The “chudosphere” has had a very busy last few days. Ever tasked by Our Lord with his heaviest burdens, one depraved event has inspired every last one of them to rise up in the heroic battle of complaining on X. The blasphemy I speak of is, of course, Academy Award nominee Elliot Page’s approximately five minutes of screen time in Christopher Nolan’s recent adaptation of Homer’s Odyssey.

For almost a year now, the Right has been raging against Nolan’s adaptation of the Odyssey, with the pitch getting ever shriller as trailers and promos showed off the film’s shockingly multiethnic cast. Back in May, Elon Musk insinuated that Nolan “desecrated the Odyssey so that he would be eligible for an Academy Award,” referring to the academy’s new rules mandating diversity in film productions in order to qualify for Oscars. Days ago, legendary keyboard warrior Michael Knowles breathlessly agreed, speculating that the epic was reworked to adapt to the Academy of Motion Picture Arts and Science’s “DEI requirements.” Musk described Nolan’s opus as “pissing on Homer’s grave” and “anti-white.” No less than the greatest model of performative masculinity in ours or any other age, the Matt Walsh, accused Nolan of “emasculating” Homer. Months before the film was even released, Walsh speculated the movie might be “the worst film adaptation ever made” and complained about casting “sub-Saharan African” actress Lupita Nyong’O as Helen — the most beautiful woman in the world. Walsh, one of the artists responsible for the conservative comedy film Lady Ballers, called Nolan a coward who could never be a great artist because he is pandering to the decayed spirit of our woke age.

Last week, The Odyssey’s long journey to the screen finally ended. The film earned rave reviews and record box office numbers, resulting in levels of cope so tortured the gloomy shades of Hades look happy by comparison. It’s worth asking where and how all this right-wing animosity emerged — months before so much as a trailer had even been released, and all of it aimed at an extraordinarily talented director hardly known for left politics.