Entertainment
The Odyssey’s Massive Success Proves That The Internet Isn’t Real Life
By Chris Snellgrove
| Published
Right now, Christopher Nolan’s The Odyssey is tearing through theaters like a one-man army. This film is the latest adaptation of an ancient Greek text about a soldier trying to find his way home after helping to win a costly battle. Specifically, Odysseus helped to bring the Trojan War to an end, which is ironic when you think about it. After all, the success of this fictional tale might have finally brought a real-world conflict to an end. Namely, the endless culture wars fought by the bravest keyboard warriors this side of 4chan.
For many months now, all of the usual suspects have been whinging about Nolan’s casting decisions. This included having Lupita Nyong’o play Helen of Troy and having Elliot Page play Sinon, a Greek warrior. At the prospect of (gasp!) a Black woman and a trans man playing Greek characters, haters began screeching that the film was woke garbage that would bomb at the box office. That is, of course, the conventional wisdom of the old adage: “go woke, go broke.” However, The Odyssey earned a whopping $264.1 million in its opening weekend, providing a lesson everyone should learn. The lesson? Repeat after me: the internet is not real life.
There Is No Normal
When I’m not dropping hot takes about movies and TV shows, I’m a professor at a humble state college. One of the life lessons I try to impart to all my students is that there is no normal; there is only what has been normalized around you. Are you in a room with nothing but flat-earthers? In that scenario, you’d be considered the crazy one. After a while, you might even start to believe what they are saying. This is just human nature…everyone wants to fit in rather than be an outcast. Eventually, it becomes easier to drink the Kool-Aid of wacky groupthink than to speak truth to a bunch of idiots.
What does this have to do with The Odyssey? Everything, really. Despite once clinging to the mantra “facts don’t care about your feelings,” the conservatives predicting that the movie would bomb didn’t have any real data to suggest that would happen; instead, they just had the rancid vibes of everyone in their preferred virtual spaces insisting that the film would flop. This is a practical example of the flat-earther example above. You can only hear the majority of people in your favorite online groups predict doom for so long before those predictions seem inevitable. Nobody wants to question the narrative because that’s the quickest way to get ostracized from the group.
The Internet Is Not Real Life
Now, the success of The Odyssey (it made over a quarter of a billion dollars in the first weekend!) has destroyed that narrative on its own. What has that done to the naysayers who predicted its doom? Some have retreated into conspiracy theories; millionaires must be buying out empty theaters! The movie is only successful because it pandered to woke elites! It’s only making money because of presales! The expensive IMAX tickets inflated the numbers! These are just a few conspiracies being peddled by intractable crazies who can’t comprehend The Odyssey being popular and successful. Their narrative has fallen apart, proving once and for all that the internet is not real life.
Regardless of its political leanings, every single online group you are part of has its own biases about countless topics. This includes what is or isn’t woke. But part of being a grownup is realizing that these groups’ opinions don’t reflect the wider culture anymore than your childhood friends’ opinions reflect the opinions of everyone in your hometown. If you and your buddies hate a new bar but it gets more crowded by the month, then most people clearly like it. And if the movie all of your online buddies have called woke garbage earns hundreds of millions in the first weekend, then it’s clearly both popular and successful.
The Culture War Is Over
Everyone votes with their dollars. If having a Black woman or a trans man portray a Greek character was a huge dealbreaker, mainstream audiences would have boycotted The Odyssey. If the average moviegoer actually cared about tweaking the lore of a 3,000-year-old poem, they’d have avoided the film. The fact that the movie is doing gangbusters at the box office is proof that most going to see it aren’t fretting over politics or culture war narratives. They just wanted to see a giant blockbuster filled with great actors; Christopher Nolan, whose every film has been successful, gave those audiences exactly what they wanted, and he’s being rewarded for it.
