Ask 'The Critical Drinker' a Question!
In partnership with Superpower | Unlock Your New Health Intelligence
Will Jordan, better known as The Critical Drinker, is an online film and TV critic. “I drink and I say things. I’m here to deliver reviews, breakdowns and analysis on modern entertainment media. Expect a healthy dose of sarcasm, biting criticism and low-functioning alcoholism.” He is also an action writer best known for writing the Ryan Drake series of action thrillers.
Tomorrow, he is rejoining the show to discuss Hollywood, The Odyssey, wokeness and good writing.
Comment your questions for Will below.
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I had one of these when I retired at 58. The outcome was serious changes to my lifestyle and I would save 5yrs off my life. The doctor could not tell me which five. I am now 80 and very glad I did not take their advice. It still the same and never changes. I drink too much, don’t take enough exercise, eat the wrong foods and don’t have enough sex. Nothing changes. I still have enough in the bank to enjoy life.
Christopher Nolan’s [The Odyssey] is being hailed as a cinematic masterpiece, but underneath its sprawling IMAX visuals lies a profound thematic failure. In his attempt to modernise Homer’s foundational text, Nolan has stripped the epic of its grandeur, trading the timeless tension of heroism and hubris for a fashionable, anxiety-ridden victim culture fest. The film’s fundamental flaw belongs to its characterisation. By denying Odysseus his dynamic, arrogant peak of heroism at Troy, his subsequent ten-year punishment carries no tragic weight. The gods are not punishing a man for challenging the cosmos; they are simply bullying an already broken soul. Back in Ithaca, the damage is equally severe. Penelope is stripped of her legendary intelligence and agency, reduced to a weeping, neurotic bore. Telemachus is cast as a whiny, perpetual victim, entirely robbing the story of his vital coming-of-age journey. Visually, Nolan’s signature claustrophobic, intense close-up camera work suffocates the narrative. Instead of the sweeping, mythic expanse of the Mediterranean, the audience is subjected to a relentless barrage of sweating, stressed faces. The blinding beauty of Greece, the vibrant nature of its people, and the sacred law of Xenia (guest-friendship) are completely absent. To truly honor the Western canon, this project required the operatic, morally heavy lens of a director , paired with an all-Greek cast to anchor the story in its rightful heritage. Greek myth teaches us that humanity must adventure and push boundaries, but we must also accept the crushing consequences of reaching too far. True heroism is about accountability and endurance, not modern angst and self-pity. Nolan missed the morality that is the whole point of the stor