Tesla tycoon launched Grok project after criticising Christoper Nolan’s diverse casting for his Homeric blockbuster

Elon Musk has released an AI-generated rival to Christopher Nolan’s The Odyssey after pledging to make a version “true to the art of Homer”.

Having criticised the hit movie in the summer, the tycoon said he would use Grok Imagine to make a “historically accurate” adaptation.

Christopher Nolan’s The Odyssey might be the one to beat but a crop of competitors is starting to materialise

Reporting from fall film festivals used to be a more streamlined process – what’s good, what’s bad, what’s being sold, what has Oscars chances – but with each year, the season arrives with larger, more existential questions.

The 2025 run, from Venice to Telluride to Toronto, was notably underwhelming and took place months after Sinners went from box-office hit to legitimate contender and at the same time as One Battle After Another skipped festivals and went on to win best picture. The pipeline that had once birthed winners such as Birdman, Spotlight, 12 Years a Slave and The King’s Speech had no longer played as big of a part with Covid-affected Nomadland being the last fall festival film to win the top prize. Even without an awards hat on, there has been a more general lack of buzz, an excitement of something new that much harder to find as more films of considerably lower quality took up underserved space. If the trades are to be believed, a lot of it is down to studios choosing against the risk of bad buzz and potential embarrassment to A-listers because for every The Shape of Water or Poor Things, there’s a White Noise or Joker: Folie à Deux. So while this season might see new films starring Tom Cruise, Timothée Chalamet, Anne Hathaway, Christian Bale, Amy Adams, Daisy Edgar-Jones, Ben Affleck and Mikey Madison, none of them are braving a festival premiere.

It was a bumper season for Hollywood, almost back to pre-pandemic levels, with Tom Holland blockbusters winning out, but there was still a string of disappointments

As the world continued to burn and temperatures reached worrying highs, most of us decided to take refuge in the cinema this summer. It provided some relief for audiences, but even more so for the industry at large, with the season pushing past the magic $4bn mark to become the biggest since 2019, up 20% from last year. There were the expected hits (Spider-Man never misses), but there were also unprecedented breakouts (we were obsessed with Obsession) and surprise underperformers (are kids Minions-ed out?)

So at the end of a season with epic highs and cavernous lows, what lessons can Hollywood learn?

Wilson, whose 2017 English translation of Homer’s epic poem inspired Christopher Nolan’s box office hit, is revisiting it after criticising the film adaptation

Emily Wilson, the first woman to translate Homer’s Odyssey into English, is to retranslate the ancient Greek epic poem from scratch less than a decade after the publication of her acclaimed version.

The announcement comes after Wilson attracted controversy this summer with a scathing assessment of Christopher Nolan’s blockbuster film adaptation of the Odyssey, which she slammed for its “abysmal” writing and lack of sex scenes.

Christopher Nolan’s epic has achieved $1.35bn at the global box office, overtaking 2024’s Deadpool & Wolverine

The Odyssey has overtaken Deadpool & Wolverine to become the highest grossing R-rated film of all time.

According to figures compiled by the Numbers, Christopher Nolan’s adaptation of Homer’s epic poem has achieved $1.35bn (£990m) at the worldwide box office, compared with the Ryan Reynolds/Hugh Jackman superhero movie, which stands at $1.34bn (£980m) since its release in 2024.

Readers describe how Christopher Nolan’s blockbuster has ignited or reawakened their interest in classical literature

“I’m having a classics summer this year,” says Tommy Maddinson, 26, from London. He’s been inspired by Christopher Nolan’s The Odyssey to delve into the subject, which has involved cinema trips, visits to the British Museum, and reading Homer’s epic before the film’s release. “I managed to finish it the day before. Since then I’ve been reading a few other classical texts and commentaries …”

Maddinson is not alone. Thanks to the popularity of Nolan’s film, poetry sales in the UK are on course to reach a record high this year after surpassing £8m during the first 30 weeks of 2026 – an increase of 13.3% on the same period last year, according to the market researchers NielsenIQ.

