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Google: 10 most historically inaccurate movies

Started by Joshua Morales38 · · 👁 6 views · 66 replies

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Participants Joshua Morales38Richard Howard2velvetgardener5wearytinker8Karen Smith9James Gonzalez49Joseph Lee3Kate Torresgoldeneagle2vividorca5electricmoose29Jerry Martin19nimblemarlin6Raymond Palmer8Walter Fowler53James WellsJesse Ortiz4gentleeagle45Chloe Nguyengranitefox16Morgan Rodriguez57silentpilot6slyeagle13silentfalcon3 …
Richard Howard2 Richard Howard2 Active Member
128 messages
joined Dec 2002
#41 ·
vividorca5 said:It’s easy to trash-talk American culture if all you care about is some "average couple's little getaway after work." What, do you guys just hop on a jet and head straight to Radio City Music Hall the second you clock out? I mean, sure, some people probably do, but let’s not get carried away here...
American politics has definitely played its part in making the world a whole lot stupider in a bunch of different ways—no argument there—but we can't just ignore the massive perks of American show business, whether it's movies or music. We spend all our time whining about the quality or the "intentions" behind Hollywood flicks, but does anyone ever stop to ask why some indie director or producer from overseas can't seem to pull off something like Schindler's List? Oh, wait, I bet someone will jump in to tell me exactly why... and yeah, there are plenty of excuses. Part of being high-quality is actually grabbing the public's attention, especially when you're looking at the marketing side of things. Take the ending of Schindler's List, for example—historically, it's not quite right (the goodbye scene)—and the artsy types absolutely lose their minds over how "sentimental" it is. Give me a break, look at the big picture! Besides, who was it that opened the doors to Rome in the first place?


Good post. That is precisely the false morality we practice. It’s an attempt to prove to ourselves that we recognize everything is a conspiracy, that we aren't stupid, and that we don't belong to the group of inert masses. That is when we start nitpicking and engaging in all sorts of other perversions.
Joseph Lee3 Joseph Lee3 Active Member
113 messages
joined May 2005
#42 ·
Richard Howard2 said:You’re looking at Odyssey through too narrow a lens. That film is primarily a modernist contemplation of utopia, a pure reflection of the zeitgeist in which it was conceived. The 1960s perspective is terrifyingly well-articulated here—ranging from the inevitable progress we would have seen had the Cold War (and the space race) continued in that specific manner, to the dangerous potential of AI (or more broadly, the risk of machines assuming responsibility for humanity), all the way to a symbolically crafted re-examination of mankind, our nature, and our place in space.

At its core, Odyssey cannot be any more authentic than it already is.

It’s no different for 300, which also captures the spirit of our era perfectly.
The same applies to all the other historically inaccurate films mentioned. They are all precisely, historically accurate. Don't let minor details or trivial formalities mislead you. Besides, these aren't mistakes; the authors didn't design these developments by accident.

Sure, that’s highly likely. Though, I’d say it’s more along the lines of what you mentioned later...

Richard Howard2 said:You’re looking at Odyssey through too narrow a lens. That film is primarily a modernist contemplation of utopia, a pure reflection of the zeitgeist in which it was conceived. The 1960s perspective is terrifyingly well-articulated here—ranging from the inevitable progress we would have seen had the Cold War (and the space race) continued in that specific manner, to the dangerous potential of AI (or more broadly, the risk of machines assuming responsibility for humanity), all the way to a symbolically crafted re-examination of mankind, our nature, and our place in space.

At its core, Odyssey cannot be any more authentic than it already is.

It’s no different for 300, which also captures the spirit of our era perfectly.
The same applies to all the other historically inaccurate films mentioned. They are all precisely, historically accurate. Don't let minor details or trivial formalities mislead you. Besides, these aren't mistakes; the authors didn't design these developments by accident.

I think I’ve already touched on that somewhere else, but let’s not wander outside the scope of this specific discussion. Please, just please, don't go summoning your whole Philosophy department crew right now, or we'll all be swallowed by the darkness... they'll start prophesying like they're in some back alley where nobody asked for a vision. 😁
granitefox16 granitefox16 Active Member
136 messages
joined Jun 2024
#43 ·
What a garbage list!

No list like this means anything if you don't include 98% of those American war movies🙄, or 99% of those flicks about discovering America, cattle, and Native Americans—not to mention Davy Crockett and that kind of idiocy.

