The most feminine thing a girl can do is to tear someone's throat with her nails
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@be-it-so
The most feminine thing a girl can do is to tear someone's throat with her nails
ok ive seen nolans odyssey and what the fuck was that actually
Parts that made me tweak in a dim-lit movie theater:
1. Every time we meet a woman or enslaved individual that, y’know, had some semblance of agency in the text, Nolan has just… removed that? Circe’s commanding presence & how she genuinely overpowers Odysseus? Gone. Helen actually stealing the show in Book 4 where she walks down into the room and controls the conversation re: Odysseus & Troy? Gone. Utterly Gone. Lupita Nyong’o gets 0 chance to speak on her own terms and its actually so depressing. Athena doesnt get to do ANYTHING it was actually shocking. Telemachus is instead accompanied by Real Mentor for fuck knows how long. Athena is the one who pushes him to leave in the first place??? But not in Nolan’s adaptation ifg 😭 Also I’m genuinely unsure here but it seemed like Circe & Calypso’s divine status was… nonexistent?? They’re both goddesses but apparently not to Christopher Nolan 🫤
And this treatment extends to Odysseus’ slaves, specifically Eumaeus & Eurycleia (eurynome & philoetius not appearing in this goddamn film ifg). Almost every action taken by Eurycleia in the Odyssey is attributed to someone else in Nolan’s adaptation, she gets 0.2 seconds of screentime, its actually absurd. I think she has two lines in the whole movie. Eurycleia. Odysseus and Telemachus’ nurse. The woman who canonically organizes the doors to be locked during the suitor’s slaughter? Who canonically helps secure Telemachus’ provisions for Pylos? fuckin. Not There. And Eumaeus (who literally perfectly models xenia to a disguised Odysseys while living in extreme poverty) notably Does Not Get To Do That in Nolan’s odyssey, instead he’s like. injured I guess? I’m so fuckin confused as to why that happened, it just made the plot more convoluted. Medon is also just not there at all. Medon who is actually the fuckin best?? My underestimated king??? Where Is He.
2. oh my god everything abt the scene with Polyphemus makes me want to claw my eyes out (except maybe his eye? that looked kinda cool idfk). yknow how polyphemus appears, speaks to the crew, and they let their guard down? how the polyphemus episode represents the world outside of greek customs like xenia? how he fucking talks to them? he talks to them and his neighbors? yeah. in Nolan’s odyssey, there are no neighbors. there is no existential mirror/cyclopean foil to ithacan society. there are no other cyclopes. He doesnt even fucking talk 😭😭 <- i mean he gets one line but the audios so distorted that without captions i had no idea what he said
3. Anticleia reunion scene? Nonexistent. Laertes? Nonexistent. Allegedly still around. Sir Not-Appearing In-This-Film. Book 15 reunion between Telemachus and Odysseus? Nonexistent. Reunion between Odysseus, Eumaeus, and Philoetius? Not there. The fucking marriage bed scene? The goddamn marriage bed? NOT THERE. screams into a bag
4. ODYSSEUS “DIDNT WANT TO RETURN HOME” 😭 they keep fucking saying this over and over again too and. No he very much did. No home means no guaranteed kleos guys. his sons life is in jeopardy but Ok christopher shitlan do whatever the fuck you want, i guess
5. every time i heard them say “our civilization is collapsing” or “they say the peoples from the sea are attacking” or “our age of bronze is ending” not only did i feel my soul die a little more inside but i also kept thinking “man, this sounds a lot like the white supremacist belief in ‘western civilization’ just superimposed onto a falsified image of the late bronze age” and thats because It Is.
strange decisions:
1. boar scar apparently occurred when odysseus was an adult???
