The Golden Globe Nominees Unveiled: The Commencement of Barbenheimer’s Awards Season – An Analysis

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As Hollywood’s prestigious awards season unfolds, early accolades have been bestowed upon noteworthy films such as Celine Song’s poignant relationship drama, “Past Lives,” Jonathan Glazer’s thought-provoking Holocaust feature, “The Zone of Interest,” and Martin Scorsese’s grand narrative, “Killers of the Flower Moon,” which delves into the Osage murders.

Nonetheless, a much-anticipated showdown has always been on the horizon.

“Barbie” and “Oppenheimer,” despite their disparate themes and content, made waves as two of the most formidable contenders for this year’s Oscars. With the recent announcement of nominations for the 81st Golden Globe Awards, even amidst the Globe’s own tumultuous history, they threw their full support behind these cinematic phenomena.

Greta Gerwig’s “Barbie” secured nine nominations, tying for the second-highest number in Golden Globes history, surpassed only by Bob Fosse’s “Cabaret” and overshadowing Robert Altman’s “Nashville.” Its lead over Christopher Nolan’s monumental J. Robert Oppenheimer biopic, which garnered eight nominations, was marginal.

While the Golden Globes will categorize the competition in certain respects, designating “Barbie” as a comedy and “Oppenheimer” as a drama, both films are poised to vie for victory in several pivotal categories. Will it be Gerwig or Nolan for the best director? Ryan Gosling or Robert Downey Jr. for the best supporting actor?

Each film carries its own compelling narrative. Christopher Nolan, widely regarded as one of the most accomplished cinematic artists of his generation, has never claimed the Oscar for best directing, and his works have yet to secure the coveted best picture accolade. Gerwig and “Barbie” are at the forefront of a transformative wave in an industry historically dominated by males, achieving something exceptionally innovative in an era dominated by sequels and reboots, all while amassing a combined box office revenue of $2.4 billion.

These debates will undoubtedly persist until the Academy Awards on March 10. Nevertheless, Monday’s Golden Globe nominations have clearly signaled the commencement of Barbenheimer’s second phase.

The prominent presence of these two films will undoubtedly bolster the Golden Globes’ quest for stability after a series of tumultuous years. The Hollywood Foreign Press Association (HFPA), once known for eccentric nominations (who can forget “Salmon Fishing in Yemen”?), has since been dissolved.

This year, a new voting body, comprised of approximately 300 members—more than triple the size of the HFPA—selected the nominees. Following revelations in The Los Angeles Times regarding the HFPA’s lack of Black members, Hollywood initiated a boycott, leading to the cancellation of the 2022 awards broadcast. Now, the newly profit-oriented Globes, owned by Dick Clark Productions and Eldridge Industries, have moved to CBS after decades with NBC (the ceremony is scheduled for January 7).

Numerous questions remain unanswered, such as the absence of a host and reported rejections from A-listers. However, within the context of the Golden Globes’ reputation, Monday’s nominations did not provoke further disdain. The reception remained consistent: modest celebration among nominees and gentle ribbing for an awards ceremony with a checkered history.

Expanding their categories from five to six nominees resulted in fewer notable omissions. Nevertheless, the most surprising absence of the morning was “The Color Purple,” Blitz Bazawule’s musical production backed by Oprah, which was excluded from the best comedy or musical category. However, stars Fantasia Barrino and Danielle Brooks each received nominations.

Films that had not yet received widespread theatrical releases encountered challenges. Both Michael Mann’s “Ferrari” and Ava DuVernay’s “Origin” were left out.

The Golden Globes followed the industry buzz closely, including the inclusion of Time Magazine’s Person of the Year, Taylor Swift, in a new cinematic and box office achievement award category. “Taylor Swift: The Eras Tour” met the eligibility criteria, grossing over $150 million, with $100 million originating from the U.S. market, or achieving streaming success. This addition allowed the Golden Globes to enhance their broadcast’s star power with Swift, a pop sensation gradually transitioning into filmmaking.

This new award aligns with the Academy Awards’ previous attempt in 2018 to introduce a “popular film” category, which was met with immediate backlash and subsequently abandoned. Both award ceremonies have witnessed declining viewership in recent years and have sought to incorporate box office hits into their programs. Last year’s Golden Globes attracted just 6.3 million viewers.

This year, however, it seems that the Golden Globes and the Oscars may not need significant adjustments to include blockbusters. Although several acclaimed films have entered the competition, including “Killers of the Flower Moon” (with 7 nominations), Yorgos Lanthimos’ unconventional fantasy “Poor Things” (also with 7 nominations), “Past Lives” (5 nominations), and Alexander Payne’s “The Holdovers” (3 nominations), none have emerged as a clear favorite over “Barbie” or “Oppenheimer.”

Their journey towards winning the best picture category at the Oscars may not be as straightforward as it appears now. Since “Argo” in 2012, no best picture winner has grossed over $100 million domestically. In recent years, cinematic blockbusters like “Top Gun: Maverick” and “Avatar: The Way of Water” have faltered in their quest for the industry’s top honor, while smaller, independently produced films such as “Everything Everywhere All at Once” and “CODA” have emerged victorious.

However, Monday’s nominations have indicated that this year, “Barbie” and “Oppenheimer” are the films to watch. It’s time to make your predictions.

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Follow AP Film Writer Jake Coyle on Twitter: http://twitter.com/jakecoyleAP

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