Americans and Brits love pointing out how historically inaccurate Braveheart or The Last Samurai are, but they couldn't care less that basically every single movie about settlers and cowboys🙄 is historical trash.

How much historical truth is actually in "Saving Private Ryan"?
nimblemarlin6 nimblemarlin6 Active Member
228 messages
joined Aug 2012
#44 ·
So, why all the bashing of Americans lately? Is nobody going to mention "Four Rows"?

(When it comes to "Sutjeska," "Neretva," and the "Partisan squadron," any mistakes are nothing more than trivial little details.😁)
Morgan Rodriguez57 Morgan Rodriguez57 Active Member
216 messages
joined Oct 2011
#45 ·
Joseph Lee3 said:...Woody! 😁

Thanks, goldeneagle2! 😍 (my absolute go-to when I need a deep dive into history, politics, social dynamics, or—most importantly—ancient Rome!)

I’d throw a few more critiques into the ring: first off, Commodus actually ruled for thirteen years and was considered a fairly decent, even popular, leader by many. The movie completely flips the script on that reality, shrinking his reign down to just a few months solely to manufacture a believable motive and turn Russell Crowe’s heroism and martyrdom into something legendary.

Then there’s the wardrobe; the court costumes feel like a messy, eclectic mashup of drapery from maybe three or four centuries later. Also, if we're being pedantic, statues during the Roman era were always vibrantly painted, not the colorless white marble we dig up from the ground today.

That’s probably all I can think of for now...

Let me keep going:

- There wasn't any doubt that Commodus would succeed Marcus Aurelius: the son was already a co-emperor...

- Commodus didn't kill the old emperor

- It was a crazy slave who killed Commodus

- They really messed up the whole situation with Lucilla and her supposedly late husband...

- The names: Gracchus, Cassius... they could have been way more creative...

- Stirrups? That's like two or three centuries too early...

- Cavalry using the gladius? No way... cavalry used the spatha, which the infantry didn't even start using until years later...

- The Senate fighting for the rights of the people? That's just laughable...

- Only the most clueless people would ever think an emperor would want to bring back a Republic... the Republic had been dead for ages and nobody wanted to revive it... Americans—well, the Romans—were already used to the Empire and had zero interest in the kind of anarchy that destroyed the Republic in the first place...
silentpilot6 silentpilot6 Regular
295 messages
joined Sep 2004
#46 ·
I don't want to be nitpicky, but even the legendary Roman Empire (my all-time favorite series) is full of historical inaccuracies... though, on the flip side, they really did put effort into the big details, so I have to give them credit.
Gladiator 😂 — look, it's just a movie. It isn't bad, but its connection to actual history is about as strong as my late grandmother's understanding of computers 😁... does that take away from the experience? For some people, sure, but not for me. When I actually want to know how things truly happened, I’ll watch a documentary or pick up a book 👍; movies are primarily meant for entertainment, nothing more.

And honestly... I couldn't care less what someone who has zero interest in history thinks about Commodus or the Roman Empire after watching Gladiator... it doesn't matter.
Morgan Rodriguez57 Morgan Rodriguez57 Active Member
216 messages
joined Oct 2011
#47 ·
silentpilot6 said:I don't want to be nitpicky, but even the legendary Roman Empire (my all-time favorite series) is full of historical inaccuracies... though, on the flip side, they really did put effort into the big details, so I have to give them credit.
Gladiator 😂 — look, it's just a movie. It isn't bad, but its connection to actual history is about as strong as my late grandmother's understanding of computers 😁... does that take away from the experience? For some people, sure, but not for me. When I actually want to know how things truly happened, I’ll watch a documentary or pick up a book 👍; movies are primarily meant for entertainment, nothing more.

And honestly... I couldn't care less what someone who has zero interest in history thinks about Commodus or the Roman Empire after watching Gladiator... it doesn't matter.

In Rome, the timeline of events gets a bit scrambled at times—probably just for the sake of the drama...

there are those horrific massacres (Cleopatra), then there are the slightly less intense ones (Brutus and his crew), but seeing an old Roman stove or something colorful that looks more like cities in India with sewage cisterns, finally showing the true fighting style of a Roman legion, or seeing something that actually resembles the ancient Roman collegia for the first time... 🙏 👍
goldeneagle2 goldeneagle2 Active Member
58 messages
joined Aug 2005
#48 ·
Richard Howard2 said:I find this constant urge from the public—this desperate need to constantly prove to themselves that they’re actually practicing some kind of high moral standard—to be pretty fascinating. It manifests in all sorts of ways, including this obsession with nitpicking things like historical accuracy in a blockbuster movie, which, let's be honest, is almost always completely irrelevant to the actual experience.