2. elliot page’s sinon gets one helluva backstory which i guess was kinda cool if you ignore elliot page getting brutally slaughtered in the first 30 seconds of the movie? not sure how to feel about that
3. travis scott kept showing up randomly which was like. fine i guess? genuinely im not sure what the difference between him & phemius was supposed to be. i didnt even see phemius. tbf i was taking notes this whole time so maybe i missed him? but travis scott shouldve just been phemius idfk why he wasnt
4. The Phaecians are just not there guys and i have no idea why. odysseus’ wanderings are being narrated to calypso?
5. the crew mutinies at scylla instead? odysseus tries to sail towards charybdis??? this was a bizarre sequence
6. no nestor or peisistratus. somehow telemachus sails to the 100% inland palace of menelaus. who needs a chariot when you’ve got a Boat i guess
7. half of my notes just say “what happened to show, don’t tell” because the amount of exposition made me want to slam my head into the wall
highlights:
1. anne hathaway and tom holland had a very good dynamic, i feel like they really captured some of the tension between penelope & telemachus, ie penelope running the house for 20 years and still assuming some of that authority vs. telemachus trying to grow up/assume control of the household/establish his own kleos. loved that dynamic tbh. one of the better parts of the telemachy sections
2. lupita nyong’o was great in the uh. 30 seconds she had on screen. im so serious helen was fucking robbed in this movie
3. himesh patel fucking carried every scene he was in on his Back
4. rare cicones appearance
maybe the real sea peoples was the troy we sacked along the way
New fear unlocked: what if new Odyssey movie is ...good?
I feel like my bones are tense
Nothing hits quite like rereading your old favorite book series to make yourself feel better and this time being able to notice how all of it is thinly lined with sexism and just a little bit of homophobia for taste
Turning twenty one today and this feels both like the most pointless achievement of my life and yet the only one of this year
Happy Pride to whatever Helen and Aphrodite have going on
Does the air between your bodies that you breath during sex count as another participant of the act?
very bold choice to compete with christopher nolan for the worst odyssey movie adaptation but i believe with the power of bad animation we CAN win this
In what fucking world telling a woman who you, after trying speaking to her on the street at 10pm and receiving a very obvious decline after which she quickly walked away, caught up to "Are you running away? Why? Don't you see i am on the bicycle, it won't work?" will ever make her more open to getting to know you?
It is a great tragedy that sirens in people's mind are now only associated with "sexy fish ladies" or at best "sexy bird ladies" for those who've seen some pictures of vases; and that the sailors fell for them because they were lustful and unfaithful men, who could not control themselves in the sight of the hot women; that sirens became some kind of test for faithfulness or another occasion for a joke about how men are all the same.
But they were singing not about sex, nor was their appearance any relevant, they were singing about infinite knowledge, they were promising the whole truth about what happened in Troy and to the achaeans, of what’s happening in the world in the grand scheme of things, Odysseus wanted to hear them not in order to hear a pretty woman sing, not even to hear his wife's voice again, how a lot of people like to imagine now, he wanted to hear the secrets they had, the knowledge, that no mortal man had ever known before.
This is the peae Odysseus moment, that really shows his desire for knowledge, his willingness to risk it all for it, even if it is dangerous and there is no real reason to do so, except for his curiosity, to change it to him wanting to indulge in his lust or even love instead is to twist Odysseus as a character and sirens as the story tool and as a mythological creatures.
A round of applause for my best friend for finally convincing me to make a therapy appointment by replying to my words about how I don't think I have this much of a problems and that I can just suppress them like I've been doing this whole time with "so, like a man?"
I fucking hate being sick
I feel like I'm speed running like five different illnesses in a week. First I had a fever for two days and quite literally spent all of the weekends in bed; then my throat hurt to speak for a day, then I had a terrible running nose and now I have an otitis.
