Christopher Nolan's Finest Trick | The Ezra Klein Show [15:23]

YouTube transcript reformatted at textformatter.ai *may* follow.

(IOW, this isn't a review, it's an endorsement of perceived partisan anti-American screed by a pathologically self-centered partisan liar.)

Transcript

Elon Musk did not understand Christopher Nolan’s Odyssey at all. I’ll admit I’m a little late weighing in on the Odyssey. Chalk it up to having young kids. I don’t make it to the movies as much as I would like. But my god, what a trick Christopher Nolan pulled off here. Musk did not understand what the Odyssey was about, but this movie sure understood who Elon Musk is, who Donald Trump is, who we have become. And I really believe that it points a way out. Tricks are central to the Odyssey. Odyssey is, in myth, a trickster.

He’s described in that famed first line of the story as the man of many ways or of many whiles or of many turns. He is, depending on the translation you read, an ingenious man, a cunning man, a complicated man. Odyssey is a man of appetites and contradictions, a man who wants nothing more than to go home, but chooses again and again to stay abroad. A man who yearns desperately for his wife, but can’t seem to stop betting goddesses. Odyssey is never one thing. He is always many things. But Matt Damon is no trickster.

I like Matt Damon, but I thought he was going to be the problem with Nolan’s Odyssey. Amid this right-wing outcry over casting Lupita Nyong’o and Elliot Page, it was Damon who I couldn’t reconcile with the Odyssey. Because Damon always seems to me like a man of a single way, a man who wakes up early, keeps to a clean diet, and rarely has more than one glass of wine before bed. That’s admirable, but it’s not Odyssey.

But Nolan wasn’t looking for a trickster. Nolan’s Odyssey is something else. And that, I think you can say, was Nolan’s first trick. I have spent a few years now quietly obsessed with the archetype of the trickster. The trickster is Loki in Norse mythology, in the Yoruba’s stories, coyote or raven in indigenous tales, Maui in Polynesia, Hermes and Odyssey among the ancient Greeks. The trickster plays a crucial function, writes Louis Hyde in his really wonderful book, Trickster Makes This World.

That function is to uncover and disrupt the very things that a culture depends on. The trickster dances across customs and taboos, says what cannot be said, does what should not have been done. The trickster injects disorder into order, renders visible what is ordinarily hidden. The trickster causes profound damage that makes new growth possible. But the happy ending is never guaranteed. The trickster can be regenerative or ruinous.

Coyote brings fire. Raven brings the sun. Loki brings Armageddon. Hyde’s argument is that tricksters are, for cultures, both necessary and dangerous. They represent a tension every culture has to grapple with. Because a culture, a society that cannot meet disruption and change with creativity cannot survive change. A culture that cannot protect its core values, however, will eventually be consumed by corruption. We are living in an age of chaos.

We are living in an age of tricksters. Donald Trump and Elon Musk and Tucker Carlson and Andrew Tate and Nick Fuentes and Bronze Age Pervert. The grammar of the modern right is Trixie. What is serious and what is not? The chainsaw for bureaucracy. I was one of the OG nut jobs.

Why did they say that? And how did they get away with it? The dominant personalities of the age have gathered power by bulldozing customs and taboos. By saying what cannot be said. Why is it we only take people from whole countries? By doing what should not be done. Hyde said that Americans love a trickster. They love a con man because he embodies things that are actually true about America but cannot be openly declared.

That may have been true in 1998 when Hyde wrote his book. I can see the argument that American institutions and American culture had ossified in some ways in the years since, that our society had become too rule-bound and bureaucratized, that too much had become unsayable. There’s too little openness to real transgression and invention. But today, today, there’s little that can no longer be said. The ideas and morals upon which the best of our culture was built have been more than disrupted. They’ve been desecrated. The question now is whether that disruption can be met with creativity and renewal or whether it’ll simply bring us ruin. This is the central question of Christopher Nolan’s Odyssey.

Nolan’s Odyssey hinges on Zeus’s law: treat the beggar and the stranger as you would want to be treated. But as a horde of classicists have now pointed out, that is not Zeus’s law, at least not in antiquity. Zeus’s law is narrower. It’s more a demand for hospitality towards a guest or the stranger with the admonition that there could be punishment because anybody could be a god in disguise. It’s not a law of compassion, not of reciprocity. And so here we find Nolan’s central trick. Nolan has smuggled the core of Judeo-Christian ethics into the center of the Odyssey. Zeus’s law in Nolan’s Odyssey echoes Leviticus 19:34.

The foreigner residing among you must be treated as your native-born. Love them as yourself, for you are foreigners in Egypt. Notice that. Love them as yourself. It echoes Rabbi Hillel who said, “What is hateful to you, do not do to your fellow.” That is the whole Torah. The rest is commentary. It echoes Matthew 7:12 when Jesus says, “In everything, do to others what you would have them do to you. For this sums up the law and the prophets.” Such an ethic is demanding. Few of us truly live up to it.