The film-maker’s take on Homer’s epic has beaten his previous record holder The Dark Knight Rises

The Odyssey has become the highest grossing film of Christopher Nolan’s career, having made more than US$1bn at the global box office less than a month after its release.

The blockbuster, which was released on 17 July, is an adaptation of Homer’s ancient Greek epic and follows Matt Damon as Odysseus, the Greek king of Ithaca, on his perilous 10-year journey home after the Trojan war.

Poetry sales surpassed £8m in the first 30 weeks of 2026 and are expected to reach a record high this year thanks to blockbuster adaptation of Homer’s 2,700-year-old poem

UK poetry sales are on course to reach a record high this year, buoyed by the success of Christopher Nolan’s blockbuster film adaptation of Homer’s The Odyssey.

Poetry sales surpassed £8m during the first 30 weeks of 2026, an increase of 13.3% on the same period last year, according to data from market researchers NielsenIQ.

The new film extols the value of a rules-based world order. That’s far more radical than any casting decision

• Peter Swallow is Labour MP for Bracknell, and the chair of the all-party parliamentary group on classics. Before his election, he was a classics teacher and academic

For years, a small but vocal corner of the extremely online right has looked to the ancient world to justify its polluted brand of politics. The classicist Donna Zuckerberg (sister of Facebook founder Mark) wrote a book about it way back in 2018 called Not All Dead White Men – a deep dive into the corners of the internet where misogynists pretend ancient philosophy can justify their hatred of minorities.

You would think that these self-appointed guardians of the ancient world would be excited about a blockbuster retelling one of its greatest pieces of literature, the Odyssey. Especially when Christopher Nolan’s film has been getting rave reviews, “the vast majority … written by men”, as the Guardian’s Catherine Shoard has pointed out. The Odyssey is an action-packed thriller with a fight scene every five seconds. In many ways (and I don’t mean this as a criticism of Nolan; I loved the film for all its flaws), it’s a movie designed to appeal to their tastes. And yet.

Peter Swallow is Labour MP for Bracknell, and the chair of the all-party parliamentary group on classics. Before his election, he was a classics teacher and academic

Canadian stuntwoman is only 4ft 6in and stood in for star to make the giant Laestrygonians appear even bigger

A 35-year-old stuntwoman is one of the great unsung heroes of Christopher Nolan’s new blockbuster The Odyssey – standing in for Matt Damon and displaying what the actor called “the greatest arms I’ve ever seen”.

Canadian Devyn Dalton was the Hollywood star’s stunt double in a pivotal scene in the film where Odysseus (Damon) and his men are confronted by the Laestrygonians, giant armoured cannibals.

Christopher Nolan’s smash hit epic has continued to excite and enrage everyone from rightwingers to academics, an old-fashioned throwback to a uniting big-screen event

• Peter Bradshaw reviews The Odyssey

• The Odyssey: jaw-dropping action, dark magic and dolphin cameos – discuss with spoilers

• Go woke, get rich: why rightwing hate campaigns don’t affect the box office

If a high-profile academic is reviewing a movie for the London Review of Books, that movie in question must be making some kind of mark on some kind of culture. And if people are actually reading a movie review in the London Review of Books, and writing thinkpieces in disagreement or favor of said movie or its review, that movie may actually be a cultural phenomenon.

Normally, volume of discourse about a movie should not be mistaken for a sign that people are actually seeing it. Sometimes online factions just have a bored fixation not shared by the rest of the world. But Christopher Nolan’s The Odyssey has some major receipts at the box office, too: the movie has already outgrossed Oppenheimer, Nolan’s last movie, itself a shockingly popular movie for adults. Though The Odyssey’s audience skewed male in its first weekend, by its second its gender split was closer to 50/50, suggesting reach beyond the stereotypically male-driven action-adventures. It’s also reaching out to older moviegoers, an endangered demographic in a summer where under-25s have driven the success of Obsession and Backrooms. Three-quarters of The Odyssey’s audience has been over 25, while memes inspired by the movie (most popular: Matt Damon’s anguished face portraying Odysseus listening to the sirens’ song and Robert Pattinson’s slimy suitor demanding that “someone get these BEGGARS out of here!”) have indicated that younger people are paying attention too.

