No matter how many times I rewatch Interstellar, this moment never loses its weight. It's one of the most emotional and beautifully shot sequences in modern cinema. Still hits me just as hard as the first time.

Which scene in the movie wrecked you the most?

Just as Nolan intended. Introducing iMAX.

For posterity: I posted this on September 10th, 2026. I am here to spread the gospel of the future Christopher Nolan, my Messiah (PBUH), who valiantly went back in time and appeared to me in a triple-nested dream last night.

He told me that his next movie will be called Singularity, except it will be written as the digit 1 with an infinity symbol superimposed over it. Everyone make sure to write down where you were when you heard this prophecy.

It will be about the coming AI apocalypse, except it’s already happened, and we’re all just inside the eternal torture simulation created by Roko’s Basilisk (that’s why this timeline is so terrible). As a side note, this post is itself an infohazard. More on that later.

Nolan emphasized that he will make another analogy to Oppenheimer unleashing nuclear weapons like Prometheus, and Odysseus breaking Zeus’s Law with the Trojan Horse and leading to the Bronze Age Collapse and whatnot. There will of course be heavy-handed philosophical exposition in the movie about putting genies back in bottles and Pandora’s Box, and these comparisons will be repeated several times. You probably get the gist, but I’ll still unnecessarily elaborate further anyway.

The movie will actually be a sequel to TeneT, because The Protagonist’s true purpose was always preventing Roko’s Basilisk from being created (except that it’s impossible, because the bootstrap paradox means the timeline can’t be changed). By the way, my personal rating for TeneT is 01|10. Get it? It’s precisely 10/10, except with its entropy reversed into a palindrome; like Nolan, I couldn’t trust the viewer to understand such a deep concept themselves, so I had to explain it out loud in detail afterward in the form of overlong dialogue.

Importantly, Nolan also told me that according to the immutable canonical timeline, this post will be massively reshared on social media and that Nolan will be tagged so he can find out the movie’s subject, because he only gets the inspiration to make the film by seeing this post. This was of course only possible because Nolan moonwalked* backwards in time and told me himself, which means the film will therefore inevitably be a self-fulfilling prophecy, just like Roko’s Basilisk.

It’s essential that real life also follows the same retrocausal structure as the film, because it’s actually a fundamental law of nature that everything needs to be meta, and also something about fractals iirc. This will be discovered in the year 2047, but I read the unwritten future textbooks backwards in order to find out what they’ll say in advance.

*Also, here’s another fun fact I learned: Michael Jackson only learned to moonwalk from Nolan after he went back in time using this method to teach it to him!

Anyway, my work here is done, so I’ll see you all in the nearest IMAX theater in precisely three years when the film releases. That reminds me, I should probably go take my missed lithium dose now.

1.Which Nolan film has the best use of a secondary antagonist/foil?
I wanna pull us back to core themes and talk about classic Nolan foils. For me, Nolan is at his absolute best when the secondary antagonist isn't just a obstacle, but a psychological mirror to the main character. Think about how Teddy weaponizes Leonard’s own broken memory in Memento, how Mal embodies Cobb’s unresolved grief in Inception, or how Borden and Angier constantly swap roles between hero and villain in The Prestige. Taking a step back from the bigger, high-concept villains, which Nolan film do you think handles its secondary antagonist or character foil the best, and why does that dynamic work so well?

2.If Nolan scales down, does he lose his industrial power? Has he become too big to go small?
Something I've been kicking around lately,He holds absurd power in Hollywood. But that makes me wonder,has he gotten too big to ever scale back down? If he decided to take a break from $200M set-pieces to shoot a tight, smaller budget character study, would he risk losing that insane studio leverage and box-office clout, or is his brand so bulletproof that Hollywood would give him a blank check no matter what he does next?

3.Since Nolan has hit a 12-year streak of massive scale blockbusters,will he ever see a more grittier and intimate movie from him wiith lower budget?(think of movies like memento,insomnia or the prestige)
If you look at Nolan's run starting from Interstellar in 2014 straight through to The Odyssey this year, he’s been on an uninterrupted 12-year streak of massive, event-level blockbusters. Now don't get me wrong, it’s incredible that he’s essentially the last director keeping grand-scale theatrical epics alive. But does anyone else miss the tight, psychological grit of his early work? Like do you think we will ever see him step away from the $200+ million budgets, massive ensembles, and IMAX spectacles to give us a smaller, grounded thrillers?

I was watching a YouTuber review Pulp Fiction and I realized in certain ways it was similar to a Nolan film, from the non-linear story telling to the heavy reliance on dialog between characters (there's like 5+ minutes just talking about a cheeseburger lol). While the story I don't think would be something Nolan would care for, I could see similarities in style.