It’s pretty obvious that this whole drive stems from the fact that morality just isn't part of the equation—it simply doesn't exist here.

We go to these ridiculous lengths to convince ourselves we aren't being played—as if all the media spin in the world could somehow manufacture a "fake" truth that actually sticks. It’s become this almost obsessive ritual, really—we bury ourselves in statistics, dusty archives, historical data, and that whole performance of "objectivity." We lean hard on rationalism and skepticism like they're some kind of shield, just trying to stay one step ahead of the narrative.

This list isn't really anything more than just another version of a million other debates—you know, like those endless arguments over which sci-fi flick is actually scientifically accurate and which ones are just pure fantasy.

It’s the same old tired pattern with these kinds of debates—you get these self-appointed "prophets" or our supposed saviors swooping in to lecture us. They love to drop these massive truth bombs about how movies are historically inaccurate, or they go on these long-winded rants about morality, acting all high and mighty by pointing out what *should* have happened instead of just accepting what actually is on screen. It's always the same.

It all leads to this weird spectrum of absurdity—you’ve got the banal stuff, where you start wondering if a movie should just be shot like a documentary just to earn some shred of legitimacy, whether you're viewing it as "art" or just another product on a shelf. Then you hit the more convoluted nonsense—like the idea that a film's primary job is to avoid offending anyone by being historically inaccurate. It's a ridiculous standard, considering how almost every major work of art throughout history has fundamentally reshaped the very history it was trying to depict.

This whole "political correctness" exorcism—which is really just a convenient excuse for why the world has become so obsessively nitpicky about everything ever created—is nothing more than a placebo. It’s a temporary fix for people like us, who just sit there passively and swallow whatever the media serves up on a silver platter without a second thought.
Honestly, the media has just conditioned us into this absurd obsession with seeking external validation—this constant, nagging need for legitimacy that we all seem so damn proud of.

I find the whole argument that morality doesn't exist in our daily lives to be pretty questionable, honestly. I mean, at its core, being human is about empathy—that basic connection to others—which naturally leads to the idea that we shouldn't go around causing unnecessary suffering. It’s pretty straightforward stuff; you’d get the same sentiment from Immanuel Kant as you would from Jesus—basically, don't do to others what you wouldn't want done to yourself. You don't really need a PhD to see that this is the foundation of goodwill. It’s a cardinal human value that drives progress and personal growth, or whatever. So, to me, morality isn't some abstract philosophical concept meant for high-society debates and salon arguments—it's just an everyday truth we live by.

This actually ties back to art, because that progressive way of behaving—you know, being rooted in truth and actual good intentions—eventually shows up in the filmmaking itself. If someone’s goal was clearly just to rake in a quick paycheck, then honestly, I don't even have anything left to say regarding the "artistic merit" of the project. It isn't just about whether the director nailed the technical minutiae—like, did the Romans hold their color formations correctly, did they have saddles, or were they sitting around eating ketchup and fries? No. It goes deeper than that. It bleeds into how shallow the emotional beats are, the character development, the pacing, the dialogue, all of it. One shallow deception leads to another, and you end up with a total pile of garbage that anyone with a shred of taste or intellect can barely stomach once, let alone ever watch again. Is that really the hallmark of a work of art, or is it just a failure? What exactly draws us back to a film like that? What feelings does it stir up in us? Nothing—maybe just a sense of disgust and a smirk.

The human mind—mostly because it’s wired to crave truth and basic morality—can sniff out a scam like this from a mile away. It doesn't just see through the deception; it genuinely despises it. If you look at the whole trajectory of human culture, it’s basically just one long, messy search for truth and justice—the everyday kind, sure, but also that deeper stuff that exists far beyond what we can actually wrap our heads around or put into words. Art is much the same way as mysticism—it's a path toward that state where the mind finally stops its endless, noisy chatter. To borrow a thought from Aristotle, art should be about catharsis—a real cleansing. It should strip away the mundane, the petty, and the profane, leaving a person in a state of genuine awe and bliss. Or at least, it should try to.
Richard Howard2 Richard Howard2 Active Member
128 messages
joined Dec 2002
#49 ·
goldeneagle2 said:I find the whole argument that morality doesn't exist in our daily lives to be pretty questionable, honestly. I mean, at its core, being human is about empathy—that basic connection to others—which naturally leads to the idea that we shouldn't go around causing unnecessary suffering. It’s pretty straightforward stuff; you’d get the same sentiment from Immanuel Kant as you would from Jesus—basically, don't do to others what you wouldn't want done to yourself. You don't really need a PhD to see that this is the foundation of goodwill. It’s a cardinal human value that drives progress and personal growth, or whatever. So, to me, morality isn't some abstract philosophical concept meant for high-society debates and salon arguments—it's just an everyday truth we live by.

