John Doyle unloads on Nolan’s ‘Odyssey’: ‘They turned ancient Greece into a rainbow nation’

There’s no doubt that Christopher Nolan’s “The Odyssey” took one of the foundational works of Western civilization and transformed it — but BlazeTV host John Doyle believes it was for the worse.

“Feeling very vindicated dude,” Doyle says, adding that he’s “never been a Chris Nolan fan.”

“Honestly, part of me almost wants to cope and say that Christopher Nolan is actually our guy. He’s going behind enemy lines. He’s a secret patriot. He’s actively trying to ruin any possibility of further adaptations with this kind of stuff,” he says.

But unfortunately, Doyle doesn’t think that’s possible, as it’s “one of the most in-your-face, on-the-nose subversions that has ever been made by Hollywood.”

The most obvious, Doyle says, is that they cast Lupita Nyong’o as Helen of Troy and Ellen Page, who now goes by “Elliot,” as a soldier.

“He made ancient Greece into this kind of rainbow nation,” he says, “where you’ve got white Greeks, black Greeks, Asian Greeks, you know, even Greeks on Homer-ian H-1B visas from the Greek city state of Kolkata looking you, the audience member, directly in the eye and saying we are Greeks from Ithaca, right?”

“It basically means nothing. It’s literally just driven by visual spectacle for third-world masses with practically every actual integral plot point being completely obliterated,” he continues.

“And in so far as there even is a message, they removed all male sexuality from it. They feminized it. Gave it a once over with therapy-speak SSRI nonsense. And yeah, they made it about overcoming trauma and about how war is freaking bad,” he adds.

Doyle calls it the “complete inversion” and “antithesis” to the original “Odyssey.”

“It was supposed to be, you know, an epic poem meant to be spoken before a crowd using their imagination to paint the story for them, right? Paint the picture in their mind carried by the weight of the verses given and what it was imparted in meaning,” he explains.

“The adaptation, like modern garbage that tries to be carried entirely by the visual spectacle. It erases every thematic point in and every moral of the original. It just inserts the most boilerplate libtardism imaginable. War bad, therapy good, men bad, women good, ancient morality bad, progressivism good, freaking trauma,” he says, adding, “It’s really, it’s not even worth the watch.”

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