“Barbenheimer”—the collective celebration centered around the release of the Barbie and Oppenheimer movies—has unexpectedly intertwined with the wedding industry. According to a recent Variety story, people are now planning to make a double feature of these two films a part of their prenuptial festivities, and even those who aren’t getting married are organizing similar movie-watching marathons. This phenomenon has become a viral cultural moment that marketing teams could only dream of, but at the same time, it somehow feels like a metaphorical sign of the end times.
However, the sense of apprehension surrounding this collective celebration is not solely based on the fact that people want to indulge in stories about a Mattel doll and the development of atomic weapons simultaneously. The reason behind the ominous atmosphere lies in the fact that this weekend promises a level of movie hype and box office success that cinemas haven’t witnessed since the Covid-19 pandemic forced them to shut down. And it’s happening right in the midst of Hollywood going on strike.
WIRED, a renowned publication, recently published a series of stories that explored the future of entertainment and how technological advancements could impact various forms of culture, including books, video games, and even YouTube. However, as the writers worked on these stories, contract negotiations between Hollywood studios and the writers and actors unions began to crumble. One of the main points of contention in these negotiations was the utilization of artificial intelligence (AI) in the production of movies and TV shows. Suddenly, the world seemed to find itself in the midst of what Madeline Ashby referred to as “Hot Strike Summer.”
This clash between the Barbenheimer moment and Hot Strike Summer abruptly occurred as the Screen Actors Guild—American Federation of Television and Radio Artists (SAG-AFTRA) called for a walkout. As a result, prominent stars could no longer attend red carpet events without appearing like scabs. The cast of Oppenheimer delivered a powerful message by walking out of the film’s London premiere as soon as the strike commenced. On the other hand, the cast and filmmakers of Barbie, who premiered their film before the strike was announced, expressed their solidarity with the strike. This unexpected turn of events led to the transformation of the globally recognized Barbie figurine into a symbol reminiscent of Norma Rae, the famous labor rights activist. The marquee at a local Brooklyn theater showcased both movies with the phrase “Atomic Kenergy,” while The New York Times questioned whether one could still enjoy “Barbenheimer” despite the ongoing Hollywood strikes (short answer: yes).
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Interestingly, the strikes will not impact the opening weekend box office numbers of Oppenheimer or Barbie. Earlier this week, AMC Entertainment revealed that approximately 40,000 people had already purchased tickets for both films. Together, these movies are projected to rake in around $150-200 million domestically, with Greta Gerwig’s parody of the iconic Mattel doll expected to outperform Christopher Nolan’s historical drama about the man behind the creation of the atomic bomb.
In conclusion, the collision between the Barbenheimer moment and Hollywood’s strike has generated a unique blend of anticipation and apprehension. People are keen to celebrate the release of these two movies, but the strike has added a layer of complexity and significance to the event. Regardless, audiences are eagerly awaiting this weekend’s box office results, which could potentially mark a significant milestone in the post-pandemic recovery of the film industry.
