Christopher Nolan sat down in Beijing recently to promote “The Odyssey.” But this wasn’t your typical press junket with softball questions and movie clips. A Chinese political philosophy student named Zhong Shu grilled him for nearly 20 minutes about Homer, hubris, the fall of Athens, and whether Hollywood has turned greatness into something that requires an apology.
The interview went viral for good reason. It was a masterclass — but not the kind Americans are used to seeing.
Zhong didn’t just ask about special effects or casting choices. She came prepared with Thucydides and challenged Nolan on whether he had “Christianized” Homer. She asked if the gods in his film were just projections of the human psyche. And then she cut to the heart of it all.
“We turn greatness into privileges and we demand apologies for it. That’s a fact of Hollywood,” Zhong stated before asking Nolan if he agreed.
Nolan didn’t dodge. He didn’t spin. He described it the way an engineer describes a load-bearing wall: This is simply how the mechanism works in our culture today. In a democratic age committed to equality, storytellers have to manage the audience’s built-in resistance to greatness. Do we have to apologize for that greatness?
“And the answer is yes, we do,” he said.
Think about that. The West’s most prominent living filmmaker just calmly conceded that his civilization can no longer receive a story about greatness unless greatness acknowledges wrongdoing first. And he delivered this admission in Beijing to an educated Chinese classicist who came prepared with provocations from our own civilization’s foundational myths.
This wasn’t a random interview. It was a snapshot of a much bigger conflict — a narrative cold war where each civilization is grappling with its relationship to the guiding stories of the past in an effort to determine which culture will lead the world in the future.
For years — with very little media attention — China has been quietly engaged in a narrative arms race with an American culture it believes is in decline. There’s a belief within the Chinese government that the modern West abandoned its own inheritance by deconstructing its foundational myths and values, and that now is the time to build where we have faltered. So for years, the Chinese have been mining the “classics” of Western Civilization for the insights that once gave us a civilizational advantage.
In November 2024, Beijing hosted the first World Conference of Classics: 600 participants and scholars, a congratulatory letter from Xi Jinping read aloud by the CCP’s propaganda chief, and a new Chinese School of Classical Studies established in Athens. Over the past decade, Peking University and Renmin have built classical studies programs too.
A key figure in China’s modern fascination with Western classical education is political philosopher Liu Xiaofeng, who spent the 2000s importing “Great Books education” into Chinese universities at precisely the moment Western universities were more focused on critiquing, subverting, and deconstructing these stories. Three of his students now run a classics division inside the Chinese Academy of Social Sciences.
Here in the U.S., we’re finally starting to wake up. Even if Nolan’s interpretation of Homer’s epic myth is a matter of debate, the fact that he believed it was the right time to return to a 2,800-year-old story means something. Hollywood has been in a confused state of nostalgia for quite some time — prequels, sequels, reboots, sometimes deconstructing classic fairy tales and modern mythic heroes, other times celebrating them.
What’s undeniable is that the relationship to these stories of our past matters.
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