This actually ties back to art, because that progressive way of behaving—you know, being rooted in truth and actual good intentions—eventually shows up in the filmmaking itself. If someone’s goal was clearly just to rake in a quick paycheck, then honestly, I don't even have anything left to say regarding the "artistic merit" of the project. It isn't just about whether the director nailed the technical minutiae—like, did the Romans hold their color formations correctly, did they have saddles, or were they sitting around eating ketchup and fries? No. It goes deeper than that. It bleeds into how shallow the emotional beats are, the character development, the pacing, the dialogue, all of it. One shallow deception leads to another, and you end up with a total pile of garbage that anyone with a shred of taste or intellect can barely stomach once, let alone ever watch again. Is that really the hallmark of a work of art, or is it just a failure? What exactly draws us back to a film like that? What feelings does it stir up in us? Nothing—maybe just a sense of disgust and a smirk.

The human mind—mostly because it’s wired to crave truth and basic morality—can sniff out a scam like this from a mile away. It doesn't just see through the deception; it genuinely despises it. If you look at the whole trajectory of human culture, it’s basically just one long, messy search for truth and justice—the everyday kind, sure, but also that deeper stuff that exists far beyond what we can actually wrap our heads around or put into words. Art is much the same way as mysticism—it's a path toward that state where the mind finally stops its endless, noisy chatter. To borrow a thought from Aristotle, art should be about catharsis—a real cleansing. It should strip away the mundane, the petty, and the profane, leaving a person in a state of genuine awe and bliss. Or at least, it should try to.


I still can't wrap my head around how someone who supposedly engages more seriously with these questions—despite all the modern ideas, from Karl Marx, Friedrich Nietzsche, and Sigmund Freud to the critical theory and psychoanalysis of the postmodernists—hasn't moved an inch away from a classic, Christian worldview. It's a view that treats the world with such simplistic black-and-white logic that reading such blatantly contradictory statements is, frankly, unbearable.

I’m not saying morality doesn't exist, but it certainly isn't practiced with any transparency. The world operates on a double strategy, layered with illusions and hidden desires, where the key lies in the subconscious of the public or the masses. While they identify with the reproduction of moral principles, they are simultaneously sabotaging them in their own subconscious.

There truly are no indicators to support what you are claiming. The system is amoral, and it achieves this precisely by explicitly declaring its morality. That is exactly what shields it from actual moral retribution. There is no genuine contempt, aside from the performative kind (where even the actors don't realize they are acting); there is no true practice of morality. Action is always dualistic—on the first level, we loudly proclaim our value system, and on the second level, we reject it.

It is immorality that society supports, protected by the illusion within us all that we are incredibly moral, that we care about things, that we care about others, that we care about truth and justice. Yet, all we see is the sabotage of every one of those principles. If the situation were as you describe, the world would look much different. George W. Bush wouldn't have had two terms, and movies driven by bad morals (distorting prejudices just to turn a profit) couldn't exist, considering Hollywood does exactly what the audience demands, thereby creating the very desire itself.

Things are not simple at all, and I suggest we avoid this debate here; let's not "pollute" the space with philosophy again.

This societal obsession with exposing and detecting everything—trying to uncover some "ultimate truth," trying to correct every injustice or inaccuracy regardless of the purpose, diving into the technical minutiae of every media project (like a film)—is a symptomatic effect that sabotages morality itself.

Instead of experiencing Gladiator in a way appropriate for a work of art—viewing it as a conceptualization of man and society through historical preconception—we sabotage that exact experience. We avoid it, forcing ourselves to view it merely as technical apparatus, searching for tiny flaws in its narrative machinery that are, in themselves, entirely irrelevant.

