I'm having fun here, and still on a high from the great movie I just saw. What you just said is nothing more than your over-dramatic perception/projection of me.

Also? You're clearly not here just "trying to have a conversation," when, for pages now, literally all you've done is post mocking tweet after mocking tweet about the movie, and now a string of paranoid, conspiracy-laden nonsense that has long-since been proven false. It's just been that, and nipping at me for days.

In other words, you OBVIOUSLY have it out for this movie, and me, and anytime I say something in return, that goes against your agenda, you get your panties in a bunch.

You think I need to take a few deep breaths? You're the one who's been spending post after post, talking **** about a movie that, as far as I can tell, you still haven't even seen for yourself. By all means, though, I would love to hear how that's any less pathetic than whatever you're accusing me of doing.

Backyard Gator playing the role of Ares in Wonder Woman. You thought the villains in the first 1-1/2 hours of the movie were great, then here comes some dude trying to show what a bad-ass he is in the last 10 minutes and you just want it to be over already.

pic.twitter.com/xAXlqVo76Z

— David Leninhawk 🎃 (@DavidLeninhawk) July 19, 2026

Incredible…

Looks like $41M SAT for #TheOdyssey. Absurd ~25% jump, when in summer even 10% is a big deal.

2-day cume $91M+. Weekend should clear $125M, subject to how WC final impacts. Normally be thinking of getting close to $130M. pic.twitter.com/Xs0GF1Xt16

— ਜਤਿੰਦਰ ਸਿੰਘ (@Itsjat32) July 19, 2026

It will be around $127m domestic weekend for @odysseymovie depending on the Sunday hold with the World Cup Final. Incredible result on the way to $1b+ for Christopher Nolan and @UniversalPics. Smashing end to the summer coming with @SpiderMan set to break records next. pic.twitter.com/2wqAUEaUPx

— EmpireCity Box Office (@EmpireCityBO) July 19, 2026

TCTTS said:

---

I'm having fun here, and still on a high from the great movie I just saw. What you just said is nothing more than your over-dramatic perception/projection of me.

Also? You're clearly not here just "trying to have a conversation," when, for pages now, literally all you've done is post mocking tweet after mocking tweet about the movie, and now a string of paranoid, conspiracy-laden nonsense that has long-since been proven false. It's just been that, and nipping at me for days.

In other words, you OBVIOUSLY have it out for this movie, and me, and anytime I say something in return, that goes against your agenda, you get your panties in a bunch.

You think I need to take a few deep breaths? You're the one who's been spending post after post, talking **** about a movie that, as far as I can tell, you still haven't even seen for yourself. By all means, though, I would love to hear how that's any less pathetic than whatever you're accusing me of doing.

---

Persecution complex much?

What, exactly, is 'my agenda'?

I spend time on Twitter each day, usually reading any pop culture for the day, and anything interesting on football.

Because this movie is trending somewhat on Twitter, I see tweets about it, and post the tweets on this thread.

I'm starting to wonder if you're one of those people who needs to feel like they're in conflict at all times, if you like having an 'enemy' to argue with. Your persecution complex would make sense then. You're so accustomed to chaos, you're uncomfortable without conflict, so you seek it out. If no conflict exists, you create it, like you're attempting here with me.

Seeing any tweets I post on here as an attack on the movie, and personalizing those tweets into an attack on you is exactly the problem I posted about previously.

Hey guys… Don't want to break up the pillow fight, but just a couple more points to make:

My wife watched the movie with me, and she liked it. So, I fully expect most people to rate the movie higher than my 6/10. That's fine. After thinking about it some more, it would be pretty easy for me to be talked into 7/10, but no higher.

At one point (I think near the end), the score for this movie was unsettlingly annoying. It sounded like there was some type of weird horn instrument being played that seemed out of place. Points for originality, but my wife and I just didn't like it. So, I googled it and learned that Ludwig Göransson didn't use modern instruments. So, I assume he'll will win an Oscar.

Let's say, hypothetically, this movie is woke like many people are still claiming... With the weekend box office returns, does that mean that America has now accepted wokeness and the left won?

Backyard Gator said:

---

TCTTS said:

---

I'm having fun here, and still on a high from the great movie I just saw. What you just said is nothing more than your over-dramatic perception/projection of me.

