All articles tagged with #oppenheimer
David Krumholtz, known for Oppenheimer, says he’s taking an indefinite break from acting after 30+ years, voicing frustration with how actors are treated, fears of going broke, pressure to self‑promote on social media, and a shifting, more corporatized Hollywood; he’d return only for the right project, and residuals from earlier hits like The Santa Clause have dwindled.
After three decades in Hollywood, Oppenheimer actor David Krumholtz says he is taking an indefinite break from acting, citing frustration with how actors are treated and paid, fear of going broke, and the push to self-promote on social media; he’ll consider future roles if the right project comes along and notes dwindling residuals from The Santa Clause amid industry changes.
David Krumholtz announced on Threads that he’s taking an indefinite break from acting, saying the profession has lost its gleam and that he’s redefining his terms, not quitting entirely but exploring a different path; the veteran actor of Supergirl and Oppenheimer has a long résumé including The Santa Clause series, 10 Things I Hate About You, and more, and he's received support from fellow actors as he evaluates his future.
August 2026 brings a wave of new streaming titles across major services, led by Michael, the Michael Jackson biopic, arriving on Starz on Aug. 10 and Nolan’s Oppenheimer returning to Peacock on Aug. 13, with additional releases including Mother Mary (HBO Max), You, Me & Tuscany (Peacock), Five Nights at Freddy’s 2 (Netflix), Is God Is (Prime Video), The Last House (Netflix) and more across Netflix, Prime Video, Disney+, and other platforms throughout the month.
The Odyssey is on track to surpass Oppenheimer’s lifetime domestic box-office total within 13 days, with early-week performance pushing U.S. grosses toward roughly $330 million. It would mark Christopher Nolan’s third-biggest domestic haul behind The Dark Knight and The Dark Knight Rises, and the film already stands as Matt Damon’s leading-role milestone at the domestic box office; Hadestown remains No. 2 as Odyssey continues its wide expansion.
Universal/Syncopy's The Odyssey dominated the box office in its second weekend, pulling in an estimated $84.5 million domestically (about $25.9 million on Friday) and dropping 32% from its opening; with a ten-day domestic total around $283 million, it’s on pace to surpass $500 million worldwide and could reach $1 billion globally, while Hadestown opened in limited release.
Universal’s The Odyssey grossed about $18.05 million on Wednesday, marking Christopher Nolan’s second-best Wednesday at the domestic box office (behind The Dark Knight) and lifting the six-day domestic total to about $181.6 million; the film remains roughly 54% ahead of Oppenheimer on a comparable frame as it heads toward a second-weekend projected in the $61–74 million range, with about half of its box office coming from PLF/IMAX screens and little major studio competition this weekend.
Christopher Nolan banned UGG boots on the set of The Odyssey to help actors stay in the moment and maintain on-screen realism, a stance he also applied to Oppenheimer. The rule, contrasted with the purifying effect of the film’s authentic environment, was discussed on CBS Mornings with anecdotes from Matt Damon and Anne Hathaway, while Emily Blunt confirmed the ban on Oppenheimer. The Odyssey released July 17 and earned about $124.5 million domestically in its opening weekend.
Christopher Nolan says Ugg boots are a signifier of modernity that can pull actors out of a film’s reality, so he bans them on sets to keep everyone in character, though he admits they’re comfortable and enjoys them off set. Emily Blunt once gifted him a pair during the Oppenheimer wrap, after he repeatedly told her to swap them for period-appropriate footwear.
Christopher Nolan’s The Odyssey is an Imax-shot epic that doubles as a spiritual extension of Oppenheimer, recasts Penelope as a calculating, central figure, and foregrounds grounded, practical effects while exploring civilization’s fragility and the human cost of war — all amid a grueling, expedition-like production across multiple countries.
Christopher Nolan discusses The Odyssey, his Homer adaptation shot entirely in IMAX, describing its horror elements and calling Odysseus’ journey a “dog movie” inspired by his new dog. He draws thematic parallels to Oppenheimer, explains his approach to balance myth with a cautionary message, and details production choices (IMAX, gear, crew shifts) while confirming a 70mm re-release of The Prestige and highlighting budget discipline as key to creative freedom.
Christopher Nolan’s The Odyssey opened to a $264.1 million global debut, topping Oppenheimer’s debut and signaling a blockbuster start for the film on its worldwide rollout.
An opinion piece ranks Christopher Nolan’s films from worst to best, placing Following at the bottom and The Prestige at the top. It lauds craft across the spectrum, calling out moments in Memento, The Dark Knight, Inception, Interstellar, and Oppenheimer, and treats The Odyssey as Nolan’s ambitious new adaptation slipping in at mid-pack in this lineup.
Rotten Tomatoes ranks Christopher Nolan’s five best films with The Odyssey at No. 1 (96%), followed by The Dark Knight (94%), Memento (94%), Oppenheimer (93%), and Dunkirk (92), highlighting Nolan’s range from non-linear thrillers to WWII epics.
Christopher Nolan discusses his ambitious Odyssey adaptation, a $250 million Imax epic that follows Oppenheimer, built on real locations and massive camera rigs across multiple countries. He describes the shoot as a “trauma-bonding” process with cast and crew, driven by non-linear storytelling and a strong ensemble led by Lupita Nyong’o and Anne Hathaway, with Emma Thomas guiding production and even a new dog, Charlie, playing a small but symbolic role. The scale demanded relentless challenges, but Nolan remains exhilarated and petrified by taking such risks to surprise and challenge audiences.