But the problem with the modern right is not that they don’t live up to it. It’s that they detest it. To treat the foreigner residing among us as well as we treat our native-born, to love them, is derided as suicidal empathy. The Trump administration glorifies cruelty towards the immigrant. Back up. Back up. Towards a stranger, towards the weak, the poor. Takes money from Medicaid to cut taxes for the rich. It threatens the destruction of whole civilizations. Quote, never to be brought back. It is built on the logic of tribute, not compassion or love or even reciprocity.

Steven Miller put it perfectly to CNN’s Jake Tapper. We live in a world, in the real world, Jake, that is governed by strength, that is governed by force, that is governed by power. These are the iron laws of the world since the beginning of time. But wasn’t the iron law replaced by the golden rule? Isn’t that at the heart of what we believe has led our society to progress to become something better and grander than what preceded it?

When Odyssey concocts the trick of the Trojan horse, when he takes advantage of Troy’s veneration of the same gods he worships, takes advantage of the commonality between them to sack the city, to make its streets run with blood, to burn it to the ground. Is he a hero or a villain? Was that a trick or a crime? To Homer, he was a hero. To Nolan, he is a soul in need of redemption.

Between Homer’s time and our own came a revolution in civilizational values, an upending of what it means to be civilized. We have human rights law. We have laws governing war. They did not. Which side of that divide are we on? Now, the modern right believes that Western civilization has lost the appetite for strength and dominance and hierarchy, and I would say cruelty, that built it in the first place.

There’s a reason a theorist named Bronze Age Pervert, of all things, became required reading for young Trumpists. A reason right-wing intellectuals like Curtis Yarvin and Michael Anton use about the need for an American Caesar. A reason the Trump administration is obsessed with Roman-style architecture. They are circling this era for a reason.

A recent exchange Elon Musk had on X reveals how far this thinking has gone. A user told Musk it was time to wise up to abandon liberalism because universal suffrage leads to universal suffering. Musk’s reply: I have wised up. Helen of Troy in Nolan’s Odyssey is not the reason for the war. She’s an excuse for a war launched to dominate routes of trade. [applause] It’s a telling choice amidst an administration that is crashing into the global trading order because it seeks more dominance over its flows.

When Mark Carney, the prime minister of Canada, released his cry of protest at Davos against this regime, he also reached back to an older age to describe what he saw happening. The strong can do what they can and the weak must suffer what they must. And this aphorism of Thucydides is presented as inevitable, as the natural logic of international relations reasserting itself. Is this the way you build a prosperous, strong, secure world?

When Nolan’s Odyssey recalls the sacking of Troy, he blanches at the memory of 10 years of rage and fury pouring into a city in a single night. Sitting in that theater, I found it hard not to think of the built-up rage that Hamas poured into Israel on October 7th and that Israel has poured into Gaza hundredfold since. Benjamin Netanyahu has described Israel’s future as Athens and Sparta. Athens and Sparta. You all know Harari, the Israeli-born historian with Sapiens, sees the irony of this clearly. Rome has its usefulness. But if after 2,000 years, the Jews simply become the Romans, what was the point? Why did you waste 2,000 years then? You could have just become Roman back then.

And this, I think, is Nolan’s finest trick: to make one of our oldest moral rules so new again. To turn the best of Judeo-Christianity into the law of Zeus, so we can see why it might matter, what it might still have to say to us. What Odyssey sees eventually is that his violations of the moral order have brought ruin to all around him. Agamemnon, the king who launched the war against Troy, is dead. His throat slit by his wife, who never forgave him for sacrificing their daughter for fair winds.

Troy is destroyed. Ithaca, Odyssey’s beloved home, is overrun by suitors who seek his wife and his land and think nothing of murdering his son to get it. Odyssey and his men were not fighting the barbarians. They were the barbarians. And their actions led to more barbarity. So too has the political movement in our time that rose promising to make Western civilization great again, America great again, betrayed its inheritance. You’re gambling with World War II.

And what you’re doing is very disrespectful to the country, this country. The world looks at America now and sees us as the barbarians. We are the country obliterating the global order. We are the country that takes what we want and demands tribute from those without the strength to resist. And what the political opposition has to do now is to recognize what Nolan recognized: that it is actually an affirmation of our core values to say cruelty is weakness.

It is only compassion and reciprocity that can build a durable and decent society. Order is necessary, but order without ethics and decency is perversion or authoritarianism. There is so much beauty and wisdom in the injunction to avoid inflicting on others what we would not see turned against us in remembering that we were strangers in the land of Egypt.

At the end of his book, Hyde considers: when does a trickster’s tale end in ruin, and when does it end in regeneration? And his answer is when you cannot rejoin the worlds. Loki is bound beneath the earth. Poison dripped on him for an eternity. And eventually, Armageddon is a result, ruin. Hermes in Greek mythology becomes the connector between our world and the underworld. He is one who guides Pphanany in spring to return each year.