Also? You're clearly not here just "trying to have a conversation," when, for pages now, literally all you've done is post mocking tweet after mocking tweet about the movie, and now a string of paranoid, conspiracy-laden nonsense that has long-since been proven false. It's just been that, and nipping at me for days.

In other words, you OBVIOUSLY have it out for this movie, and me, and anytime I say something in return, that goes against your agenda, you get your panties in a bunch.

You think I need to take a few deep breaths? You're the one who's been spending post after post, talking **** about a movie that, as far as I can tell, you still haven't even seen for yourself. By all means, though, I would love to hear how that's any less pathetic than whatever you're accusing me of doing.

---

Persecution complex much?

What, exactly, is 'my agenda'?

I spend time on Twitter each day, usually reading any pop culture for the day, and anything interesting on football.

Because this movie is trending somewhat on Twitter, I see tweets about it, and post the tweets on this thread.

I'm starting to wonder if you're one of those people who needs to feel like they're in conflict at all times, if you like having an 'enemy' to argue with. Your persecution complex would make sense then. You're so accustomed to chaos, you're uncomfortable without conflict, so you seek it out. If no conflict exists, you create it, like you're attempting here with me.

Seeing any tweets I post on here as an attack on the movie, and personalizing those tweets into an attack on you is exactly the problem I posted about previously.

---

You're not very good at this, are you?

Because it's beyond obvious now you're just gaslighting.

So these tweets you come across, that you then post here, what a coincidence that you only come across countless negative ones about the movie and never positive ones. How convenient.

And you realize we can scroll back through the thread to see everything you've posted, right? And observe that, yes, undeniably, you've replied to me often not with tweets (I never said anything of the sort), but with multiple posts arguing with me, calling me out, making fun of me, etc. In fact, you've been kind of obsessed with me the past couple of days, and the proof is right there for anyone to see. I'm not imagining that. Just observing objective reality.

Never mind that it's all just so… cliched. Your quips are the same old **** I've heard from a handful of others who act and sound just like you. All really just upset that someone is attempting to call them out on their bull*****

Backyard Gator said:

---

Rotten Tomatoes just permanently torched its credibility.

The Odyssey: 97% audience score. “Beating LOTR: Return of the King.”

Meanwhile both other major review platforms for Odyssey are:

Metacritic users: 5.3.
Letterboxd: 4.3.

You don’t get a 50-point gap between platforms… https://t.co/ZYAMUU1OJ7

— Shane Tyler Milson (@ShaneTMilson) July 18, 2026

---

Rotten tomatoes requires a verified viewing. Anything that doesn't is subject to people like you who have to wield their ignorance like a cudgel

Backyard Gator said:

---

TCTTS said:

---

I'm having fun here, and still on a high from the great movie I just saw. What you just said is nothing more than your over-dramatic perception/projection of me.

Also? You're clearly not here just "trying to have a conversation," when, for pages now, literally all you've done is post mocking tweet after mocking tweet about the movie, and now a string of paranoid, conspiracy-laden nonsense that has long-since been proven false. It's just been that, and nipping at me for days.

In other words, you OBVIOUSLY have it out for this movie, and me, and anytime I say something in return, that goes against your agenda, you get your panties in a bunch.

You think I need to take a few deep breaths? You're the one who's been spending post after post, talking **** about a movie that, as far as I can tell, you still haven't even seen for yourself. By all means, though, I would love to hear how that's any less pathetic than whatever you're accusing me of doing.

---

Persecution complex much?

What, exactly, is 'my agenda'?

I spend time on Twitter each day, usually reading any pop culture for the day, and anything interesting on football.

Because this movie is trending somewhat on Twitter, I see tweets about it, and post the tweets on this thread.

I'm starting to wonder if you're one of those people who needs to feel like they're in conflict at all times, if you like having an 'enemy' to argue with. Your persecution complex would make sense then. You're so accustomed to chaos, you're uncomfortable without conflict, so you seek it out. If no conflict exists, you create it, like you're attempting here with me.

Seeing any tweets I post on here as an attack on the movie, and personalizing those tweets into an attack on you is exactly the problem I posted about previously.

---

You can't even see yourself in the mirror

AustinAg2K said:

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Let's say, hypothetically, this movie is woke like many people are still claiming... With the weekend box office returns, does that mean that America has now accepted wokeness and the left won?

