I had in mind boycotting Christopher Nolan’s epic The Odyssey, which is now out to rave reviews and considerable criticism, the criticisms portrayed as issuing from white ethnocentrism. I knew about the cyclops Polyphemus would be in the film. I saw the clip, and Nolan’s use of the aesthetics of Francisco Goya’s iconic and chilling masterpiece, “Saturn Devouring His Son,” is a brilliant stroke. But it is not enough to draw me to the theater. Then I learned that the six-headed sea monster Scylla is in it. And not just Scylla. The Laestrygonians, a tribe of cannibalistic giants, make an appearance. So do three gods—Zeus, Poseidon, and Athena. I am a big fan of monster movies, great battles, and ancient mythology. What am I supposed to do?
Back in May, I discussed the ideological practice of falsifying history in Helen of Troy and the Falsification of History. What inspired that essay was Nolan’s casting of Academy Award-winning actor Lupita Nyong’o, who portrays both Helen of Troy and her sister Clytemnestra. For anyone unfamiliar with Nyong’o, she is black. Traditional descriptions of Helen, however, portray her as strikingly fair-skinned—her pale complexion being her most celebrated feature. She was said to stand out sharply among the olive-skinned populations of the ancient Mediterranean. I noted in that essay that Sub-Saharan Africans were not unknown in that world, yet no ancient sources describe Helen as black. If she had been, the contrast would almost certainly have been noted.
Critics of the film have noted that there are no Greeks cast in the film. I understand the complaint, but at the same time, Greek is not analogous to Sub-Saharan African. These are different categories of things. Greek is an ethnicity—a group marked by common culture and language. Sub-Saharan African is a racial distinction. It is a natural historical thing. Greeks are white. Actors of white European descent portraying Ancient Greeks is not the same as Africans of Sub-Saharan descent portraying white Europeans. It isn’t believable. Anthony Quinn, a white Hispanic man of Mediterranean stock, played Zorba, a Greek man, in the film adaptation of Nikos Kazantzakis’s 1946 book Life and Times of Alexis Zorbas. Hispanic is not a race. It is an ethnicity. Why are people talking about Zorba the Greek in defending Nolan’s film?
Marc Lamont Hill, in justifying the casting of Nolan’s take on Homer in an appearance on The Piers Morgan Show, wondered why, if people are going to get exercised over the choice of a black woman to portray Helen, they are not upset about Charleston Heston playing Moses in Cecil B DeMille’s The Ten Commandments. Moses, if he was an actual person, would have been Hebrew, who, in time, became the Jews. Is Hill suggesting that Hebrews—or modern Jews—are not racially white? Does the man have so little grasp of anthropology—is he ignorant of the racial theory advanced by Hitler and his team of pseudoscientific hacks—that he would think it relevant to the discussion to note a white gentile portraying a Hebrew? Heston also portrays Judah Ben-Hur in Metro-Goldwyn’s 1959 film Ben-Hur. Does Heston stand twice accused of Jewface?
The same principle applies to depictions of Jesus. If the man were a historical figure from first-century Judea, he would have been a Middle Eastern man with the physical characteristics typical of that region. Portraying the Son of God as a woman or as a Sub-Saharan African would rightly strike most people as a deliberate ideological statement rather than innocent casting. Martin Scorsese cast Willem Dafoe as Jesus in the film adaptation of Kazantzakis’s 1955 novel The Last Temptation of Christ (released in 1988). The intense outrage over that film had nothing to do with the fact that Dafoe is a gentile. The controversy was entirely theological. Christian fundamentalists objected to the very concept of the film. Why did Hill highlight Heston and not Dafoe?
To see the problem more clearly, consider a white man portraying Martin Luther King, Jr. in a movie about the Civil Rights leader. Or consider Marlon Brando’s portrayal of the Japanese/Okinawan interpreter Sakini in the 1956 film The Teahouse of the August Moon. Brando wore prosthetic makeup and spoke in broken English for the role. Or John Wayne playing Genghis Khan in the 1956 film The Conqueror. Those instances of yellowface were widely panned. A white man portraying King would be rightly condemned as blackface. And if the white actor did not don prosthetics and paint his face, it would be impossible for the audience to suspend its disbelief.
