMEN Colleague Professor Emily Wilson. Wilson examines Aphrodite's intervention on the battlefield and her representation of baser instincts like lust. The discussion shifts to Briseis, a "trophy" of war, and her relationship with Patroclus, whom Wilson refuses to classify as a "beta male" despite his kindness. Patroclus is described as a brutal killer and Achilles' closest companion. The segment highlights the emotional depth of Achilles, who displays immense vulnerability alongside his capacity for violence. NUMBER 4 AGAMEMNON'S FAILURE AND DIVINE POLITICS Colleague Professor Emily Wilson. This segment details the plot's catalyst: Agamemnon seizing Briseis from Achilles, causing the hero to withdraw from battle. Wilson explains the divine politics, including Hera trading three Greek cities to Zeus to ensure Troy's destruction. They analyze Agamemnon's flawed leadership; while he blames Zeus for his bad decisions, the poem portrays the immense difficulty of holding a disparate army together, leading to disastrous choices that necessitate Achilles' eventual return. NUMBER 5 THE GORE AND GLORY OF BATTLE Colleague Professor Emily Wilson. Wilson discusses translating the Iliad'svivid violence, drawing on insights from combat veterans regarding the trauma of battlefield death. A central theme is the treatment of corpses; possessing and stripping a dead enemy's armor is the ultimate sign of dominance. The conversation touches on the physical nature of the gods, who bleed "ichor" when wounded, and Poseidon's support for the Greeks in contrast to his brother Zeus. NUMBER 6 THE DEATH OF PATROCLUS AND HECTOR Colleague Professor Emily Wilson. The tragedy culminates with Patroclus ignoring Achilles' warning, leading to his death by Hector and the loss of Achilles' armor. Wilson describes Achilles' terrifying return to battle, equipped with new armor from Hephaestus, and his slaughter of Trojans. The segment covers the final confrontation where Achilles kills Hector and, driven by vengeance, drags his body behind a chariot, denying him burial rights and intending to mutilate him forever. NUMBER 7 GRIEF, GAMES, AND ACCEPTANCE Colleague Professor Emily Wilson. After Hector's death, Achilles finds a form of healing through funeral games, which offer a non-lethal model of competition. He even awards Agamemnon a prize without a contest, possibly as a slight. The poem concludes not with victory, but with a "humanitarian pause" for Hector's funeral. Wilson notes the ending focuses on women's lamentations, emphasizing the Iliad's enduring lesson on the struggle to accept human mortality. NUMBER 8 FEMALE AUTHORSHIP AND THE TROJAN WOMEN Colleague Daisy Dunn. Daisy Dunn discusses the legend of Phantasia, a rumored female source for Homer, and the myth of Leda and the Swan. She argues that the Trojan Warlikely reflects real historical conflicts at the site of Hisarlik. The segment highlights key female figures: Andromache, who offers military advice to Hector, and Briseis, the enslaved woman central to the dispute between Agamemnon and Achilles, illustrating the centrality of women to the epic. NUMBER 9 SAPPHO OF LESBOS Colleague Daisy Dunn. Dunn explores the life of Sappho, debunking myths about her appearance and suicide. She explains that Sappho was exiled due to her family's aristocratic background during a time of political revolution. The conversation covers Sappho's disapproval of her brother's relationship with the courtesan Doricha and her professional jealousy when students left her school for rivals. Weaving is presented as a metaphor for women shaping fate. NUMBER 10 ETRUSCANS AND THE WOMEN OF EARLY ROME Colleague Daisy Dunn. Dunn discusses the Etruscans, noting their advanced dentistry and the shock Greeks felt at Etruscan men and women dining together openly. Transitioning to Rome, they recount the violent founding myth of the Rape of the Sabine Women. The segment details the tragedy of Lucretia, whose rape and subsequent suicide led Brutus to overthrow the monarchy and establish the Roman Republic, making her a paragon of virtue. NUMBER 11 DIDO AND THE FOUNDING OF CARTHAGE Colleague Daisy Dunn. Dunn recounts the story of Dido, the clever founder of Carthage who tricked a local king to secure land. When Aeneas abandons her to fulfill his destiny, Didocurses him, foreshadowing the Punic Wars between Rome and Carthage. The segment explores her tragic suicide on a pyre, noting the societal judgment against her for breaking vows of celibacy, while acknowledging her capacity as a talented ruler and builder of cities. NUMBER 12 CORNELIA AND SERVILIA: MOTHERS OF ROME Colleague Daisy Dunn. This segment focuses on Cornelia, the educated "one-man woman" who raised the reforming Gracchi brothers to challenge the Roman elite. Dunn notes Cornelia's heartbreak as she tried to dissuade her second son from following his assassinated brother's path. The discussion shifts to Servilia, Caesar's long-term mistress and mother of Brutus. Servilia is depicted as a politically astute woman caught between her lover and her son, the future assassin. NUMBER 13 CLEOPATRA AND CAESAR Colleague Daisy Dunn. Dunn describes Cleopatra's dramatic entrance from a rug to meet Caesar and secure her rule in Egypt. Despite her intelligence and linguistic skills, the Romans viewed her with suspicion and distaste, labeling her a "whore queen." Dunn challenges the Hollywood image of Cleopatra's beauty, noting coin portraits show a hooked nose, and argues her power lay in her charisma and voice. She remains a figure of admiration today. NUMBER 14 ANTONY, FULVIA, AND CLEOPATRA'S END Colleague Daisy Dunn. The conversation turns to Mark Antony'sunpopular affair with Cleopatra and his wife Fulvia, who instigated a war in Italy to counter Octavian. Dunn highlights the Roman propensity for public emotion and early marriage. Following Antony's botched suicide, Cleopatra takes her own life to avoid being paraded as a trophy by Octavian. Dunn suggests the "asp" story might be a myth covering a lethal injection or poison. NUMBER 15 THE WOMEN OF THE JULIO-CLAUDIAN DYNASTY Colleague Daisy Dunn. Dunn profiles the powerful women of the Julio-Claudian dynasty. Livia is portrayed as Augustus's essential political partner and diplomat. The segment covers the tragic life of Julia, the lechery of Caligula, and the notorious reputation of Messalina. Finally, Agrippina the Younger is described as a co-emperor to her son Nero before he turned against her. Dunn concludes that Roman politics were bloodier but more politically savvy than the Greeks. NUMBER 16