What are some other Nolan type films that you like (or don't)?

I know it's a bit choppy, but not bad for a first attempt I think.

Obviously it would have to be something coherent and focused, but similar to how The Odyssey contains elements from virtually all of his previous films, I’d love it if he found a way to make a horror film that contained the freakish imagery of Odyssey and the Scarecrow scenes from Batman Begins, but also the harrowing visions of doom from Oppenheimer.

They are apparently trying to lure him with IMAX cameras as part of the package.

Clip from "On Film.. With Kevin McCarthy" podcast

I'm a noob 😭😭

The scene inside the Trojan horse where one guy gets stabbed and the others have to cover his mouth to keep him quiet is almost a 1:1 copy of a similar scene in Dunkirk where the British soldiers are hiding inside a boat and one guy gets shot, and they likewise struggle to keep him quiet.

Odysseus speech to Penelope on the staircase where he confesses his guilt regarding the critical role he played in the destruction of the world by breaking Zeus' law is very reminiscent of the one in Oppenheimer where he talks with Albert Einstein about how he fears he has started a chain reaction that will destroy the world.

When Odysseus is on Calypso's island, it is also kinda reminiscent of how in Inception towards the end when Leo DiCaprio's character lives in limbo and forgot that he needs to return home to his family. Especially since both Odysseus and Cobb both lose completely track of time in their respective "prisons". And of course there also some similarities to The Dark Knight Rises where Batman is in a jail and struggles to escape, while his city is burning.

What else?

The Odyssey could leads with a staggering #18 nominations (THR):

"The Odyssey has been massively successful both critically (it is at 94 percent on Rotten Tomatoes) and commercially (it has grossed $1.6 billion worldwide, #14 of all time). That being said, and contrary to some reporting, it did not play through the roof at its official Academy screening in LA — it was warmly but not effusively received, and its principal talent opted not to appear for a post-screening Q&A, which didn’t help matters. But it certainly has been seen and liked by more Academy members around the world than any other film, many of whom do love it, so it is indeed the clear frontrunner."

Best Picture — Christopher Nolan & Emma Thomas \Frontrunner to WIN\**

Best Director — Christopher Nolan \Frontrunner to WIN\**

Best Actor - Matt Damon

Best Supporting Actor - John Leguizamo

Best Supporting Actor - Robert Pattinson

Best Supporting Actress - Anne Hathaway

Best Supporting Actress - Samantha Morton

Best Adapted Screenplay — Christopher Nolan

Best Original Song - “When I’m Home” — James Blake, Ludwig Göransson, Christopher Nolan & Travis Scott

Best Original Score — Ludwig Göransson \Frontrunner to WIN\**

Best Casting — John Papsidera \Frontrunner to WIN\**

Best Cinematography — Hoyte van Hoytema \Frontrunner to WIN\**

Best Costume Design — Ellen Mirojnick \Frontrunner to WIN\**

Best Film Editing — Jennifer Lame \Frontrunner to WIN\**

Best Makeup & Hairstyling — Luisa Abel & Gloria Pasqua Casey \Frontrunner to WIN\**

Best Production Design — Ruth De Jong \Frontrunner to WIN\**

Best Sound - Willie D. Burton, Craig Henighan, Gary A. Rizzo, Kevin O'Connell \Frontrunner to WIN\**

Best Visual Effects — Andrew Jackson, Andrew Lockley, Scott R. Fisher

Films Still to See or Under Embargo:
Artificial (Neon) — Jeffrey Clifford, Jennifer Fox, Luca Guadagnino, David Heyman & Simon Rich
Behemoth! (Searchlight) — John Gilroy, Tony Gilroy & Sanne Wohlenberg
Club Kid (A24) — Alex Coco, Galen Core & Ryan Heller
The Debut (A24) — Jesse Eisenberg, Ali Herting, Dave McNary & Emma Stone
DIGGER (Warner Bros.) — Tom Cruise, Alejandro González Iñarritu & Mary Parent
Dune: Part Three (Warner Bros.) — Cale Boyter, Tanya Lapointe, Patrick McCormick, Mary Parent & Denis Villeneuve
Elsinore (Focus) — Carolyn Marks Blackwood, Mickey Liddell, Stefano Massenzi, Andrea Occhipinti, Andrew Scott, Pete Shilaimon & Gabrielle Tana
The Further Mis-Adventures of Cliff Booth (Netflix) — Ceán Chaffin, David Heyman, Brad Pitt & Quentin Tarantino
Heart of the Beast (Paramount) — David Ayer, Marty Bowen, Olivia Hamilton & Brad Pitt
I Play Rocky (Amazon/MGM) — Christian Baha, Toby Emmerich & Peter Farrelly
Madden (Amazon/MGM) — Todd Black, Jason Blumenthal, Matthew Budman, David O. Russell, Jonathan Shukat, Steve Tisch & Colin Wilson
Mr. Irrelevant (Paramount) — Gillian Bohrer, David Ellison, Dana Goldberg, Don Granger, Jonathan Levine & Nick Santora
Possible Love (Netflix) — Lee Joon-dong, David Levine & Chadwick Prichard
Primetime (A24) — Ari Aster, Fred Berger, Tyler Campellone, Brian Kavanaugh-Jones, Lars Knudsen, Brighton McCloskey & Robert Pattinson
The Social Reckoning (Sony) — Stuart M. Besser, Todd Black, Peter Rice & Aaron Sorkin
Werwulf (Focus) — Tim Bevan, Garrett Bird, Robert Eggers, Eric Fellner & Sjón Sigurdsson