That’s how you can tell (and you may want to sit down for this) that the whole idea of a culture war is fake. Under capitalism, the predominant culture and cultural preferences are represented by what people pay for. The Mandalorian and Grogu didn’t fail because it was woke; it failed because it was another low-effort film from a fading franchise. Obsession didn’t succeed because it was anti-woke; it succeeded because it had fresh ideas, killer performances, and a visionary director. In short, audiences just want a good film, and a movie’s box office is the most reliable barometer of mainstream audiences’ opinion on a major blockbuster film.
Freaks And Greeks
Given its own massive box office, The Odyssey is clearly a movie that appeals to mass audiences. Now, that doesn’t mean you have to like it or that it is necessarily a great film; after all, plenty of terrible movies are still insanely profitable. And you don’t have to approve of the casting, either; if boycotting this movie because of those two actors is that important to you, nobody’s going to drag you to go see it. But if you’re still hating and claiming this movie will bomb, you are officially the minority opinion on Christoper Nolan’s latest film, one that could easily earn over a billion dollars when all is said and done.
Again, the takeaway here is that the internet isn’t real life. Did everyone in your scoldmaxxing online circles predict The Odyssey would fail? Now you know how much those predictions are worth. Were you utterly convinced that Elliot Page’s brief appearance in this film would destroy Nolan’s chances of success? Now you know how little the average person actually cares about these things. Fortunately, you can avoid these problems by putting the phone down, walking away from the computer, and going outside at least once a day. When you start talking to real people and not digital avatars, you might start caring less about what the internet has to say.
Regularly going outside is the best thing for anyone who has spent months liking countless posts about how The Odyssey would fail. If that’s you, then do us all a favor and touch some grass while you’re out there!
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Christopher Nolan‘s latest filmmaking rule has become one of the most talked-about details from the set of “The Odyssey,” and it has nothing to do with cameras or special effects.
Instead, the Oscar-winning director has drawn attention for banning one surprisingly ordinary fashion item, a decision he says helps actors remain fully immersed while bringing Homer’s legendary epic to life.
The conversation began when Anne Hathaway appeared on Brittany Broski’s “Royal Court,” where she was asked about Christopher Nolan’s famously disciplined productions.
Rather than discussing the scale of “The Odyssey,” Hathaway revealed one of the director’s more unexpected “commandments.”
“Thou shalt not wear Uggs,” Hathaway said, prompting laughter during the interview.
Her co-star Matt Damon followed with another claim about working with Nolan.
“Thou shalt not sit down. There are no chairs on set,” Damon joked. The actor expanded on Nolan’s dislike for Uggs, noting, “Oh yeah, that’s a good one. He hates Uggs. I think they just symbolize leisure in a way that he’s not comfortable with.”
Those remarks quickly spread online, fueling renewed interest in the filmmaker’s unconventional production style. However, the “no chairs” claim has long been disputed.
In 2020, a representative for Nolan responded to similar stories by saying the only items officially prohibited on his sets are cell phones and smoking, not chairs.
Still, Hathaway’s comment opened the door for Nolan himself to explain why something as simple as a pair of boots matters so much.
Nolan Says Modern Items Break The Illusion
During an appearance on “CBS Mornings,” Christopher Nolan was asked directly about Anne Hathaway’s revelation.
Rather than dismissing it, the filmmaker explained that modern objects can interrupt the atmosphere actors need while performing period stories.
“The funny thing is you can be on set where you’ve got, you know, a guy holding a microphone. You’ve got a giant camera, you’ve got crew everywhere, but something like [UGGs] can actually weirdly take you out of the reality,” Nolan said per Entertainment Weekly.
He explained that the issue extends beyond footwear, noting, “There are just certain things that remind you you’re in the real world as opposed to the world we’re trying to create for the actors. I want to stay in the moment, we want the actors to stay in the moment.”
The comments fit neatly into a philosophy Nolan has embraced throughout his career.
The British filmmaker has never owned a smartphone and has repeatedly said he prefers not to use email, believing constant digital communication can become a distraction.
His productions have similarly developed a reputation for minimizing interruptions, allowing cast and crew to focus almost entirely on the work in front of them.