---

The left won the war the day Kamala accepted the nomination. Go Big Blue! Run it back in '28!

Saw it last night with my 13 yo son. We both liked it pretty well. Other than rolling our eyes a bit at the much-discussed casting choices, which truly appeared to be added for diversity reasons only, I didn't get a lot of political messaging from the film. The first half felt a bit choppy and rushed, which is to be expected from having to adapt so much source material into a 3 hour window, but the back half felt better paced and the return home was done well imo. 6.5 or 7/10 for me.

I'm not arguing this point, but how about you check out how huge the gigantic barriers of the Sahara and the Indian Ocean and other gigantic barriers were, until a little more than a century ago.

There was a Mediterranean phenotype, and David Reich has plenty of material on it.

Again, I want to believe. Make me believe.

Immerse me in the world, don't annoy…

Look how vibrant the behind the scenes footage looks compared to the film's sterile presentation. You go from the recognisable deep blues of the Meditteranean to multiple shades of grey. Baffling. https://t.co/10GZe89cZP

— Keith Woods (@KeithWoodsYT) July 18, 2026

Has anybody actually come up with a theory of how the Diversity Casting in "The Odyssey" makes the movie better?

So far, all I've heard from defenders is that they HATE everybody who finds it distracting and damaging to suspension of disbelief.

— Steve Sailer (@Steve_Sailer) July 19, 2026

Watched it yesterday. I enjoyed it, but I wouldn't call it a great film. I found Holland's role and delivery more eye rolling than the DEI castings, although Page trying to sound like a man was a little rough.

It was a nice surprise to see Mia Goth pop up in the film.

I honestly think it's to illustrate/communitcate the theme of the film broadly/universally and not specifically to Caucasians.

It's like the reverse woke. The bad guys/reason for civilizational collapse are not just white guys, they are all of us.

I totally understand it being distracting or heavy handed, but it seems clear to me that was the goal. Nolan wanted people to identify themselves in the story not for classic representation reasons, but so that they see that what he is saying with the movie applies to them too.

That is at least what I think.

After seeing it last night and thinking on it, I would give it an 7.5/10. The filmmaking is still Nolan, so there were some really great set pieces and amazing shots.

The movie itself is not woke. However, just as I thought on the front end, the casting was jarring for me. I watched Ben Shapiro's review and tend to agree with his take. The Helen of Troy casting wasn't as jarring as I originally thought because the entire cast was basically a sampling of a modern day US city. Made the casting feel like a community theater production. Because it was literally across the board, it's just something you have to accept. I get Nolan's thought behind it, so i'm kind of "meh" on the casting, from that point of view. I'm neither celebrating it nor using it as a datapoint to bring down the movie. It just is what it is.

Elliot Page's casting is stupid. Completely pulled me out of the movie every time she was on screen. I get that Nolan may like her as a person (can't believe anyone does) and wanted to cast her. But this was the biggest unforced error of the entire movie, for me. I just don't understand why he would do this to his own movie.

The dialogue was something I wasn't a big critic of, before seeing the movie. When actually watching the movie, I did find it a little jarring. I was thinking to myself, "Why not just say 'Father' or 'Mother'?"

I would put it around the bottom of mid-tier for Nolan films, in my personal rating. It's better than Tenet and TDKR, but I couldn't really put it above any of his others for my personal enjoyment. I don't really have a desire to see it again, right now. My favorite movie of the year is still Project Hail Mary, and it's not even close. I couldn't wait to watch that movie again.

Ultimately, I don't see what others see when they claim it to be a masterpiece. Granted, I view Interstellar that way and many others don't.

ETA: Maybe another reason why some scenes didn't hit as hard as they should, with me, was that the score was passable but nothing special. I actually never really noticed the score throughout the movie. Definitely one of the most mid scores in a Nolan film. Oppenheimer's score felt more epic than this one.

I can't decide if Redstone is
A. Trolling
B. Fishing for stars
C. Actually done a complete 180 from his previous posts about people of color needing representation (least likely)

Or he forgot which account he was logged into. He's done this, before.

Ha! I didn't think of that. That's the right answer, I expect a flurry of edits soon.

Lathspell said:

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After seeing it last night and thinking on it, I would give it an 7.5/10. The filmmaking is still Nolan, so there were some really great set pieces and amazing shots.

