Barbie

It must be nice to be Netflix CEO Ted Sarandos. Not only is he paid a truly eye-watering amount of money to be in his job (roughly $50 million a year, according to reports), but because of his company’s pre-eminent position in the streaming market, he is interviewed, largely uncritically, by major news titles, even when he says things that are obviously either wrong or deeply stupid. Thus it has proved in a recent conversation with the New York Times, in which he announced, of last year’s hits Barbie and Oppenheimer, “Both of those movies would be great for Netflix. They definitely would have enjoyed just as big an audience on Netflix.” To add insult to injury, he declared that the size of a screen was all but irrelevant, saying, “My son’s an editor.

2023 was a great year for movies. After several disappointing and low-grade years post-pandemic, there was a plethora of brilliant films, all of which have combined to make awards season perhaps the most intriguing there’s been in more than a decade — even if it’s a virtual given that Christopher Nolan and Oppenheimer will storm to victory. But any year that contains the likes of Poor Things, Killers of the Flower Moon, Past Lives, The Zone of Interest and — oh yes — Barbie can only be taken seriously as one of the very best times for high-grade, intelligent film in memory. It was not a great year for blockbusters, however. The Marvel flops included The Marvels and Ant-Man and the Wasp: Quantumania, and the likes of Indiana Jones and the Dial of Destiny, The Flash and Shazam!

My first reaction to this year’s Oscar nominations was that it was a sane and sober list, where the right films were recognized and where tokenism had largely been dispensed with. There were a couple of surprises: I had thought that Past Lives might have featured more heavily, but generally speaking, it was a robust and intellectually satisfactory assortment. But I had, of course, not fully reckoned with Barbie.

After the debacle of Jo Koy’s appalling, worst-ever hosting of this year’s Golden Globes ceremony, the organizers of the Academy Awards are probably patting themselves on the back in the knowledge that they’ve successfully hired safe-pair-of-hands Jimmy Kimmel for this year’s ceremony. Yes, alas, because his joke-nemesis Matt Damon features in this year’s dead-cert winner Oppenheimer, there will be the public continuation of the smuggest and least amusing fake feud in contemporary life, but at least Kimmel won’t offend anyone, knows how to deliver a carefully scripted punchline and can be relied upon to keep things moving at a lick.

The Golden Globes have historically been the strangest of all the major film awards ceremonies. Previously handed out by a mysterious body known as the HFPA (Hollywood Foreign Press Association), the ceremony has all the glamor and glitz of the Oscars, but with one big difference: there is free-flowing alcohol on all the tables, meaning that, more often than not, audiences can enjoy the spectacle of at least one A-list star collecting their award blind drunk, which leads to some of the more unorthodox and entertaining speeches in recent memory. And this unrestrained ethos extends itself to the hosts, too.

Amber Duke, Washington editor Talk to Me John Carpenter made some of the best horror movies of all time because his work did more than just try to scare the audience — it explored what really drives fear. Halloween toyed with the nature of evil. The Thing is a commentary on human isolation and the psychological effects of distrust and suspicion. That’s why Talk To Me, a 2023 horror flick from the much buzzed about studio A24, is so good. Yes, it’s about demonic possession and conjuring spirits, but at its core it’s a story about grief. Namely, the poor choices we can make when we miss someone so terribly and we just need a respite from the pain.

After a year in entertainment dominated by the Barbenheimer phenomenon, it wasn’t hugely surprising to find that Barbie and Oppenheimer were similarly garlanded when it came to today’s Golden Globe nominations. The adventures of Mattel’s finest and most lucrative product-turned-icon are up for nine awards — in large part because it has no fewer than three nominations for Best Song, including my own favorite “I’m Just Ken” — whereas Christopher Nolan’s atomic bomb epic is just trailing behind slightly with eight, including recognition for Best Picture, Best Director and, as expected, actors Cillian Murphy, Robert Downey Jr. and Emily Blunt.