Christopher Nolan’s Demanding Sets Go Beyond Dress Codes
The rules on “The Odyssey” extend far beyond wardrobe.
Earlier this year, GQ documented one of the production’s most physically demanding locations while profiling stars Matt Damon, Tom Holland, and Robert Pattinson.
Filming at Sicily’s Castello di Santa Caterina required actors and crew to climb roughly 900 feet to reach the set because construction crews had been unable to build an access road before production began.
Pattinson later recalled making the trek wearing sandals that matched his costume. When asked about the story on “CBS Mornings,” Nolan confirmed it was accurate.
He said per the Daily Mail, “When [Pattinson] started on the film, we were shooting at the top of a mountain a thousand feet in the air and we hadn’t been able to get any kind of road built up or anything.”
He added, “But yeah, we’re starting with this tremendous hike and then absolutely exhausted you [before starting] your day’s work.”
The difficult climb reflected another hallmark of Nolan’s productions, a willingness to work in real environments whenever possible instead of recreating locations on soundstages.
Christopher Nolan Has Built A Career On Authentic Filmmaking
The same philosophy behind the UGG rule has shaped many of Nolan’s biggest films.
Rather than relying heavily on computer-generated imagery, he has consistently favored practical filmmaking.
“The Dark Knight” famously featured a real truck flip, “Tenet” included the destruction of an actual Boeing 747, and “Oppenheimer” relied extensively on practical effects to depict the Trinity nuclear test instead of using CGI.
Those creative decisions have become part of Nolan’s reputation, helping distinguish his work from many modern blockbusters.
“The Odyssey,” adapted from Homer’s ancient Greek poem, continues that tradition. Universal Pictures assembled one of the director’s most impressive ensembles for the movie, including Matt Damon, Tom Holland, Anne Hathaway, Zendaya, Robert Pattinson, Charlize Theron, Lupita Nyong’o, Jon Bernthal, and Mia Goth.
Nolan’s Methods Have Earned Praise From Longtime Collaborators
Christopher Nolan’s demanding approach has become a recurring theme among actors who return to work with him.
Matt Damon, who previously collaborated with the filmmaker on “Interstellar” and “Oppenheimer,” signed on for “The Odyssey” after publicly praising Nolan’s preparation and the confidence he gives performers once production begins.
Anne Hathaway has also become one of Nolan’s most frequent collaborators, with “The Odyssey” marking their third film together after “The Dark Knight Rises,” and “Interstellar.”
She has repeatedly spoken about the trust she places in the director, while Robert Pattinson returned following his acclaimed performance in “Tenet.”
That growing list of returning stars suggests Nolan’s strict rules are rarely viewed as obstacles by the people working alongside him.
Instead, many of Hollywood’s biggest names continue to embrace the immersive environment he creates, even if it means leaving modern comforts and UGG boots behind while the cameras are rolling.
Godzilla vs. Kong star Rebecca Hall shared an emotional tribute to her onscreen adopted daughter, Kaylee Hottle, following the teenager’s death at age 18.
“Devastated to hear this news. My heart goes out to your family. You will be missed, Kaylee,” Hall, 44, captioned a series of photos of herself and Hottle on the set of 2021’s Godzilla vs. Kong and its 2024 sequel, Godzilla x Kong: The New Empire, posted to her Instagram account on Tuesday, July 21.
Hottle played Jia, a deaf youngster who is adopted by Hall’s Dr. Ilene Andrews, in the fantasy films. Her character communicated with King Kong via sign language.
Hottle’s father, Joshua Hottle, told TMZ that the actress died following a car accident in Maryland in the early hours of Tuesday. He also confirmed the news to his followers on Facebook in a livestream, stating that he was flying from Texas to claim her body.