Where does the immorality lie then? Is it in the fact that the film isn't technically flawless, or is it in the fact that we now demand technicality from a film rather than substance?
Jerry Martin19 Jerry Martin19 Regular
367 messages
joined Nov 2006
#50 ·
Man, look how this turned into a mess 😵

@cool hand luke, I don't know how much of this is just a joke (lists in general) and if there is a punchline, I have no clue what kind of humor we're even dealing with—maybe "global stupidity" (? 🤷). And the even bigger question is: who actually finds this funny? Honestly, not me... Odyssey is basically how people back in the early submarine era viewed 20,000 Leagues Under the Sea. Sure, they didn't see the Nautilus or a Nemo as grand as the novel portrays, but they definitely recognized Verne's knack for predicting the future. If Odyssey isn't a joke on this list, then it's either pure idiocy or just some Hollywood-style hype machine at work. And if it *is* a joke, God help whoever thinks this is funny or even remotely charming...

btw, regardless of Odyssey, isn't it just tedious to categorize a work of fiction with historical roots like 300 so definitively? To be honest, reading that made me cringe, let alone agreeing with someone trying to find a grain of truth in all this...
nimblemarlin6 nimblemarlin6 Active Member
228 messages
joined Aug 2012
#51 ·
I look at "Odyssey" as some kind of... super-film. (Not sure if that’s actually a term, but you get what I mean) It’s one of those things where I honestly don't know how anyone could ever make anything better than "Odyssey" using the medium of film.
"Odyssey" is just fundamentally superior to any sci-fi shot after it—it's just a shame that instead of showing us a possible future, it feels like it's depicting a parallel universe that we were unfortunate enough to miss out on.

As for historical movies: I think they’re really just various genres where history serves as nothing more than a backdrop.

We have the romances or the action flicks where history is just a stage for adventures, vendettas, and all sorts of schemes. Think "Cleopatra," "Gladiator," "King Arthur," or "Shakespeare."
In those cases, I can tolerate inaccuracies—like all the stuff people point out regarding "Gladiator."
(Just like how you tolerate impossible physics in an action movie.)

Then you have the dramas set in the past. When they make those, they actually try to get everything right. Those are the "real" historical films. I’d put "Master and Commander" or, I don't know... "Spartacus" in that category. With those, historical inaccuracies are EXTREMELY annoying.
(Similar to how car chases or reloading errors would bother you in a standard modern drama.)

Finally, we have the historical fantasies—where all you need is a bit of magic for them to be full-blown fantasy—like "300," "Pathfinder," or "10,000 BC" and things like that. In those, historical errors can slide by easily. As long as it doesn't get totally ridiculous—you know, like Roman legionnaires showing up with muskets.
Richard Howard2 Richard Howard2 Active Member
128 messages
joined Dec 2002
#52 ·
nimblemarlin6 said:I look at "Odyssey" as some kind of... super-film. (Not sure if that’s actually a term, but you get what I mean) It’s one of those things where I honestly don't know how anyone could ever make anything better than "Odyssey" using the medium of film.
"Odyssey" is just fundamentally superior to any sci-fi shot after it—it's just a shame that instead of showing us a possible future, it feels like it's depicting a parallel universe that we were unfortunate enough to miss out on.

As for historical movies: I think they’re really just various genres where history serves as nothing more than a backdrop.

We have the romances or the action flicks where history is just a stage for adventures, vendettas, and all sorts of schemes. Think "Cleopatra," "Gladiator," "King Arthur," or "Shakespeare."
In those cases, I can tolerate inaccuracies—like all the stuff people point out regarding "Gladiator."
(Just like how you tolerate impossible physics in an action movie.)

Then you have the dramas set in the past. When they make those, they actually try to get everything right. Those are the "real" historical films. I’d put "Master and Commander" or, I don't know... "Spartacus" in that category. With those, historical inaccuracies are EXTREMELY annoying.
(Similar to how car chases or reloading errors would bother you in a standard modern drama.)

Finally, we have the historical fantasies—where all you need is a bit of magic for them to be full-blown fantasy—like "300," "Pathfinder," or "10,000 BC" and things like that. In those, historical errors can slide by easily. As long as it doesn't get totally ridiculous—you know, like Roman legionnaires showing up with muskets.

👍
I couldn't agree more.
goldeneagle2 goldeneagle2 Active Member
58 messages
joined Aug 2005
#53 ·
Just like Jerry Martin19 said—we’ve drifted way too far from actual cinema and true art. At this rate, maybe they'll start recommending we just enroll in philosophy classes instead?

Richard Howard2 said:I’m not saying morality doesn't exist—that would be a stretch—but let's be real, it certainly isn't being practiced in his version of transparency. The world operates on this double-layered strategy—a messy stack of illusions masking actual, hidden desires—and the whole thing hinges on the subconscious of the masses. People go about their business identifying with these grand moral principles, all while simultaneously sabotaging them deep down in their own minds. It's a strange loop, really.