The movie itself is not woke. However, just as I thought on the front end, the casting was jarring for me. I watched Ben Shapiro's review and tend to agree with his take. The Helen of Troy casting wasn't as jarring as I originally thought because the entire cast was basically a sampling of a modern day US city. Made the casting feel like a community theater production. Because it was literally across the board, it's just something you have to accept. I get Nolan's thought behind it, so i'm kind of "meh" on the casting, from that point of view. I'm neither celebrating it nor using it as a datapoint to bring down the movie. It just is what it is.

Elliot Page's casting is stupid. Completely pulled me out of the movie every time she was on screen. I get that Nolan may like her as a person (can't believe anyone does) and wanted to cast her. But this was the biggest unforced error of the entire movie, for me. I just don't understand why he would do this to his own movie.

The dialogue was something I wasn't a big critic of, before seeing the movie. When actually watching the movie, I did find it a little jarring. I was thinking to myself, "Why not just say 'Father' or 'Mother'?"

I would put it around the bottom of mid-tier for Nolan films, in my personal rating. It's better than Tenet and TDKR, but I couldn't really put it above any of his others for my personal enjoyment. I don't really have a desire to see it again, right now. My favorite movie of the year is still Project Hail Mary, and it's not even close. I couldn't wait to watch that movie again.

Ultimately, I don't see what others see when they claim it to be a masterpiece. Granted, I view Interstellar that way and many others don't.

ETA: Maybe another reason why some scenes didn't hit as hard as they should, with me, was that the score was passable but nothing special. I actually never really noticed the score throughout the movie. Definitely one of the most mid scores in a Nolan film. Oppenheimer's score felt more epic than this one.

---

Yeah, the modern US city sampling plays into Nolan's own statement about doing a modern interpretation. It's funny because almost no one mentioned that entire cast was diverse before this opened (or at least that I saw). It was all about Lupita and Page. So I was actually surprised to see Indians, Orientals, blacks etc. The most unintentionally funny moment of the movie is when they get to one of the islands and the Indian and black guy tell the old man in the village, "We are Greeks." LOL! That seems like an absurd unforced error to me, but whatever.

Regarding the music, the fact that they didn't use an orchestra results in music that is unlistenable outside of it being paired with film. I thought it was a great pairing for the film but it's not move soundtrack music that you can buy and listen to by itself unless maybe you are insane.

I enjoyed it, but I doubt it will be a movie I ever watch again.

It's possible to make an epic score without using your standard orchestra: see Interstellar.

I agree with that scene. That brought a chuckle out of me to see an Indian dude tell her "We're Greeks."

I'm glad I waited to judge the casting of the movie. The cast combined with the dialogue and accents make complete sense for what Nolan was going for. He pulled it off pretty well in making this story accessible to the broadest of film audiences possible. By taking a group of actors as diverse as we typically see in our everyday lives, using language with accents we typically hear in our everyday lives, Nolan makes it so much easier for us to immerse ourselves in the world he puts on the film. In turn it makes it a lot easier for us to follow the story for 3 hours.

Like others I've seen in this thread, the only casting decision I hated was Page, who was terrible in the role.

veryfuller said:

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I honestly think it's to illustrate/communitcate the theme of the film broadly/universally and not specifically to Caucasians.

It's like the reverse woke. The bad guys/reason for civilizational collapse are not just white guys, they are all of us.

I totally understand it being distracting or heavy handed, but it seems clear to me that was the goal. Nolan wanted people to identify themselves in the story not for classic representation reasons, but so that they see that what he is saying with the movie applies to them too.

That is at least what I think.

---

Maybe.

But first. Wow!

That was . . . The Odyssey. And for me, it has been a long time coming, like waiting for a movie better than 1981s Excalibur, which is still the best versioin of King Arthur. Similarly, outside of the graphic novel adaptation of 300 and a so-so Troy, no movie about Greek mythology has been as memorable as 1981s Clash of the Titans or even further back to 1963s Jason and the Argonauts.

But this was not just about finally getting a film after decades of waiting. It was a fantastic movie. Now I walked out of the LOTR movies rating them as a ten and with that as a barometer I would have The Odyssey as 8.5. Every adventure reminded me of the book I read as a teenager, though even now I have no memory of Calypso. Those scenes were the least interesting as far as any tension.