It is only when severed worlds can be bonded that cultures can rediscover their strength. I don’t want to make this too didactic here at the end. So, I’ll just say this: justice and progress in America have come repeatedly when those seeking it realize that the language of the Torah, of the Bible, and of the Declaration of Independence can be wielded on behalf of a better world. That they are agents for change, not for the status quo.

I would say it has been some time since religion and liberalism and patriotism had a comfortable relationship in this country, since they were tightly bonded. But the shape of the modern right has created space to do that work again. Regeneration is hard. It requires seeing old values in new ways. It requires recognizing a moral inheritance that has collapsed into cliché, can still hold power in an age when it has been debased and forgotten.

Nolan Odyssey is not a trickster. He’s a man living in the ruins brought about by tricksters. So too are we. This movie, the hunger for it, I think is a sign that the age of the trickster is ending. That is not what we need now. Now we need those who would remake this world.

…When Odyssey concocts the trick of the Trojan horse, when he takes advantage of Troy’s veneration of the same gods he worships, takes advantage of the commonality between them to sack the city, to make its streets run with blood, to burn it to the ground. Is he a hero or a villain? Was that a trick or a crime? To Homer, he was a hero. To Nolan, he is a soul in need of redemption…

That passage is much later in the article. But I went that far just to be sure it wasn’t just at the beginning. Klein does that through the whole article. He calls Odysseus “Odyssey.” “Odyssey” is the title of the movie and of Homer’s tale. “Odysseus” is the central character, the protagonist. The character Matt Damon plays. It’s hard to begin to take the article seriously when something as basic as that is messed up.

”The Odyssey”…

It’s a video, not an article. The transcript is wrong.

Before seeing the film, I did not have the problem with “The Odyssey”’s casting that many did. I didn’t care - it’s mythology, not history. I was looking forward to the movie - I’ve admired Nolan’s directorial work since “Memento”, and I’ve read Homer since I was a kid in grade school. But Nolan’s “Odyssey” was the worst movie by him I can remember seeing. To be fair, Nolan’s worst is better than the average Hollywood flick. But “Odyssey” was a disappointment - I agree with Klein, Matt Damon is not and can never be the trickster and morally ambiguous man Odysseus was.

Ezra Klein: “The Constitution is, like, over 100 years old.”

Also, according it him it is ‘confusing’ and ‘has no binding power’ ..

E. Klein is a typical dummy who thinks he is smart.

“Ithaca, Odyssey’s beloved home, is overrun by suitors who seek his wife and his land and think nothing of murdering his son to get it.”

And Odysseus kills every one of them. That’s the moral of the story. The hero kills them.

“Ithaca, Odyssey’s beloved home, is overrun by suitors who seek his wife and his land and think nothing of murdering his son to get it.”

And Odysseus kills every one of them. That’s the moral of the story. The hero kills them.”

That’s all.

Matt Damon getting home was the point of the story (as it is in so many modern films). Killing the suitors was an added bonus.

“ Matt Damon getting home was the point of the story (as it is in so many modern films). Killing the suitors was an added bonus.”

Yep. He was believable, likeable and did a great job gathering up a commando team to get rid of the suitors

Anyone complaining about anything Nolan may or may not have done wrong, left out or other misinterpreted can simply get a production team together and give us their impression of Homer’s work

I am guessing Nolan would not only not object in some kind of petty rivalry that he has never exhibited, and would not, he would watch it and, if its good, like it

What twisted garbage. I haven’t seen the movie, but I’ve read the Odyssey a couple times. I think Homer was more straight forward than this. Odysseus is the king of Ithaca and the hero of the story. If there’s any parallel between Odysseus and DJT, Elon Musk, it’s that the suitors were severely punished for their occupying Odysseus’ kingdom with the intentions of stealing it. Odysseus got justice that he meted out himself. Even though he’s king, he might have to answer for it, but he got justice. Commies should be very afraid of someone like Odysseus. I think this turd has his nuts in a knot over that.

BradyLS: "That passage is much later in the article.
But I went that far just to be sure it wasn’t just at the beginning.
Klein does that through the whole article.
He calls Odysseus “Odyssey.”
“Odyssey” is the title of the movie and of Homer’s tale.
“Odysseus” is the central character, the protagonist.
The character Matt Damon plays.
It’s hard to begin to take the article seriously when something as basic as that is messed up."

Right -- a one-time mistake is a typo.
Repeated consistently throughout the piece is some kind of really stupid bullshite.

So I went back to the original YouTube video, and looked at its transcript.
In every case, Odysseus is spelled "Odyssius", not "Odyssey".

Now, "Odyssius" is spelled incorrectly -- should be Odysseus -- but at least it's the right idea and I wouldn't blame the YouTuber for a simple transcription spelling error.

Where this particular transcription's misuse of "Odyssey" came from is anybody's guess.
Maybe blame it on a stupid AI?

If we set that glaring mistake aside, I think the author makes some good points.

For sure, close-captioning on youtube doesn’t always synch to what’s being said, either. It’s easy enough to see through, you’re right, so no big deal. Just a head-shaker when I’m reading it.

What a pant load.