Maybe you’re expecting too much from morality? It isn’t some grand, lofty metaphysical concept—it's not like we're debating the fabric of the universe here—but it’s pretty damn important for actually living a life. There isn't a ton of dense theory involved; it’s really just a conscious effort to live a life that’s a little more upright and, honestly, a lot easier on the conscience. I don't know if you've ever been in a spot where someone offers you a bribe or you're tempted to just swipe something that isn't yours. Obviously, there’s this internal tug-of-war between two extremes, but choosing not to do it is usually just the rational move—because the fallout ends up causing way more damage than whatever tiny benefit you get in the moment. The reason morality stays relevant—even if it is somewhat relative—is simply because most people are willing to follow rules they know are right (or, to be more precise, rules that are more useful than just acting on every primal impulse). Society aims for that middle ground, and it also acts as a sort of filter between those people who actually have the strength to lead and those who definitely don't. But let's not dive into the deep end of the psychology of true leadership just yet.

Richard Howard2 said:The system is fundamentally amoral—and the kicker is that it achieves this by loudly declaring itself to be incredibly moral. It’s actually quite clever, really; that constant performance of virtue acts as a sort of shield against any genuine moral backlash. You don't see any real contempt, only the staged kind—the sort where the actors aren't even aware they're playing parts. There is no actual practice of morality here. Every action is essentially a double act: on one level, we’re shouting about our values from the rooftops, but on the second level, we’re actively rejecting them.

The whole system is basically built on exploitation and undermining people—think Alinsky style. It’s funny, really—they go out of their way to broadcast this huge public image of morality, while behind closed doors, they’re doing the exact opposite. But that's not even the kicker. The real irony is that because there’s this persistent, manufactured sense of being "purely moral," there’s also this endless, driving urge to keep "improving" the system. It just goes in circles.

Richard Howard2 said:Society actually rewards immorality—it’s almost built into the system. We all cling to this collective delusion that we’re these incredibly moral people who actually give a damn about truth, justice, or looking out for one another, but honestly? All I see is a constant sabotage of those very ideals. If the scenario you're describing were actually the norm, the world would look nothing like it does now. For starters, George W. Bush wouldn't have cruised through two terms, and we wouldn't be stuck watching movies fueled by "wrong" morality—you know, those projects where they twist basic principles just to pad the profit margins. After all, Hollywood basically gives the audience exactly what they want, which, in a weirdly cyclical way, is how they manufacture those desires in the first place.

Look, I don't think we should be getting this exclusionary about everything. Life isn't just black and white—it’s got way too many layers and nuances for that simple binary. For instance, Americans have this innate, almost hardwired urge to step up for their neighbors. It’s deeply rooted in the culture. Just look at those grassroots fundraising campaigns online—you’ll see people aiming to raise maybe a million bucks for a local maternity ward, only to end up hitting 3.5 million because everyone chips in. That drive to help? It’s definitely there. What we lack here—and honestly, what most disenfranchised communities struggle with—is any real trust in the system itself. An American will give you the shirt off their back, but they won't trust the bureaucracy to handle it. $0.33 You could show them a photo of a sick kid, and they still wouldn't cough up $3.25 every month for the rest of their lives to some nonprofit—mostly because they don't have this nagging feeling that the system actually works. It's funny—unlike certain other communities that share a collective sense that you can actually move the needle through official channels (because they see themselves as part of the machinery, I guess), we tend to view ourselves—much like any kind of laborer—as being entirely outside the system. We figure the people running the show aren't us, so we just go about our business on the sidelines.

Of course, if you want to exploit people, you have to mentally colonize them first. You have to drill into them this sense of inferiority. All exploitation starts on a psychological level—it happens when the exploited start believing (or even craving) that the values held by the exploiters are somehow superior to their own. Take our country, for example; people here often think imported goods are inherently better than anything made domestically, or that everything will be fine as long as we sell it all off to some foreign corporation that’ll swoop in and act as our benevolent overlord on our own soil. It happens everywhere. You see it with Native American girls wanting to look blonde because they think European features are the gold standard for beauty. That’s exactly why the garbage coming out of Hollywood doesn't bother raising people with high aesthetic standards. Developing an eye for aesthetics actually develops the human mind, and frankly, that’s bad for the people doing the exploiting. But hey, progress is a beast you can't really stop.