The full plate armor was still out of place for me. The entire scene was still odd seeing what looked like knights in ancient Greece, but how else would you make the giants imposing and threatening after the giant naked cyclops? I don't know and maybe that's the reasoning.

It was visually impressive and the lack of CGI stood out. Favorite scenes already mentioned were mine as well culminating in a great ending, which was so good it had me forget the length of the movie which, as others have also said, could have been cut back some.

I'm not sure how I would rate it among Nolan's other films. It feels like it belongs in a separate category because it's The Odyssey, and not an easy story to tell.

Now, as far as the above quote. As much as our resident movie expert loves movies, talking about movies, and just being on the side of movies, I am a student of people, people's behavior, and their motivation. Psychology has been my field for over a quarter of a century and I'm hard pressed to not be aware of insidious things like postmodernism and deconstruction, which had its birthplace in academia. There is a reason for everything we do or don't do.

So, when a film about a story from ancient Greece opens with a black person beginning the tale and a transgender in another significant role, as far as the movie goes, and later an Indian man and a black man telling a white man "We're Greek," and a very dark subsaharan black in the role of the most beautiful woman in the world - well, that raises my eyebrows. There's a reason you are making those casting and dialogue choices. Now maybe, using my own fields expression, a cigar is just a cigar and it is to be broadly universal as mentioned in the quote above. But again, I've been around enough postmodernism to see the underlying influences. Lastly, it did ruin the immersion for me in those moments. Blacks, asians, they're not Greek. Those scenes regressed to feeling like watching a stage play, where you have a variety of people playing different roles, rather than the entire movie which itself was very immersive with the set pieces and lack of CGI and Nolan's own attempts, as he said, to be authentic.

Glad you mentioned Excalibur. I meant to put this in my review on spoilers thread but forgot.

The first thing I told my wife when we walked out is that portions of this film were so surreal and strange that it felt like Excalibur to me.

Like Nolan was channeling John Boorman for parts of this film.

Well if not the reason I listed, what IS the reason you are saying he did it? I don't see a counter in what you are saying other than "its something else" and implying its a bit underhanded or insidious. But what is he trying to do in your opinion?

Backyard Gator said:

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Rotten Tomatoes just permanently torched its credibility.

The Odyssey: 97% audience score. “Beating LOTR: Return of the King.”

Meanwhile both other major review platforms for Odyssey are:

Metacritic users: 5.3.
Letterboxd: 4.3.

You don’t get a 50-point gap between platforms… https://t.co/ZYAMUU1OJ7

— Shane Tyler Milson (@ShaneTMilson) July 18, 2026

---

How do people tweeting about movie ratings still not understand how Rotten Tomatoes works?

It is binary, thumb up or thumb down total. It is not a numeric quality score on a scale of 100 rating.

veryfuller said:

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Well if not the reason I listed, what IS the reason you are saying he did it? I don't see a counter in what you are saying other than "its something else" and implying its a bit underhanded or insidious. But what is he trying to do in your opinion?

---

To perpetuate post modernism or simply feels he has to succumb to it for the movie to reach broadest audience and success? Nolan himself has said he wanted to make a modern version of The Odyssey so this seems obvious?

fig96 said:

---

Backyard Gator said:

---

Rotten Tomatoes just permanently torched its credibility.

The Odyssey: 97% audience score. “Beating LOTR: Return of the King.”

Meanwhile both other major review platforms for Odyssey are:

Metacritic users: 5.3.
Letterboxd: 4.3.

You don’t get a 50-point gap between platforms… https://t.co/ZYAMUU1OJ7

— Shane Tyler Milson (@ShaneTMilson) July 18, 2026

---

How do people tweeting about movie ratings still not understand how Rotten Tomatoes works?

It is binary, thumb up or thumb total. It is not a numeric quality score on a scale of 100 rating.

---

Yeah, it's baffling. It's the main reason I abandoned RT years ago. A pass/fail rating on a movie is far too ambiguous to tell me anything about whether I will like it or not. I don't want to waste my time on a movie that gets a D.

Well, but how does it perpetuate post-modernism? My question is how is the casting deconstructing the story or how is it perpetuating post-modernism?

It seems to me that its presenting as that, but then the story/themes are very traditional. So I don't understand how the casting is him trying to do the opposite of what the themes of the movie are communicating.