Hollywood mourned the deaths of some of its most legendary stars in 2026. The year started off with Broadway performer and influencer Bret Hanna-Shuford’s death at age 46. At the end of the month, comedy acting icon Catherine O’Hara died at age 71. In February, Dawson’s Creek actor James Van Der Beek died at age […]
The Frederick County Sheriff’s Office confirmed that authorities responded to a fatal single-vehicle collision in Ijamsville, Maryland, at 2:52 a.m. on Tuesday.
“The preliminary investigation revealed that a 1995 Honda Accord, operated by a 19-year-old Frederick man, traveled off the right side of the two-lane roadway and struck a culvert,” a press release said. “Excessive speed is believed to be a contributing factor in the collision.”
The police department said that two passengers were in the car as well as the driver. The driver was taken to a local hospital with what are believed to be non-life-threatening injuries, while the other passenger declined medical assistance at the scene.
“The second passenger was identified as Kaylee Hottle, 18, of Kyle, TX,” the release said. “Hottle was transported from the scene to an area trauma center, where she was later pronounced deceased.”
Hottle was born in Atlanta and comes from a multi-generational deaf family. She was raised in Austin, Texas, and attended the Texas School for the Deaf.
As well as the Godzilla vs. Kong films, she appeared in a 2021 episode of CBS’ Magnum P.I. playing a character called Joon.
In 2021, Hottle’s Godzilla vs. Kong costar Alexander Skarsgård revealed that he learned American Sign Language (ASL) in order to communicate with the young actress on set.
“It’s her first movie. It’s fascinating how comfortable she is in front of the camera and how quickly she takes notes from the director Adam [Wingard],” he told Junkee. “He’ll explain something and she’ll be like, ‘Got it, got it.’ Then she’ll just do it and everyone’s like, ‘The f*** … how did she?’”
“She’s so professional,” the actor added. “There’s so much going on on her face, her expression, and the subtleties of that is fascinating to watch.”
Entertainment
New details revealed in “Godzilla vs. Kong” actress Kaylee Hottle’s fatal car accident
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The incident occurred in Ijamsville, Md., on Tuesday morning.
While all eyes are on Spider-Man: Brand New Day and Avengers: Doomsday coming later this year, it will be hard to top Simon Williams as the biggest breakout star of the MCU in 2026. Marvel stunned everyone with the release of the show-stopping Wonder Man on Disney+ back in January, not only reintroducing a character who has been a part of the company’s comic history since the 1960s, but also using him for a satirical exploration of Hollywood and the process behind superhero movie-making. The meta-comedy series was an instant hit with both critics and audiences, earning a Season 2 renewal and the first acting Emmy nomination in five years for the MCU for Yahya Abdul-Mateen II as the lead. It’ll be a while before Destin Daniel Cretton and Andrew Guest get Simon’s next chapter to the screen, but fortunately, there’s another story featuring the character that’s just wrapping up.
Marvel Comics has released the fifth and final issue of Wonder Man Vol. 4 onto store shelves, concluding prolific Deadpool writer Gerry Duggan‘s run with the character, which began earlier this year. Like the new show, it’s been one big love letter to the history of Simon Williams on the page and to Hollywood itself, as the hero picks himself from the lowest of lows to return to super-heroic stardom. That is until his old cellmate comes around, kicking off a series of events that see Simon framed for murder, starting a whirlwind romance with Hellcat, and facing down The Spot as he threatens L.A. In Issue #5, everything finally comes together for the hero, but not before Simon finally drops his terrible representation.
Accompanying the release, a new preview was shared that combines both the thrill and comedy of Wonder Man into one sequence. The pages catch up with Simon after he learns from the Avengers where Matthew Walters’ plane is heading and decides to pay an in-flight visit to the Hollywood weasel. Walters certainly isn’t expecting to see his client casually fly up beside him and ask where his old pal, Rudolph Chancellor, is. When the agent can’t give him an answer, he stops asking nicely, getting a panicked story about how Chancellor leaped out of the Cessna to his death out of sheer guilt. Unfortunately for Walters, Simon is familiar with his slimy tricks and decides on a different approach, ripping the door off and dangling Walters until he reveals the very stupid truth. Walters was a terrible investor, buying into the future of NFTs and specifically, a certain line of JPG monkeys, leading him down a path of embezzlement and murder. It’s so dumb and evil that Simon simply drops his former agent over the water, but surely he wouldn’t just let a man die without facing justice, right?
