Christopher Nolan is freaking me out. “There’s a pretty simple argument mathematically for saying the world will end in nuclear Armageddon simply because that’s a possibility,” he’s calmly explaining. “Over an infinite timeline, it’s going to happen at some point.” It’s hard to dispute Nolan’s logic that civilization will one day vaporize, but as he tops off his mug of Earl Grey tea from a small kettle on the table in front of him, he hits a slightly more hopeful note. “My optimistic human self has to believe we’ll find a way to avoid that, but I don’t take a lot of reassurance in the idea that mutually assured destruction has prevented a cataclysm so far.
It’s the ‘so far’ that’s the problem.” Nolan is something of an authority on the apocalypse. After all, “Oppenheimer,” his look at J.
Robert Oppenheimer, the architect of the Atomic Age, is one of the most-seen films of this or any year. The three-hour, R-rated drama where the action mostly unfolds in laboratories and congressional hearings has grossed nearly $950 million globally, more than almost any recent Marvel movie.
In the process, it’s reshaping Hollywood’s idea of what constitutes blockbuster entertainment. Over the past two decades, comic book adventures subsumed the movie business, with studios churning out an assembly line of sequels and spinoffs featuring superpowered heroes.
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