And the 2nd what if you propose isn't underhanded or insidious, and is basically in line with what I argue is what he is trying to do.

YouBet said:

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fig96 said:

---

Backyard Gator said:

---

Rotten Tomatoes just permanently torched its credibility.

The Odyssey: 97% audience score. “Beating LOTR: Return of the King.”

Meanwhile both other major review platforms for Odyssey are:

Metacritic users: 5.3.
Letterboxd: 4.3.

You don’t get a 50-point gap between platforms… https://t.co/ZYAMUU1OJ7

— Shane Tyler Milson (@ShaneTMilson) July 18, 2026

---

How do people tweeting about movie ratings still not understand how Rotten Tomatoes works?

It is binary, thumb up or thumb total. It is not a numeric quality score on a scale of 100 rating.

---

Yeah, it's baffling. It's the main reason I abandoned RT years ago. A pass/fail rating on a movie is far too ambiguous to tell me anything about whether I will like it or not. I don't want to waste my time on a movie that gets a D.

---

Yeah, I too abandoned it for movies. I think it kinda still works for tv series though

veryfuller said:

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Well if not the reason I listed, what IS the reason you are saying he did it? I don't see a counter in what you are saying other than "its something else" and implying its a bit underhanded or insidious. But what is he trying to do in your opinion?

---

Being quick as I'm heading out the door.

The underlying philosophy itself is what's insidious not the individual behavior, who may not know why they are doing what they are doing. For example, when I'm meeting with a mental health administrator, who does good work for their community, when they begin a meeting by stating they are on stolen land, it is not that expression itself, but a culmination of such behavior contributing to our societal malaise.

Also, and again I'm limited with time here, acknowledge a spectrum because I know you will rail against what you consider insignificant.

That being said, Nolan writing a scene where Odysseus's men, an Indian and black, tell a white man "We're Greek" adds to deconstructing the West and what it means to be of European descent, in this case specifically to be Greek. It is another voice contributing to the widespread belief that the West and European nations are an idea. That any race or ethnic group can claim to be Italian, English, Dutch, Greek, etc. whereas white people are lambasted for cultural appropriation.

There's so much more, but it's a discussion for another time and as I said about 70 pages ago an interesting one to be had.

But it's just… so clear that's not what Nolan is doing, considering all the other themes of the movie. Rather, he's simply saying, thematically, "Hey, this is us." He's using an old Greek story to hold up a mirror to the modern world, in a modern piece of art/entertainment. That's it. It's not about erasing cultures or anything like that, and nothing is going be eroded or replaced or whatever due to a single movie.

veryfuller said:

---

Well if not the reason I listed, what IS the reason you are saying he did it? I don't see a counter in what you are saying other than "its something else" and implying its a bit underhanded or insidious. But what is he trying to do in your opinion?

---

Please understand that the following take is from a person who has yet to see the movie and has simply read and listened to a lot of reviews....

Perhaps the reason Nolan made his casting choices is the same reason he changed Odysseus' character traits....deconstruction, just like AGinHI said. This is the most classic of all classical "hero" stories. So, what better way for Nolan to portray his view of mankind, and men in particular, than tear down and rebuild the characters and character motivations in this foundational story.

In this version, Odysseus is changed from a somewhat haughty, brave warrior defying the Gods to a broken and depressed man ridden with PTSD because he commited such horrible war crimes. Nolan does love his heroes to be broken and morally conflicted. The Tom Hardy pilot character in Dunkirk might be the only straight-up "hero" Nolan's ever put on screen.

In Nolan's The Odyssey our hero isn't having trouble getting home because he arrogantly defied the Gods; instead, his difficulties are a result of breaking Zeus' law when he sacked Troy. The female characters aren't simply obstacles or villains anymore, they're now justified in doing what they do to the men in the movie because at some point in the past men harmed them first. So, making the cast extremely diverse is just one more deconstruction of this tale to go along with all of the other modernizations Nolan's implemented.

BOX OFFICE: #TheOdyssey opens with $124.5M (domestic) and $264M (global). That is..
- Christopher Nolan’s biggest global opening ever
- Biggest opening for a live action film this year
- Universal’s biggest opening ever for an R-rated movie
- The 2nd biggest R-rated opening ever… pic.twitter.com/TSOaYJoKxa

— Erik Davis (@ErikDavis) July 19, 2026