Will ‘Wonder Man’ Issue #5 Give Simon Williams His Hollywood Ending?
Much of Wonder Man #5 revolves around finally piecing together the answers to all the chaos that has taken over Simon’s life. His confrontation with Walters shows the who and the very idiotic why behind the deaths close to him, but there are still questions left to untangle about how this all happened. Among the most burning, unrelated to the series’ central mystery, is whether the will-they-won’t-they between Simon and Patsy is built to last after a run full of romantic tension. All signs are pointing to a climactic and comedic finale for Hollywood’s greatest hero. Joining Duggan for the issue is artist Phil Noto, with Marco Checchetto and Frank Martin handling the cover.
Wonder Man #5 is now out on store shelves. Check out a sneak preview of the issue in the gallery above.
- Release Date
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2026 – 2026-00-00
- Network
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Disney+
- Writers
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Andrew Guest, Madeline Walter, Paul Welsh, Zeke Nicholson, Roja Gashtili, Julia Lerman
Video game fans have had plenty of massive projects to dive into this year, including a new James Bond game, 007 First Light, and one of the most anticipated Assassin’s Creed games of all time, Black Flag Resynced. The former stars Patrick Gibson as the iconic MI6 agent, and the latter is a ground-up remake of one of the most beloved Assassin’s Creed games of all time, centered around the legendary pirate Edward Kenway. There are also a few big games coming in the second half of the year to look forward to, including Wolverine, the new Marvel game from Insomniac, developers of all three popular Spider-Man games. The biggest release of the year — and maybe even of all time — belongs to Grand Theft Auto 6, the first game from Rockstar after the colossal success of Red Dead Redemption 2.
Games based on already-established IPs, like Wolverine and James Bond, have become increasingly popular in recent years, as they give developers a chance to tap into a large fan base and add to existing lore. One game series to emerge in the last few years that has exploded in popularity is Star Wars Jedi, which centers around the young Jedi Cal Kestis, who is played by Cameron Monaghan. Respawn has put out two Star Wars Jedi games, Fallen Order in 2019 and Survivor in 2023, and while it’s been confirmed that a third game is in the works, there have been few updates on its progress in recent years. Fans of the franchise are getting a new release later this year, though, when the third chapter of the Star Wars Jedi: Fallen Order manga series hits shelves everywhere on December 1.
What Is ‘Star Wars Jedi: Fallen Order Volume 3’ About?
The official synopsis for the new Star Wars Jedi: Fallen Order release reads as follows: “The multi-volume manga adaptation of the best-selling Star Wars video game continues! The saga of Cal Kestis continues in volume three of the manga adaptation of the hit video game! Haunted by tragic memories and with his lightsaber destroyed, Cal’s quest is about to test him in ways he never could have imagined. As he journeys to new planets, Cal delves into his painful past and his relationship with his deceased master [Jaro Tapal]. With striking visuals and an action-packed story, readers will be immersed in Cal’s quest like never before.” Greez, Cere, and the Mantis even feature on the cover for the new release, which is now available for pre-order before it launches on December 1.
Stay tuned to Collider for more updates and coverage of the Star Wars Jedi franchise starring Cameron Monaghan as Cal Kestis.
- Released
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November 15, 2019
- ESRB
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T
- Developer(s)
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Respawn Entertainment
- Publisher(s)
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Electronic Arts
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These nine actors saw their careers change dramatically after serious health diagnoses.