When objections to this casting arise, common defenses follow: actors should be free to play any role, criticism equals bigotry, and since Helen is a mythological figure later euhemerized, historical accuracy is irrelevant. Yet for those who know the classical descriptions, seeing a black actress in the role of a white woman creates a persistent cognitive dissonance. Many viewers, especially younger ones less familiar with the source material, may leave the theater assuming Helen was an African woman, leaving them vulnerable to manipulation. This isn’t neutral artistic license; it reshapes historical and cultural memory along ideological lines. This last piece is a real problem.
The above video clip is AI-generated. It appears on the Facebook/Instagram page of a profile that goes by the name of OriginalBlackGod. Although it is AI-generated, it is presented as actual clips of three comedians: George Carlin, Norm McDonald, and Chris Farley. Not only did these comedians never say the things we hear in their simulated yet convincing voices, but they also are not convincing simulations of the actual person they intend to represent. The attempt to hide the dissimilarities by using visual distortion effects fails. But even if the visual simulations had been convincing, those of us who closely followed the three know their acts. AfroTurfing was never part of their respective repertoire. Yet tens of thousands have liked the video, and commenters swear they heard those bits in the moment. Nolan is enabling the rewriting of memory. This is unforgivable.
I have worried, as I am sure many of you have, as well, that we will reach a time when what is real and what is simulated can no longer be discerned. I am thankful that Facebook and X are identifying AI-generated audio and visual content (yet, to date, Facebook has not flagged Originalblackgod’s video). I use OpenAI and Grok to generate images. Despite citing them when I present the results, social media sometimes identifies such content as AI-generated. This helps users know when they are consuming such content. I applaud that. But we did not have to wait for near-perfect simulations to see some people believing that obviously false simulacra are actual representations. Motivated reasoning has their brains make up for the inadequacies of AI generation. They believe Carlin actually said the things the bad simulation says because of what they already believe—and want to believe. This should terrify you.
As I argued in the previous essay, film studios are free to cast whomever they choose. However, when they use their platform to advance historical revisionism for contemporary political purposes, the choice deserves scrutiny. And when their fabrications enable the mass reprogramming of populations, the practice requires condemnation.
The demand for diversity in art is a cover for something much darker. Recall the press conference at the Venice Film Festival for The Promised Land, set in eighteenth-century Denmark. Questions about racial diversity were met with visible surprise by Mads Mikkelsen and director Nikolaj Arcel. The exchange highlighted the tension between Hollywood’s modern diversity mandates and the demographic realities of historical European settings. However, beneath this is the political project to prepare the population to disregard the requirement for anthropological and historical truth. This is the same project that disrupts man’s innate facility for recognizing gender. Indeed, Nolan’s The Odyssey is the work of queer politics. It even casts Ellen Page, who now goes under the name Elliot, having declared herself to be a man, in the role of the Greek soldier Sinon. Sinon is not even a character in Homer’s epic poem. He is a character in Virgil’s The Aeneid.
A core pleasure of cinema is its ability to transport us. That suspension of disbelief becomes much harder when the production contradicts well-established aspects of a famous story. Knowing that Helen was described as exceptionally pale or that Jesus was a white man from Galilee makes certain casting decisions jarring for informed audiences. Applying rigid diversity rules across the board leads to implausible outcomes. Film studios should not be rewarded for organizing well-known materials along DEI lines.
But that is a problem for cinemagoers. The project to disorder historical memory is a problem for all of us. Ultimately, when studios prioritize messaging over coherence with the historical or cultural record, they invite criticism—not because audiences oppose diverse casting in original stories, but because retrofitting race into established figures distorts truth for ideological ends.
Sirens, depicted as birdlike beings in ancient mythology, appear in Nolan’s film. They are calling this old fan of monster movies to go and see them. He will resist their song.

















