I have had the blessing of seeing the film twice already, once in the elusive IMAX format and once again in standard format. Both times I thought the film to be an excellent interpretation of a classic with enough heart and marvel (pun intended?) that one seeks in a movie experience, especially a swords-and-sandals action epic.

Both times I left the film there were numerous moments that immediately refused to leave my head: the thrilling trojan horse & sacking of Troy sequences, the dazzling atmosphere of the castle in Ithica, the unnerving practical effects of Circe’s transformation and escaping the cyclops that let Nolan flex his horror-chops.

Though the scene that stuck with me the most is the siren scene.

The concept of sirens is known to many. Originating in Homer’s story and remaining a staple in Greek mythology as half woman, half bird singing beings who lure sailors to their death with their tempting song; sirens were notably reimagined across Western culture as more mermaid like creatures. Most importantly, the physical appearance of the sirens is not described in Homer’s The Odyssey but left up to interpretation. This is key to Nolan’s execution of the scene.

After a warning from Circe, and Odysseus insisting he will ‘defy the gods’ and bring his crew home, the men put wax in there ears to block out the deadly siren song and sail past unperturbed. Odysseus on the other hand, portrayed at this moment with Matt Damon’s familiar charm on full display (I thought the Boston accent was going to slip out) requests to be tied to the ships mast so he can be the first to hear the siren song and live.

As Eurylochus (serving as an effective audience surrogate throughout the film and portrayed by the always excellent Himesh Patel) inserts the wax in his ear, the mixing and score become muffled, a moment of near-silence almost more jarring than the louder moments of the film. Ludwig Göransson’s score during this moment is mesmerizing: A somber, enchanting melody that alongside Damon’s monologue, plays over the image of Eurylochus viewing Odysseus with haunted curiosity. — The scene is nothing short of terrific. It in my opinion, exemplifies Nolan’s peak writing and camera work, as well as quite possibly the best acting we have ever seen from Damon.

Nolan shoots the sirens from an eerie distance. Through tame fog we can barely make out the humanoid creatures and skeletal remains of fallen sailors. Ludwig builds the melody as Damon’s cries fade in. It is a special moment where it truly feels like all the creatives working on this adaptation fully gave themselves to the story and what they felt were its most important themes.

In a film full of evocative and much needed spectacle, the siren scene is refreshing and unpredictable. Mainly because Nolan approaches it with restraint.

The execution of the scene paired with sudden criticisms online of Nolan’s reliance of premium formats and technology, planted a series of questions in my mind and I believe many others who have seen or are looking to see the film: Is Nolan’s fondness for IMAX and shooting on film a gimmick, or an artistic choice that enhances his films? Is it necessary to see his films in the esteemed premium format? Is it detrimental to the viewing experience to see it in standard? Is it possibly a larger class issue, with Nolan’s insistence on the format leading to greater exclusivity when it comes to cinema?

It is first important to frame these questions under the context of both Nolan’s filmmaking and the state of the theatrical movie business, as well as the history leading to the films widely followed development.

In 2024, fresh off of the Barbenheimer phenomenon that led to a resurrection of the box-office post covid and an array of Oscars, Christopher Nolan and Emma Thomas, his wife and producing partner, announced they would be adapting Homer’s The Odyssey under Universal Studios. ^[2] After further revelations surrounding a star studded cast, practical effects, location shooting, and most notably the first feature to be filmed entirely with IMAX cameras; the film would quickly grow to be one of the most talked about and anticipated films ever.

Nolan has been a champion for IMAX technology much of his career. ^[3] He was the first filmmaker to use IMAX cameras on a feature film, utilizing the technology for various action sequences in The Dark Knight (2008). ^[4] He would later go on to use IMAX technology more and more in his films, often for action or high-spectacle sequences, then typically switching to Panavision large film stock for dialogue. That is because IMAX cameras are hefty, fragile, and loud.

To film Nolan’s 11th feature using only this technology would require adapting it to these obstacles. Fortunately came the invention of a large muffler system for the cameras referred to as a ‘blimp’. ^[5] This allowed Nolan and legendary cinematographer Hoyte van Hoytema the ability to shoot all of the film on IMAX 70mm film stock, making it ideal to watch on the equivalent format.

