![]() ![]() ![]() Seeing Oppenheimer in a sold-out IMAX viewing was a revelation. But when an interview with Director Christopher Nolan circulated about how he specifically created the film for IMAX viewing, we instead purchased tickets for the afternoon IMAX showing at the Megaplex Theatres at Valley Fair Mall. We initially intended to catch the double feature at Broadway Centre Cinemas, starting with the dread and intellect of Oppenheimer only to be brought back from the ashes by Barbie ’s vibrance. Anticipation built for months after watching interview after interview with the cast and crew, and it became unanimously understood that this would be the best day of the summer-we would be part of a cultural monument that would rekindle the film industry. ![]() My friends and I started planning for Barbenheimer a year in advance, and I know many people who did the same. The duality of Barbenheimer represents an invitation to engage with media in ways that don’t force our interests into a box. Somewhere along the way, we forgot media is designed for entertainment and enjoyment rather than a reflection of our taste or an opportunity to explore new themes or mediums. I do have one for Barbenheimer: because it’s fun. Someone out there is probably rolling their eyes, asking, “Why does every cultural experience need to be monetized?” I don’t have an adequate answer. There are Barbenheimer t-shirts and custom costumes and itineraries. The chronically online are already familiar with the film community’s commitment to the cause with Barbenheimer. Margot Robbie plays “Stereotypical Barbie” in Barbie. ![]()
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