It makes perfect sense that exploiters push their own pseudo-culture, causing the lower tiers to swap out their own heritage for something else. Sure, George W. Bush had his terms, China has its Olympics, and women in Iran aren't allowed to drive—there will always be more exploiters in the wings, but people are waking up to it, and the outcry is getting louder. Eventually, the system shifts. It won't happen overnight; it’ll be incremental, leaving room for further refinement. Struggle is basically the essence of life. It’s pretty naive to believe in some ultimate set of moral truths—or the arrival of a Messiah—that will descend one day so we can finally just go to sleep. No more fighting, no more effort, just paradise where we get white robes and golden harps... That kind of expectation is a fantasy, likely born from a misguided desire to dodge the hard work and struggle of living.

Richard Howard2 said:This societal obsession with proving and detecting everything—with uncovering some "ultimate truth" or fixing every perceived injustice or inaccuracy, regardless of whether the action actually makes sense—to the point of obsessing over the technical minutiae of every media project (like a movie), is a symptomatic effect that actually sabotages morality itself.

Hmm, there's a catch there. In Space, nothing stays still. Everything is in motion. You either evolve or you decay. You can choose to view morality as a relative value—assuming you're capable of that, anyway—representing limited but useful improvements worth fighting for. Or, you can just get disillusioned with everything and spit on the whole thing.

That disillusionment comes from the fact that the human mind naturally craves infinity and freedom from all limitations. Obviously, you won't find that in morality, which is why I say morality is valuable precisely because it is relative. You won't find it in physical objects either, but that’s hardly a reason to reject food or clothing, right? There were plenty of people who preached various forms of asceticism, but they never reached that ultimate freedom the mind instinctively seeks through that path. It's the same deal with morality—it's another finite, relative thing. It doesn't lead to ultimate fulfillment, but it provides actual, immediate utility in the real world.

That’s where art becomes vital; on one hand, it gives us a glimpse into the eternal things that exist beyond the reach of the mind, and on the other, it fosters positive connections within our relative, yet very real, world.

Richard Howard2 said:Instead of experiencing Gladiator in a way that actually respects it as a piece of art—you know, looking at it as a conceptualization of humanity and society through a historical lens—we basically sabotage ourselves. We actively avoid that. Instead, we force ourselves to treat it like some mere technical manual, obsessing over tiny little flaws in the mechanics that don't even matter to the big picture.

So where’s the actual immorality in all this? Is it because the movie isn't technically flawless, or is it because we've reached a point where we demand technical perfection instead of searching for something substantive?

Look, fine, the movie is garbage. It can honestly be viewed as nothing more than a really poorly constructed mess. It’s great for zoning out to, which I guess is its primary social function. But even on that low bar, it still demands a certain level of intelligence because it’s genuinely insulting to the viewer. And maybe that’s why it fails its own purpose—by being so mediocre, it actually contributes to the general decline of everything from culture and ecology to religion and economics... though I doubt the filmmakers intended for that to happen; those things just sort of happen on their own.

Richard Howard2 said:Things aren't simple at all, and honestly, let's just avoid this debate here. Let's not "pollute" the thread with philosophy again.

Sure, we definitely earned a ten-day ban on this topic and an exile to the desolate wasteland of philosophical junk. Straight to the ninth circle of hell for me. 😂 I swear, I won't bother anyone with morality or my pseudo-philosophizing anymore!
wearytinker8 wearytinker8 Active Member
57 messages
joined Dec 2007
#54 ·
Richard Howard2 said:I suppose it’s perfectly acceptable to tweak history if it serves the cinematic vision. After all, a feature film isn't exactly trying to be a documentary.

Okay, let's try a hypothetical here;

Say you become a famous politician and, for example, Dada Matanić decides to make a biopic about your life.
But because they're terrified the audience will fall asleep halfway through, they decide to throw in something "exciting" just to keep people engaged—like, say, a recurring scene where you're having affairs with sheep.
So, everything else in the movie is historically accurate, except for that one awkward detail.

Would you still "experience the film in a way appropriate to a work of art" back then? Or would you still be stuck obsessing over that "tiny hole in its narrative machinery" that is, honestly, totally irrelevant...
Richard Howard2 Richard Howard2 Active Member
128 messages
joined Dec 2002
#55 ·
wearytinker8 said:Okay, let's try a hypothetical here;

Say you become a famous politician and, for example, Dada Matanić decides to make a biopic about your life.
But because they're terrified the audience will fall asleep halfway through, they decide to throw in something "exciting" just to keep people engaged—like, say, a recurring scene where you're having affairs with sheep.
So, everything else in the movie is historically accurate, except for that one awkward detail.