When Nolan describes his passion for the technology, as well as the technology itself. It is clear why he is drawn to utilizing the format. With 18k resolution and larger aspect ratio the frame is able to exude far more detail.

The criticisms online I referred to earlier surround the status surrounding the IMAX movie going experience. IMAX tickets are more expensive. This is exasperated at a time of high cost of living where going out is a stress on the wallet, and hype around films like The Odyssey lead to these premium formats selling out across the board.

We are watching these elements cascade to an unfortunate narrative on the internet, per usual. Many feel that watching the film in standard format will hinder their experience, not only missing out on the premium formats but the loss of detail and information on a smaller frame.

It can be tough splitting hairs on this. On the one hand, the theatrical movie business has grown increasingly risky and less profitable over the years, especially in a post-covid streaming era, and the eventization of movies, especially those in premium format, have proven to be not only financially beneficial but popular with movie goers looking for further immersion. ^[6]

On the other hand, I don’t want to dismiss these worries and criticisms. More casual movie goers might feel as if they are being played, forced between the decision to spend more money or debilitate the frame.

With these thoughts in mind, I find my personal consensus in, once again, the scene of the sirens. — The way we sit far from the view of the sirens. The way Nolan pans in on a tormented Damon. These shots do feel all the more powerful in premium format paired with the stunning vistas and practical ship, but it’s not what you focus on when you’re in the scene.

I believe this reflects the heart of both sides of the discourse; dismissing Nolan’s use of IMAX technology as an exclusionary gimmick is reductive, just as it is to highlight his genius simply as a man that knows a great deal about fancy formats.

Nolan is a talented filmmaker that grows as an artist with each project, and with The Odyssey he has crafted a timely and reflective interpretation of a classic that is not simply just an experience, but a story of guilt and responsibility.

So to those who feel like Odysseus strapped to the mast as they desperately search through booked IMAX showings, or for those who feel rather contemptuous about the film, I heed you to chew on this quote below. — I highly recommend everyone go see this movie in theaters, regardless of format.

“It told you that what you most want is what you can’t have. And what you most can’t have is what you already had, and lost…”

References -

1. https://variety.com/2026/film/box-office/the-odyssey-box-office-christopher-nolan-opening-weekend-shatters-expectations-1236815861/

2. https://deadline.com/2024/10/christopher-nolan-new-movie-matt-damon-release-date-1236099940/

3. https://apnews.com/article/oppenheimer-christopher-nolan-0f8c1fdc4a358decee6105cac91a90ae

4. https://www.imax.com/pr/dark-knight-makes-motion-picture-history-imaxr-theatres-july

5. https://apnews.com/article/christopher-nolan-movie-viewing-guide-imax-9a43a2a15dd50de018295ac5fe27325a

6. https://www.hollywoodreporter.com/business/business-news/imax-revenues-profit-rises-1236654853/

With the mockumentary thriving amongst NBC’s primetime comedies; executives helmed writers Greg Daniels and Michael Schur to produce a brand new spinoff show to air in the sacred post-Superbowl window.

The duo instead opted to workshop a premise centered around local bureaucracy staring Amy Poehler fresh off her tenure on SNL. Another original mockumentary met with shaky first season ratings. ^[1]

Fast forward to 2015: Parks and Rec is wrapping up its seventh and final season, years after Greg and Michael faced another near-cancelation of a show they worked so hard on. The show raised a following of viewers similar to that of The Office (US) and assisted as a launch pad for various stars such as Aubrey Plaza and Aziz Ansari, as well as the careers of those behind the scenes. Writer Katie Dippold being an increasingly well known example of this.

Dippold (pictured above dressed as The Babadook) was hired as a staff-writer on season 2 of Parks and Rec, after co-showrunner Michael Schur read a pilot script of hers surrounding a cursed New England island whose mayor is hellbent on denying all specter and transforming the town into a flourishing tourist destination.

Dippold admitted the original draft of the pilot was rather self indulgent and less serious, more focused on jokes and less on scares. It served as a strong spec script that highlighted her talent and voice, as well as got her hired on the show. ^[2]

@bullseyepodcastKatie Dippold wrote the first version of the script for her new show Widow's Bay over a decade ago! #horror #comedy #suspense #tvshow

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Fast forward another decade and Dippold has teamed up with various talented directors and producers to evolve this idea into the 19 time Emmy nominated hit series on Apple TV: Widow’s Bay.