Grief, Games, and Lamentation: The Iliad's Conclusion: Colleague Emily Wilson discusses the Iliad's conclusion, focusing on Achilles' processing of grief through the funeral pyre and games, analyzing the shift from violence to regulated competition, Achilles' ambiguous gesture of giving Agamemnon a prize without competition, and the poem ending with women's lamentations rather than a victory celebration. 6th century ice

Agamemnon's Quarrel and Divine Politics: Colleague Emily Wilson explains the catalyst for the Iliad's plot: the quarrel between Agamemnon and Achilles over a "prize" woman, leading to Achilles' withdrawal, discussing the divine politics between Zeus and Hera that seal Troy's fate and analyzing Agamemnon's flawed, burdened leadership amidst the pressure of holding the Greek forces together. SACK OF TROY

Competition and the Human Struggle with Death: Colleague Emily Wilson discusses the poem's end, where Achilles processes grief through funeral games that replace lethal combat with competition, analyzing Achilles giving Agamemnon a prize without contest—possibly a "sick burn"—and the final focus on women's lamentations, emphasizing the enduring human struggle to accept death and loss. 1717 TROY

Preview: Gregory Copley reports that King Charles III and Camilla traveled to Barrow-in-Furness to commission the HMS Agamemnon, a new attack boat. The Agamemnon is the sixth of seven new Astute-class nuclear submarines entering Royal Navy service. The King's visit also served to recognize Barrow's extensive history in industrial construction and defense shipbuilding. 1928 FLYING SCOTSMAN

In this episode of Chronicles, Luca is joined by Stelios as they continue their discussion on Aeschylus' Oresteia, this time exploring the second play of the trilogy: The Libation Bearers. They examine the characters of Orestes and Electra, as their quest to avenge their father, Agamemnon, demands that they carry out the dark deed of matricide against their mother, Clytemnestra.

5/8. After the death of Patroclus, Achilles undergoes a transformation in The Iliad, as translated by Professor Emily Wilson. Initially expressing rage through the violent sacrifice of Trojan youths at Patroclus's funeral pyre, Achilles later organizes funeral games. These games, with prizes for all participants and no deaths over competition, offer a new model for how men's competitiveness could coexist without societal destruction. His act of giving Agamemnon a prize without contest can be read as gracious maturity or a "sick burn".

In this episode of Chronicles, Luca is joined by Stelios to discuss Agamemnon by Aeschylus. They explore the tradition of ancient Greek tragedy, as well as themes of revenge, justice, and hubris.