For the last decade or two, fans have watched the changing landscape of Hollywood with more interest than usual. Not only has the streaming era thrown the entire business for a loop, it has pushed companies into mergers, acquisitions, and re-brands that would have seemed unthinkable in the past. Fans have seen firsthand how these deals can affect their favorite TV shows and movies, yet it has begun to seem inevitable that every merger will be approved. Paramount‘s impending merger with Warner Bros. was no exception, but this week, federal Judge Araceli Martinez-Olguin gave us real hope that the two companies might be kept apart.
Martinez-Olguin is a judge in the U.S. District Court for Northern District of California in Oakland. On Friday, she heard arguments from a coalition of 12 states arguing that the Paramount-Warner Bros. merger would be a violation of federal anti-trust laws, and would be detrimental to the film industry — and the economy as a whole. According to a report by Variety, Paramount and Warner Bros. had previously agreed not to close their deal before July 22. With that deadline fast approaching, Martinez-Olguin approved a 14-day temporary restraining order, putting it off at least a little longer.
Two weeks may not sound like a lot — especially for a deal this big with so much momentum behind it — but it is the first ray of hope we’ve seen in a case like this for years now. After Disney absorbed both LucasFilm and Marvel Studios, it seemed hard to imagine any other giant mergers coming into question, but this time might be different. If the court finds serious fault with this merger, it could represent a whole new era for Hollywood.
The Paramount-Warner Bros. Merger Will Make Movies Worse
The coalition of states opposing this merger is led by California, and the state’s attorney general, Rob Bonta issued a celebratory statement on after Martinez-Olguin’s order. Bonta said that this “megamerger” would lead to “fewer opportunities for more people,” and “worse products and services for all people.” It’s a sentiment that many critics have shared over the last few years, yet usually with an air of defeat. Here, it seems like the case against the merger might actually have a chance now.
As we’ve seen before, a merger between two massive companies like this typically starts off with mass layoffs. The newly-formed corporation no longer needs two people doing each job now that they’re one entity, and protecting the employment rate is a major part of the state’s case. However, anti-trust laws are meant to protect the economy from “anticompetitive” behavior, meaning that companies can collude to set fixed prices on their goods and services. Under a monopoly, consumers have nowhere else to go, so they’re forced to accept the quality and prices offered.
This could be a real concern in today’s day and age, as consumers have watched streaming take over the entertainment industry only to fluctuate wildly in price. However, a spokesperson for Paramount was confident that they could overcome the anticompetitive argument in particular. They told Variety that these claims do not reflect “modern market realities,” adding: “This merger is lawful, pro-competitive, and will benefit consumers, creators, workers, and the entertainment industry.”
Judging by other massive mergers in Hollywood, public sentiment seems to be against these deals in general. There are hardly any Star Wars discussions these days without mention of the drop in quality since Disney took over, and the same is said of Marvel. Warner Bros. already suffered a major blow to its prestigious branding when it combined with Discovery several years ago, putting reality TV titles alongside some of the most esteemed films ever made on HBO Max. These deals have definitely detracted from the quality of entertainment in some cases, and more importantly, critics and fans have their eyes out for it to happen again in any future mergers.
Canceling The Paramount-Warner Bros. Merger Would Have Consequences
With all that said, the battle against this merger is hardly over, and there is too much money on the line for the corporations themselves to give up easily. If Martinez-Olguin did rule that the merger violated anti-trust laws, Paramount and Warner Bros. might need to pay up to $7 billion in breakup fees. On top of that, all the plans for the merger would need to be scrapped, taking with it all the plans both companies have been making as they’ve assumed this deal would go through.
The next move in this case will likely be to determine how much longer the merger can be stalled. Martinez-Olguin’s restraining order could reportedly be extended as long as 28 days in total, during which time she will need to decide on the coalition’s request for a preliminary injunction to hold off the merger indefinitely while their lawsuit takes its course. Historically, injunctions like this have worked to unravel merger deals before they can be finalized, regardless of the outcome of the lawsuits themselves.