Widow’s Bay premiered April 29th, 2026 on Apple TV. The hilariously entertaining serious took the premise of Dippold’s spec and elevated it to a monument in genre filmmaking. ^[3]

The series follows Tom Loftis (A career performance from Matthew Rhys who is also an executive producer), the mayor of the cursed island who’s hubris to transform the town into a thriving tourist spot raises many dangers for himself and the town.

Loftis is a flawed character, yet one you very much sympathize with. A man eager to create a idyllic home for his son, who along with anyone born on the island, is bound there for eternity. This is substantiated by further scene stealing performances from Stephen Root & Kate O’Flynn.

Dippold was able to take a promising and humorous pilot and craft it into a meditation on superstition and the guilt of feeling responsible for forces out of our control that hang on the underbelly of charm. Her take on small town horror-comedy is multi faceted in its execution, utilizing the various creatives working on the show and their ability to blend subtle tension and steadfast comedic writing.

Dippold has been very candid about her process developing the series, stating her reluctance to accept offers for it over the years and hesitance on whether she would watch the original version she wrote. The development of Widow’s Bay reflects not only Dippold’s growth as a writer, but how the television comedy has adapted over the years.

Dippold has credited her closest collaborator on the show, Director and Executive producer Hiro Murai for making the show what it is. Not simply from his addition and creative input, but from his other works such as Barry and Atlanta that inspired her notion of what a syndicated comedy series could be.

Hiro Murai is a filmmaker whose career took off after numerous collaborations with the multi talented Donald Glover, also known by his stage name Childish Gambino. Glover is another example of a talent grown out of NBC’s primetime comedy scene, starting as a writer on 30 Rock before breaking out in his role as Troy Barnes on Community.

Murai and Glover worked together on multiple music videos including the iconic This is America before developing FX’s Atlanta. The series follows Earnest Marks portrayed by Glover, a father who begins representing his cousin, an up and coming rapper.

The series exemplifies a style and tone that would later be seen in Widow’s Bay. The balance of the absurd and the unsettling meld a fresh series, without sacrificing or minimizing the heart of any good comedy: A cast of characters and setting that you feel the desire to keep returning to and spend time in.

This is reflected also in how both of these shows move their stories along, seemingly blending elements of episodic and serialized television. Focusing on meaningful arcs of characters, but exercising a sense of elasticity in the episodes. These shows thread the needle between evocative subtext and comfort watch.

@thewatchpod“There’s something kind of like old TV about the way we built [‘Widow’s Bay’] that I think is really refreshing.” Director Hiro Murai and creator Katie Dippold break down how they crafted the world of #WidowsBay. #tv #hiromurai #katiedippold #interview

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The process of Atlanta, Widows Bay, and Parks and Rec reveal not only that TV is alive and well, but how creatives are evolving with the medium.

I personally fell in love with Atlanta and Parks and Rec in my youth, not only while they were in the prime of their tenure, but during a transition from cable to streaming. This meant shorter series, more mini-series, and an increasingly common all-in-one binge model.

Series like Parks and Rec and The Office saw a revitalization in viewers and more cult-like followings after joining services such as Netflix. ^[4] Atlanta stuck to its guns during the transition to FX on Hulu, maintaining its surreal charm and even doubling down with less popular one-off episodes.

Widows Bay exemplifies these different avenues for the modern era of TV. A show that knows what an audience wants, and also knows what makes it unique. I and many fans of thrilling comedy are eager to see how how this series evolves in the unsteady field of modern television

References —

1. https://web.archive.org/web/20210302145318/https://www.cleveland.com/tv/2009/04/parks_and_recreation_new_nbc_c.html

2. https://deadline.com/2026/06/widows-bay-creator-parks-rec-episode-origins-1236955818/

3. https://deadline.com/2024/09/apple-widows-bay-katie-dippold-hiro-murai-1236077757/

4. https://deadline.com/2020/09/netflix-dominates-first-weekly-nielsen-streaming-list-with-mostly-acquired-titles-1234570030/