As critics like Eoghan Gilmartin have rightly noted, Hollywood’s presence in Western Sahara would have been unthinkable before 2020, when Donald Trump forced U.S. recognition of Moroccan sovereignty over the territory. “There was certainly misogyny in Homer’s time,” Janey Tracey notes in her review of Wilson’s translation for Ploughshares, “but this specific type of sexual shaming is an ‘imported’ type of sexism.” Though widely praised upon release, Wilson’s translation also attracted its fair share of critics. Beyond the ethical implications of its production, Nolan’s Odyssey is an artificial construction that parades for the real deal, and that confidence is no less concerning. Despite its fame—or in part because of it—we don’t know the Odyssey nearly as well as we think we do.