J. Ryan Briggs

Screenwriter / Seeking new representation with an agency / RT doesn't equal endorsement

[J. Ryan Briggs @jettbriggs]

I know I'm speaking into the void, but I want it known that I've written five screenplays so far. All award-winning, often multiple times over. Four are arthouse sci-fi, my preferred genre. Working screenwriters I've met who've read them have told me they're good. I agree. 😉 If anyone in the industry is interested in original artistic visions and IP, DM me.

[J. Ryan Briggs @jettbriggs]

@thsottiaux You the man.

[J. Ryan Briggs @jettbriggs]

I’d love a cross-device view in Codex. If I’m using Codex on my iMac, I should be able to open a tab and see the live Codex session running on my MacBook (and vice versa), similar to how the iOS Remote app lets me view multiple Macs. My Macs should be able to see each other’s Codex sessions.

[J. Ryan Briggs @jettbriggs]

@Jeffsirp @ABC @FriendsFamilia @SeeRacists I guess nuance and precise thought is lost on you. Best of luck to you.

[J. Ryan Briggs @jettbriggs]

@Jeffsirp @ABC I said it WOULD NOT BE OKAY if he had a romantic/sexual relationship with her when she waswith 14.

[J. Ryan Briggs @jettbriggs]

@Jeffsirp @ABC Besides, pedophilia is an attraction to sexually immature human beings. At 14, she was likely sexually mature. Now, if he acted on his feelings when she was 14, that would be wrong, but not because it would constitute “pedophilia.”

[J. Ryan Briggs @jettbriggs]

@Jeffsirp @ABC Grooming is a verb. What did he literally do? Had feelings for her years beforehand? Do we know he acted on them inappropriately? Let’s not remove agency from a woman. She was an adult when they married.

[J. Ryan Briggs @jettbriggs]

@Jeffsirp @ABC No. She’s was an adult when they married. He met her when she was 14. No evidence he “groomed” her.

[J. Ryan Briggs @jettbriggs]

@emergencypettax

[J. Ryan Briggs @jettbriggs]

@kneeyockartee No, he didn’t.

[J. Ryan Briggs @jettbriggs]

@cocamidemea @cmclymer No he didn’t

[Variety @Variety]

Glen Hansard, Irish Musician and 'Once' Star Who Won Oscar for Best Song, Dies at 56 https://t.co/TCaNqqinbP

[J. Ryan Briggs @jettbriggs]

@Plinz Here, here.👍

[J. Ryan Briggs @jettbriggs]

@Frostfang771360 @Itzdopey21 @RantyAmyCurtis That isn’t a pivot. I’m saying the revision is the point. You’ve established that Nolan departs from Homer’s moral framework, but you haven’t established that the departure fails dramatically.

[J. Ryan Briggs @jettbriggs]

@Frostfang771360 @Itzdopey21 @RantyAmyCurtis It’s a mythological event, not historical, and so it’s not like revising history. Nolan, like many poets, writers, and artists before him, took the Odyssey and made it his own. In fact, it universalized it.

[J. Ryan Briggs @jettbriggs]

@Frostfang771360 @Itzdopey21 @RantyAmyCurtis It doesn’t apply only to Odysseus—Paris is guilty too. My read is that Nolan makes Odysseus the Greek who realizes Paris’s crime cannot justify his own: morality must apply universally, not through tribal reciprocity or “might makes right.”

[J. Ryan Briggs @jettbriggs]

@Frostfang771360 @Itzdopey21 @RantyAmyCurtis The story’s focus is Odysseus. To explore the theme, you need not necessarily include other characters feeling like Odysseus.

[J. Ryan Briggs @jettbriggs]

@JoshEberley But that’s not “un-checked” capitalism, which would be capitalism without the “check” of government intervention. “Crony” capitalism is the when capitalists seek to “win” in an economy via favorable regulation that makes the capitalist in question destroy their would-be rivals.

[J. Ryan Briggs @jettbriggs]

@JoshEberley We’re closer to crony capitalism then the “unchecked” kind.

[J. Ryan Briggs @jettbriggs]

Point of Distortion and Misdirection

The audience arrives expecting the Trojan Horse to be presented as one of history’s supreme acts of military cunning and ingenuity. Both popular culture and centuries of retellings have conditioned viewers to celebrate it as Odysseus’s defining triumph—a masterpiece of intelligence that ended the war when brute force failed. Nolan appears to lean into that expectation, allowing the Horse to initially occupy its familiar place as the crowning achievement of human cleverness.

But that expectation is itself the distortion.

Rather than allowing the audience to equate tactical brilliance with moral greatness, the film quietly plants the possibility that success and righteousness are not the same thing. The Horse’s effectiveness disguises a deeper violation of Zeus’s objective moral order. What appears to be the greatest expression of Odysseus’s genius is actually the event that wounds his soul and sets the terms of his entire journey home.

The audience initially celebrates the Horse because it mistakes victory for virtue. That confusion is the false surface symmetry the story later overturns.