Meanwhile, Paramount’s lawyers argue that the entertainment industry would be less competitive if this deal falls through, claiming that neither Paramount nor Warner Bros. alone can rival Netflix, Amazon, and other players on that level. If they merge, the two companies believe they can put up more of a fight. Whatever the outcome is, it will likely be decided by the end of September, and the future of Hollywood will be a bit easier to predict.
Keanu Reeves is never far from a box office hit. John Wick himself has been a part of many a high-profile theatrical project over recent years, with that set to continue in 2027 when he reprises his role as Shadow the Hedgehog in Sonic the Hedgehog 4, following his debut in the third installment. Right now, Reeves’ Duke Caboom has joined the likes of Woody (Tom Hanks), Buzz (Tim Allen), and Jessie (Joan Cusack) in Toy Story 5, which looks set to become the third film of 2026 to hit the $1 billion mark at the box office.
But this 2020s run of form for Reeves simply wouldn’t have been possible without those early films that would go on to define his career. Without Speed and The Matrix, there would be no John Wick, but without the 1991 cult classic Point Break, there would be no Speed or The Matrix. Starring Reeves as FBI Agent Johnny Utah, alongside the likes of Patrick Swayze, Lori Petty, and Gary Busey, this adrenaline-fueled action thriller went on to define the genre in the ’90s.
Directed by Kathryn Bigelow and written by W. Peter Iliff, Point Break is still a fond favorite of many, and now it’s got the chance to capture the love of a whole new generation. It’s been officially confirmed that, in celebration of the film’s 35th anniversary, Point Break will return to theaters nationwide on August 16 and 19 in the form of a new 4 K restoration released by Resurgence Media Group, Saga Arts, and Fathom Entertainment. Surfer Matt Archbold, who served as Swayze’s surf double, will present an exclusive introduction ahead of the film. In a statement, Shannah Miller, the vice president of marketing at Fathom Entertainment, said:
“Few films have built a following as loyal as Point Break’s. Thirty-five years after it first hit theaters, this newly restored 4K version gives that devoted following exactly what they’ve been asking for: Bodhi, Johnny Utah and those legendary surfing and skydiving sequences, back where they belong on the big screen.”
How Much Did ‘Point Break’ Make at the Box Office?
Point Break didn’t exactly make waves at the 1991 box office, but it can still be considered a success. Against a reported production budget of $24 million, the movie returned a global haul of $83 million, split between $43 million in domestic revenue and a further $40 million from overseas markets. The movie opened in fourth place on the U.S. charts at a time when Terminator 2: Judgment Day was dominating the competition.
Point Break is returning to the big screen. Stay tuned to Collider for more.
- Release Date
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July 12, 1991
- Runtime
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122 minutes
- Director
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Kathryn Bigelow
- Writers
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W. Peter Iliff, Rick King
- Producers
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James Cameron, Joseph Newton Cohen, Peter Abrams
Rebel Wilson has emerged victorious in a closely watched legal battle after an Australian court dismissed a defamation lawsuit brought by her former co-star Charlotte MacInnes.
The ruling marks the end of a years-long dispute tied to Wilson’s directorial debut, “The Deb,” while allowing the actress to shift her focus back to filmmaking after one of the most challenging chapters of her career.
The Federal Court of Australia ruled in Rebel Wilson’s favor after Charlotte MacInnes failed to prove that a series of social media posts by the actress caused serious harm to her reputation.
MacInnes, who starred in Wilson’s directorial debut “The Deb”, alleged that Wilson defamed her through posts suggesting she had withdrawn a sexual harassment complaint for career reasons.
The controversy centered on claims that MacInnes had privately told Wilson she felt uncomfortable after “The Deb” co-producer Amanda Ghost allegedly asked her to shower and bathe together.
According to court proceedings, MacInnes denied ever making or retracting such a complaint, insisting she was never uncomfortable when she and Ghost shared a bath while wearing swimwear following a medical episode in September 2023.
After months of testimony, Justice Elizabeth Raper ruled that MacInnes had failed to meet the legal threshold required for defamation.