The novelist suggested Wilson should have been ‘a wee bit more thoughtful and respectful’ towards a film-maker who may have helped boost her book sales

• Mary Beard on The Odyssey and how empires fall – Stateside with Kai and Carter

The off-screen drama surrounding Christopher Nolan’s blockbuster version of the Odyssey stepped up a gear overnight, as the novelist Joyce Carol Oates sought to defend the film-maker from an attack by classicist Emily Wilson.

Writing on X, Oates took issue with the style as well as the rhetoric of Wilson’s essay published earlier this week in the London Review of Books, in which the academic, who published a landmark translation of Homer’s epic poem in 2017, wrote that Nolan’s film lacked “psychological, emotional, political and ethical depth” and had “nothing convincing to say”.

The Hallmark Channel’s ropey version of The Odyssey is going viral for its star-studded cast. Christopher Nolan’s film only looks better by comparison

Christopher Nolan’s version of The Odyssey is far from the first committed to screen. As early as 1911, Italian director Guiseppe de Liguoro made a silent version entitled L’Odissea. Readers of a certain age may remember watching the futuristic animated series Ulysses 31 throughout the 1980s. O Brother, Where Art Thou? is based on The Odyssey. So too, if you squint as hard as you can and discount the Goofy Goober song, is the first SpongeBob SquarePants movie.

However, the pre-Nolan adaptation that has the biggest legacy is arguably Andrei Konchalovsky’s two-part version, made in 1997 for the Hallmark Channel. This is the adaptation that has been doing the rounds in recent days, clipped up on social media (the full version is highly discoverable on YouTube) and catching the eye of Joyce Carol Oates, who spent much of Thursday night tweeting very enthusiastically about it.

Wilson, whose work on Homer’s epic was praised by Nolan, said his film was grandiose and superficial with ‘nothing convincing to say’

• Peter Bradshaw reviews The Odyssey
• ‘At times I felt I’d bitten off more than I could chew’: Christopher Nolan interviewed
• What Nolan’s Odyssey changed, invented – and left out

Emily Wilson, the classicist whose 2017 translation of Homer’s Odyssey was cited by Christopher Nolan in early publicity for his hugely successful adaptation of the poem, has roundly criticised the film, saying “it has nothing convincing to say” and that it “lacks psychological, emotional, political and ethical depth”.

In a scathing essay for the London Review of Books, Wilson writes: “I had hoped that Nolan’s affinity with these Homeric themes might push him to new creative heights, and enable him to conjure more believable characters. But The Odyssey features his usual combination of grandiosity and superficiality … the film’s vision is too confused, its characters too underdeveloped, to deliver what it half-promises in terms of big ideas – although it is very good at conveying big bangs and big giants.”

The Odyssey is the summer’s biggest film: an adaptation of an almost 3,000 year old poem that everyone is talking about. So what was our readers’ verdict?

As expected from Christopher Nolan, The Odyssey is an immense technical achievement: vast in scale, beautifully shot and carried by an absorbing soundscape, particularly impressive on the Imax screen. I did enjoy it, but it did not resonate with me emotionally as some of Nolan’s other films have. For a film reaching for something deep and mythic, I’m not sure it felt quite as profound as it wanted to be. I also wasn’t wholly convinced by the casting. There were so many big names that at times I found myself seeing the actors more than the characters. Matt Damon, especially in the island scenes, reminded me of his early Bourne performances when the character had lost his memory. Charlize Theron felt underused, Jon Bernthal seemed to bring his familiar swagger, and Tom Holland did not fully convince me in the more conflicted moments. Samantha Morton, however, was excellent, as she always is. Samiul Kamal-Uddin, 49, London, UK

A high-quality pirated version of the summer’s hit movie was leaked on Elon Musk’s X platform and viewed more than 3m times before being removed

A leaked copy of The Odyssey has been taken down from Elon Musk’s X platform but only after a post flagging it gained millions of views.