Why is this all coming in stages, I would've been okay with all of this happening in two days, with fever as intended, yeah, it would have sucked, but it would have been over, instead its promising to go on for another week
"odysseus is [depicted as being] justified in murdering the twelve women because they [are depicted as having] betrayed the household that provides for them" yeah i know, i just don't think it means we can't interrogate the odyssey further. that is an accurate description of what the text portrays and believes, but even so, it's loaded with assumptions. why does the text assume they slept with the suitors willingly when they are otherwise depicted without much interiority (melantho's feelings about eurymachus are ambiguous even compared to melanthius)? if they weren't willing, would it have been depicted differently, and how? if they were willing, what might have made those relationships look attractive or strategic or safe to them? why are they dependent on the household in the first place? why are some readers resistant to the extension of compassion toward them? does that have anything to do with the text's depiction of them? is that worth pushing back against?
i mean, obviously i think the answer to the last question is yes. you should try to understand the context of odysseus' actions, but you should also try to understand the actions of the slaves, even though (and especially because) the text cares about them less. you can interrogate how it portrays and what it believes about power. the odyssey is thousands of years old; it can take it
i think certain people are laboring under the misconception that i have said melantho and the other hanged women must have been coerced by the suitors and therefore did not deserve to die (and odysseus is evil and you're a bad person if you like him or whatever).
that is not what i said. i am well aware that everyone of odysseus' class owns slaves; if you were to be consistent about the enslaving class, there would be many more characters you're not allowed to like anymore. (i don't think i have to point out that odysseus is my favorite character... right?) yet even so, i don't think the twelve women deserved to die. how i feel about the characters and whether they were coerced are equally immaterial to my point: that the conditions of enslavement hide certain things in the text and let us make assumptions about others, and maybe, on this subject, we shouldn't make all the assumptions that the odyssey wants us to make.
what i've tried to argue, above all, is that we don't know everything these women would have felt and wanted, if we were to examine them with the same care and depth that we do more fleshed-out characters.
and i should make an amendment, because in this post and others i've said that the odyssey doesn't give us insight into melantho's feelings. but i am, as i must remind you, always reading the odyssey in translation. the translations i have read and have on hand to check (fagles, wilson, fitzgerald, lattimore) describe melantho variously as sleeping with eurymachus, making love to him, being his lover, or being his sweetheart. to me, these words indicated an action or a role rather than her internal feelings or state of mind. but there are also translations that say she loved him. the greek phrase in question is μισγέσκετο καὶ φιλέεσκεν—the former word seems undoubtedly sexual, and the latter derived from phileo, which also does, or can, denote love or affection. this is basically the extent to which i am able to discuss the greek, but as far as i can tell, both translations (sexual or non-sexual) are valid here.
that's my takeaway: there is ambiguity. both with melantho and with the other women, who get no such explanation for their behavior. she is clearly supposed to represent the whole, but all the same, the assumption (which eurycleia and odysseus also make) that all twelve are all-in for the suitors is just that: an assumption.
it's also a possibility i agree that we should allow for, even while i also believe that we should consider the constraints on their ability to consent. but let's say that we do prefer the interpretation that 100% of them exercised their agency, in defiance of the norm that an enslaved person's body and permission to use it belongs to their enslavers—what do we do with that? is it a crime because the odyssey thinks it's a crime?
i want to encourage readers not to take that interpretation as an out, as permission to stop digging into the whys and hows. the text is deeply invested in whether fictional enslaved people are loyal to their fictional enslavers. we don't have to be. we can be curious. we can mark multiple people as worthy of attention and sympathy.
Fun fact.
If you go to the training session after almost half a year without any sport while having a fever, it will almost end with you fainting from dehydration,
EVEN if the fever was relatively low and even if you trying to prevent exactly this brought liter and a half of water with you.
Sometimes i genuinely feel like if someone just slammed my head into the wall, it would make things better
The room is warm. Her brother is speaking. It is nothing important, just slow evening talk, some story from his childhood when he used to sneak out of the palace in the night and go by the river to fish there. He told this story many times before but Cassandra doesn't mind. She prefers to speak about the past more these days.
