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

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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

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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

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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

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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.

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.

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Release Date

2026 – 2026-00-00

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Network

Disney+

Writers

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Andrew Guest, Madeline Walter, Paul Welsh, Zeke Nicholson, Roja Gashtili, Julia Lerman

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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?

Image via Blackwell’s

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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.

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Released

November 15, 2019

ESRB

T

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Developer(s)

Respawn Entertainment

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Publisher(s)

Electronic Arts

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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

Images via Sony, Paramount Pictures, & Warner Bros.

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

Via Smithsonian Magazine

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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.

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Release Date

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July 12, 1991

Runtime

122 minutes

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Director

Kathryn Bigelow

Writers

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W. Peter Iliff, Rick King

Producers

James Cameron, Joseph Newton Cohen, Peter Abrams

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