A high-quality pirated version of the film went viral at the weekend after an account linked to it saying “Someone uploaded ‘The Odyssey’ full movie on X. Can you believe it?”. The post flagging the film was viewed more than 3m times before the account hosting the apparently leaked film was suspended by X.

There’s no denying the power of the film on the big screen. But how far should modern moral sensibilities influence adaptations of classics?

Everyone knows how dumb it is to be this person: the one who mourns the film adaptation of a favourite text because it misses out this scene, or misreads that particularly beloved character, or has a slightly “inauthentic” take on some detail. Of course I’m talking about Christopher Nolan’s film adaptation of the Odyssey, a poem I have loved since I was a teenager. I enjoyed the movie, in common with a huge number of other people. It seems remarkable, even dizzying, that the adaptation of a nearly 3,000-year-old poem took $264m (£196m) at the box office over its opening weekend, has sent translations of the Odyssey surging up the bestseller charts, and is sold out (for instance) at London’s BFI Imax screen deep into September. We are living in an Odyssey time, amid an Odyssey frenzy.

There is no point trying to be a purist about a beloved classic text. Whoever reads the Odyssey, including Nolan, inescapably does so through the prism of their prejudices, informed by the conditions of their own place and time. Since the Odyssey is the result of decades, maybe centuries, of non-literate oral poets working with memory and improvisation, there’s no precise “original” place or time to return to, anyway. But what I can’t help doing is observe the choices Nolan has made and think about their consequences – because there are always divides in the road, paths not taken by any adapter.

Christopher Nolan’s new adaption of The Odyssey is an absolute monster of a hit, grossing $264m in its opening weekend. But celebrated classicist Mary Beard tells host Carter Sherman that while Nolan’s adaptation of Homer’s ancient Greek epic poem comes with plenty of action-packed battle scenes, the film is missing the original's "elusive sexiness" – and its approach to women left her disappointed. Carter and Beard also explore why rightwing politicians – and people like Elon Musk – are so obsessed with co-opting the ancient world. They ask: who gets to own the classics?

Commentary and criticism about Christopher Nolan’s The Odyssey from the Guardian:

• The Odyssey’s review

• Christopher Nolan interview

• Will women also love The Odyssey?

Since I saw the movie, I have found it difficult not to see Trojan horses everywhere. We live now in a state of perpetual distrustfulness

Prior to the release of Christopher Nolan’s The Odyssey, I’m not sure many of us would have conceived of the Trojan Horse as a kind of proto-atomic bomb, the sort of norm-obliterating device from which civilisation cannot turn back. If anything, the horse has long existed in our collective imaginations as at best a credulity-stretching plot device – why did those overly trusting Trojans not think to look that particular horse in its wooden mouth? – and at worst a cutely comedic non-threat. The greatest civilisation of its age was taken down by a timber what?

But the true masterstroke of Nolan’s film is its parallels to the last one he dropped on us, Oppenheimer. Like that film, The Odyssey is about a haunted genius who, when presented with a problem, solves it with such speed and significance that he must necessarily cast aside implication. But rather than splitting the atom, Odysseus (Matt Damon), dismembers something considerably more significant – the social fabric.

Swedish nonprofit alleges cost to repair replica was $6,000 but Universal – which made $264m on film’s opening weekend – has not stumped up

The Swedish owners of a Viking longship replica that features in the Hollywood blockbuster The Odyssey say they feel “forgotten” after film-makers allegedly returned the vessel damaged and failed to foot the bill for repairs.

In nearly three decades at sea, the warship Glad av Gillberga – based on a wreck from around 1040 found in Denmark’s Roskilde fjord – has successfully sailed the North Sea, the Baltic and even voyaged to Canada.