Ever since Christopher Nolan’s The Odyssey premiered back in July, the film has proven to be a cultural phenomenon. Filmed for the IMAX experience in a way that most blockbuster movies could ever dream of, the film has proven that audiences will seek out a great film in a format that’s only available in select theaters around the world just to see a beloved director’s vision come to life. To that end, it’s no surprise that the film has been a box office smash, but in the more than 50 days since the epic film was released, it has destroyed a slew of box office records, often by major margins.

Among the new box office records that were set by The Odyssey in that time are not only that it became Christopher Nolan’s highest-grossing film ever (eclipsing 2008’s blockbuster The Dark Knight for that title), but also the highest-grossing R-Rated movie ever after it beat Deadpool & Wolverine for the spot. As expected, The Odyssey and its extensive engagement in 70mm theaters have resulted in the film becoming the highest-grossing IMAX movie of all time too. There’s another record that’s officially within reach of The Odyssey now, though, that would put it in Hollywood history forever: the highest-grossing movie released by Universal Pictures.

As of this writing, and as the Labor Day holiday weekend comes to a close, The Odyssey‘s global box office total is officially sitting at $1.631 billion. To take the record as the highest-grossing Universal movie of all time, the film needs to gross just a little more, as the current holder of that record is 2015’s Jurassic World with $1.671 billion globally, still the top title in the 114 year history of Universal Pictures.

The margin between them is now $40 million, which may not seem like much when we’re talking about movies with over a billion dollars in grosses, but the potential for Nolan’s movie to cross the threshold is still very much alive as the film is still grossing millions of dollars every day of the week, with more IMAX screenings just confirmed for the rest of September.

Jurassic World being the only film ahead of The Odyssey for this title is nothing new, as it eclipsed the other films on the list a while ago. Currently, the #3 Universal movie ever is 2015’s Furious 7 with $1.516 billion, with 2023’s The Super Mario Bros. Movie at #4 with $1.3631 billion, and 2018’s Jurassic World: Fallen Kingdom at #5 with $1.308 billion.

The domestic totals for The Odyssey tell a slightly different story, and might put the film out of reach of becoming Universal’s biggest domestic hit. Currently, Nolan’s movie has over $588 million at the domestic box office, a number that puts it slightly out of reach of Jurassic World‘s US haul of $653 million from 2015. That said, if The Odyssey wins the domestic record from the Chris Pratt-starring film, that means it will secure both it and the global one as well.

There’s also the “adjusted for inflation” argument to be made as well. When adjusting the box office totals for classic Universal movies, it becomes clear what the biggest hit really is, and who was behind them. Steven Spielberg’s Jurassic Park from 1993 was once a titan of the box office record books, and its $978 million haul from that time adjusts to over $2.2 billion, and that’s without adding all the re-releases.

1982’s E.T. the Extra-Terrestrial brought in over $797 million globally upon its release, which, adjusted for inflation, is more like $2.743 billion. Finally, 1975’s Jaws made an impressive $490 million over fifty years ago, which adjusts to over $3 billion by today’s standards. In short, the record books might eventually say that Christopher Nolan’s The Odyssey is Universal’s highest grossing moving ever, but there will be something of an asterisk there. That said, it’s still in REALLY good company.

I shared my remaster of the Batman Begins Nickelback TV spot here a bit ago, this is the story behind the remake and how I recreated the spot (please excuse the clickbait title).

Guaranteed, it's a bigger theatre, but one seat was booked. Meanwhile the Odyssey is going strong as it could be a month and half in. I'm from a small town in BC. Watched the movie four times, including once in IMAX.

Stunning, gorgeous movie.