“MacInnes has failed to establish that the publications have caused or were likely to cause serious harm,” the judge said per the Daily Mail.
Justice Raper also ordered MacInnes to pay Wilson’s legal costs, handing the actress a decisive courtroom victory.
Why Charlotte MacInnes Sued Rebel Wilson
The lawsuit stemmed from an increasingly public dispute over “The Deb,” the Australian musical comedy that marked Wilson’s feature directorial debut.
MacInnes accused Wilson of portraying her online as a liar and a “sellout” who abandoned a sexual harassment complaint to advance her career.
During closing arguments, MacInnes’ barrister, Sue Chrysanthou SC, launched a blistering attack on Wilson’s credibility.
“She is a fantastical liar who has made up terrible, terrible allegations about multiple people and her own witnesses have discredited her,” Chrysanthou argued. “We say Ms Wilson cannot be believed on anything she has said.”
Wilson consistently rejected those allegations throughout the proceedings.
Taking the witness stand, she defended her actions by declaring, “I am known as a truth-teller.”
She also maintained that her Instagram posts were never intended as personal attacks.
“I don’t classify it as an attack, I classify it as telling the truth,” Wilson told the court.
Her barrister, David Sibtain SC, argued Wilson had “no motive to lie” about claims that could have jeopardized her own film by damaging relationships among its cast and producers.
Instead, Sibtain alleged MacInnes later distanced herself from the complaint because maintaining a positive relationship with Ghost benefited her career.
He further argued, “Ms MacInnes is someone who gave false evidence under oath,” adding that she “has suffered no harm, let alone serious harm.”
Rebel Wilson Breaks Silence After Her Court Victory
Hours after the ruling, Wilson addressed the outcome in a lengthy Instagram statement, reflecting on the emotional toll the litigation had taken.
The actress said making audiences laugh has always been the driving force behind her career and recalled receiving a heartfelt letter from a woman whose grieving teenage niece smiled for the first time after watching one of her early stage productions.
Wilson explained that creating stories capable of bringing joy has motivated her throughout an industry she described as being “full of sharks.”
Reflecting on “The Deb,” she wrote that the musical comedy had been her “dream job” and represented years of dedication.
“The DEB… was my dream job – my directorial DEB-UT – my directorial debut, a celebration of Australian stories, and something I poured years of passion into alongside an incredible cast and crew,” she wrote.
She admitted watching that journey become consumed by legal disputes had been “incredibly difficult.”
Still, Wilson said the experience ultimately strengthened her resolve, noting, “This process has taught me a lot. It has tested me, but it has also reinforced something I’ve always believed.”
She concluded by thanking the judge and Australia’s legal system while saying she was grateful the chapter had finally come to an end.
‘The Deb’ Controversy Overshadowed Wilson’s Directorial Debut
Long before cameras stopped rolling, “The Deb” had been envisioned as Rebel Wilson’s celebration of Australian storytelling and a major milestone in her career behind the camera.
Instead, the production became dominated by legal disputes involving cast members and producers, drawing attention away from the film itself and toward courtroom proceedings.
Throughout the litigation, Wilson maintained that her actions were motivated by protecting both the production and those involved with it rather than gaining leverage in disputes over writing credits or the movie’s budget.
The prolonged legal fight transformed what should have been a celebratory directorial launch into one of the most scrutinized projects of Wilson’s career.
What’s Next For Wilson After The Court Ruling
With the lawsuit now behind her, Rebel Wilson has made it clear she intends to focus on her family and future creative projects.
In her Instagram statement, she revealed she has already completed her second feature as a director, “Girl Group,” which is scheduled to premiere at the Toronto International Film Festival in September.
The announcement suggests Wilson is determined to move beyond the courtroom and return to filmmaking.
“I want to live my life standing up for what I believe is right, while continuing to create work that brings people joy,” she wrote.
After years of legal battles overshadowing one of the biggest milestones of her career, Wilson is now hoping audiences will once again be talking about her films rather than her time in court.
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