Hector's voice is calm and peaceful, there is almost no signs of today's battle in it. Cassandra doesn't really pay attention to the story, her eyes can focus only on the long spear sticking out of his throat, the blood is running down his neck and all of his chiton he put on after removing the armor is already wet and dirty. She almost calls for a slave to bring Hector clean clothes and to quickly scold her for not noticing that her master needed it earlier but manages to stop herself from this. She is too tired to confront another confused and pitying look. Not from her brother. Not today
Hector rises his voice for a moment, and Cassandra hears a loud gurgle of blood in his throat. She shivers from this sound. Hector gives her a short laugh, probably assuming she is reacting to the dangerous part of the story he finally started to tell and ruffles her hair with his hand how he used to did when she was a little child. His palm feels heavy and warm on her head. If she closes her eyes, she can even pretend there is no blood running down her face.
Then, the child's voice sleepily interrupts them, and Cassandra only now remembers that they are not alone in this room. Hector says something short to his son, who woke up in his arms, Cassandra can hear Scamander's big yawn before he's going silent again seemingly falling asleep again on his father's chest.
Cassandra tries to avoid looking at her nephew these days. But there is still glimpse of the picture of him in the corner of her eye. She quickly turns her head around trying to erase the image of her brother in soaked through with blood chiton holding his barely recognizable son, whose head is cracked open and red liquid keeps dripping from it on the cloth, floor and already red hands of her brother. She shuts eyes so tightly that it almost hurts, but it's never darkness that welcomes her.
Sometimes she is able to close her lids and caress the child's soft skin or to run her fingers through his hair or when she is brave enough she holds him in her arms feeling his small heart still beating against her chest and ignores burning feeling in her eyes telling her to open them and look at the future of the kid in her arms. Usually she starts crying and Andromache with deep wrinkles on her face and soft so tired and way too old eyes has to take her son out of Cassandra's trembling hands to give him to the maid and hold Cassandra tightly in her arms while she proceeds to fall apart, crying asking for forgiveness and mercy from the gods.
(She knows they won't listen. She knows they won't stop anything. She sees how this would end. She sees that her prayers won't change anything. But she also knows that she can't stop and that she won't stop praying even on her walk to her death names of the gods will fall from her lips in the hopeless attempt to change something.)
But today is not one of these brave days, today she just wants to close her eyes and crawl into her brother's arms, hear his heart beating in his chest so loud she could ignore all the blood on him, to listen to his voice so steady and confident that she can pretend there is no spear right in his throat and tell him not to go to battle tomorrow, tell him to stop war, tell him that she knows how and when he's gonna die, knows how and when his son's gonna die, and how long and from what his wife will suffer, maybe even tell him what happens to her, tell him how much she is afraid, tell him he needs to remove this spear from his throat because she hates how it makes his voice sound so he would finally hear her and somehow save everything, so he would tell her that he will protect her from anything and anyone like he used to tell years ago. But she bites her tongue and feels tears burning in the corners of the eyes. It will not work. He will simply say her that her mind is clouded with fear, that she is just too afraid and everything's gonna be okay that after all he is the strongest among the Trojans because he will not die this easily and that she needs to rest.
Hector looks at her like he knows what is going on in her head. But instead of asking he simply places quick kiss on the top of her head and stands up, caring completely sleeping Scamander in his arms. He says some words wishing her good night and heads to his and Andromache's bedroom, leaving red footsteps behind.
Cassandra remains at her seat, watching old maid with bleeding cut throat remove wine her brother drank. Couple of drops of the blood from her neck fall in the jug, Cassandra frowns and makes a short rebuke to her. Maid looks at her with a confused expression, Cassandra notices a big bruise on maid' face and simply tells her to continue with quick hand gesture.
Maid leaves the room, taking with her remaining wine and some plates with glass, Cassandra slowly stands up and goes to the place maid stood for a while. There is a big puddle of blood on the floor. She is able to catch her own reflection in liquid in the lights of candles, there is a line of blood on her face, running down from the big cut on her head, dividing it in to halves, something she sometimes almost forgets about; drop of her own blood breaks off from the cut and lands in the puddle, making it go with circles and washing away her reflection.
"My lady?" returned maid stands behind her with some fruits in her hands. Cassandra heavily sighs and heads to her own room, denying food maid brought. She almost leaves but stops right in the doorway turning her head to the maid.
"Clean the floor, someone spilled wine there"