After a relatively quiet few weeks at the US box office, now that the Barbenheimer phenomenon has finally receded from view, it has fallen to another all-conquering icon to drag audiences back to theaters in their millions. Yes, Taylor Swift is no longer content with conquering stadia, but has now managed to establish herself as an unparalleled draw for the big screen as well, with Taylor Swift: The Eras Tour opening in American cinemas. With a first weekend gross of $97 million, it will either be the highest October launch since Joker in 2019, or even surpass it. Not bad for something made on a budget of no more than $20 million, self-produced by Swift herself and bypassing studios to be distributed directly to theaters.

Since Netflix’s Sex Education began in 2019, it has won plaudits for being one of the most reliably entertaining shows on the platform, combining refreshing frankness about sex in all its forms with a finely judged balance between gross-out humor and genuine wit, while also being unafraid to delve into deeper emotional territory. Showrunner and creator Laurie Nunn — daughter of British theatrical royalty Sir Trevor — has proved a remarkable talent, not least for assembling a truly excellent cast of lesser-known actors who have all transformed into stars over the past four years. There is, inevitably, a problem with popular shows continuing beyond their natural ending, and that is a feeling of staleness.

In the summer of 1997, one song was ubiquitous all over the world, namely the Swedish band Aqua’s novelty pop single “Barbie Girl.” A lightly ironic account of the exploits of the titular creation — “I’m a Barbie girl, in a Barbie world/ Life in plastic, it’s fantastic” — it might have irritated Barbie’s manufacturer’s Mattel, who unsuccessfully took Aqua’s record label MCA to court, citing copyright violation, but for everyone else, it was a half-amusing, half-persistent earworm that seemed as disposable and popular as the doll herself.

The news that Denis Villeneuve’s keenly anticipated Dune sequel is to be delayed from its previously announced November release date until next March is both unwelcome and far from unexpected. It also brings back memories of the pandemic, when films were routinely postponed for months, even years; it is not hard to remember how the Bond film No Time To Die ended up having its original release date of April 2020 put back until October 2021, by which time Billie Eilish’s theme song had acquired all the familiarity of a much-loved old standard, and the film’s trailers had long since melted into ubiquity. And countless equally delayed pictures simply flopped at the box office, as audiences stayed away, bored by seeing the same marketing materials forever.

If you saw the Barbie movie this week, chances are you enjoyed Michael Cera's performance as the long forgotten Allan doll. Cockburn must admit he doesn’t have much experience with kids’ toys (thanks to his lawyers, who fight paternity suits like pitbulls), but even he’s surprised at how lucrative a market the doll market is becoming. After its opening weekend, where Barbie raked in an estimated $155 million, now anyone with an Allan doll can make their own small fortune by selling it. Over the weekend, several eBay listings for old Allan dolls increased their prices. Before the film came out, some were priced as low as $30; now, the valuation has increased to over $300.  Since the movie's release, Allan has turned into a fan favorite.

The Barbenheimer phenomenon — thought of by many as just idle chatter on the internet — has enduring power. Last weekend, Barbie and Oppenheimer earned a combined $511 million in global box office receipts; an unprecedented number where neither film is a superhero picture or a sequel. Barbie made more money, on the grounds that it’s an hour shorter and is PG-13 rated, but the vast box office success of the R-rated Oppenheimer, which made over $170 million in its opening weekend, is testament both to Barbenheimer excitement, and to the film’s very own brand: its powerful writer-director-producer, Christopher Nolan.  James Cameron aside, it is hard to think of any filmmaker who wields such power and influence in contemporary Hollywood.

In 1997, the Swedish pop act Aqua released a novelty single which combined being hugely popular with being even more irritating. Entitled “Barbie Girl,” it was a helium-voiced ode to the wonders of the famous Mattel creation, dusted with just enough ironic detachment to allow the musical connoisseur to believe that they were savoring a joke, while giving the unreconstructed pop lovers everything they could hope for. The lyrics are especially lamentable: the chorus declares “I'm a Barbie girl, in the Barbie world/ Life in plastic, it's fantastic/ You can brush my hair, undress me everywhere/ Imagination, life is your creation.” It was successful for a while, sold a huge number of copies and can, very occasionally, still be heard on the radio.