Would you still "experience the film in a way appropriate to a work of art" back then? Or would you still be stuck obsessing over that "tiny hole in its narrative machinery" that is, honestly, totally irrelevant...

Don't take this as me calling you dim-witted, but it is a rather foolish question.

Is it really just about me being misrepresented by a false claim? Was that even the motive for filming? Is my personal satisfaction crucial to the viewing experience? And is this film being made about me while I'm alive, or decades after I'm gone?

What kind of factor am I, really? Isn't the audience always the deciding factor?

Though, you did give me a decent prompt: let's discuss actual historical biopics centered on individuals (not events, mind you, but people!): JFK, Nixon, The Doors, Harry Flint vs. people, Walk the Line, and so on.
Raymond Palmer8 Raymond Palmer8 Active Member
144 messages
joined Jul 2006
#56 ·
Richard Howard2 said:Don't take this as me calling you dim-witted, but it is a rather foolish question.

Is it really just about me being misrepresented by a false claim? Was that even the motive for filming? Is my personal satisfaction crucial to the viewing experience? And is this film being made about me while I'm alive, or decades after I'm gone?

What kind of factor am I, really? Isn't the audience always the deciding factor?

Though, you did give me a decent prompt: let's discuss actual historical biopics centered on individuals (not events, mind you, but people!): JFK, Nixon, The Doors, Harry Flint vs. people, Walk the Line, and so on.

That's a solid idea, for sure.
But man, look—not a single movie anyone would actually call "historical" made the cut... meanwhile, 10,000 BC is sitting right at the top of this list. Kind of ruins the whole point of the list, don't you think?
Morgan Rodriguez57 Morgan Rodriguez57 Active Member
216 messages
joined Oct 2011
#57 ·
nimblemarlin6 said:I look at "Odyssey" as some kind of... super-film. (Not sure if that’s actually a term, but you get what I mean) It’s one of those things where I honestly don't know how anyone could ever make anything better than "Odyssey" using the medium of film.
"Odyssey" is just fundamentally superior to any sci-fi shot after it—it's just a shame that instead of showing us a possible future, it feels like it's depicting a parallel universe that we were unfortunate enough to miss out on.

As for historical movies: I think they’re really just various genres where history serves as nothing more than a backdrop.

We have the romances or the action flicks where history is just a stage for adventures, vendettas, and all sorts of schemes. Think "Cleopatra," "Gladiator," "King Arthur," or "Shakespeare."
In those cases, I can tolerate inaccuracies—like all the stuff people point out regarding "Gladiator."
(Just like how you tolerate impossible physics in an action movie.)

Then you have the dramas set in the past. When they make those, they actually try to get everything right. Those are the "real" historical films. I’d put "Master and Commander" or, I don't know... "Spartacus" in that category. With those, historical inaccuracies are EXTREMELY annoying.
(Similar to how car chases or reloading errors would bother you in a standard modern drama.)

Finally, we have the historical fantasies—where all you need is a bit of magic for them to be full-blown fantasy—like "300," "Pathfinder," or "10,000 BC" and things like that. In those, historical errors can slide by easily. As long as it doesn't get totally ridiculous—you know, like Roman legionnaires showing up with muskets.

Wait a second here... 👍

I’d really love to finally sit down and watch a true historical film... 🙄
vividorca5 vividorca5 Member
36 messages
joined Apr 2007
#58 ·
So, Gladiator is crap? Seriously? What’s actually good then? Titanic?
slyeagle13 slyeagle13 Member
17 messages
joined May 2008
#59 ·
Richard Howard2 said:I honestly can’t wrap my head around which moron put this list together or where on earth they got the idea that these belong in the same category.

Some are just physically impossible, others completely miss the mark on the core concepts entirely. Then you have those that merely use historical settings as a loose backdrop for something new—where history isn't even the point. As for Odyssey, I am genuinely at a loss for words regarding such pure idiocy. Even Star Trek is more accurate by comparison, given it doesn't rely on the absurd theory that we'll stumble upon Klingons in just 300 years.

🙏
silentfalcon3 silentfalcon3 Active Member
66 messages
joined May 2017
#60 ·
I wonder why they didn't think to include the story of the USS Grampus on this list...
It was that mission where British forces actually managed to seize a German submarine just before Pearl Harbor took place...

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