Author: Josh Lee (24S05A)
Editor: Liu Yiming (24s03K)
Whilst Singaporeans have been absolutely GRIPPED by the recent onslaught of live concert ticket sales, including the “God of Songs” Jacky Cheung, former rock (now pop) band Coldplay, and Raffles-favorite Taylor Swift, an upcoming legendary box office battle has seemed to go relatively unnoticed.
Film fanatics, or perhaps students researching for GP, may have come across the latest sensationalised rivalry “Barbie vs Oppenheimer“. These are 2 major movies are scheduled to be released on the same date, the 21st of July 2023. But what’s the buzz all about?
Pink! vs bleak.; Gerwig vs Nolan; Warner Bros vs Universal — simply put, the contrast of this level is extraordinary. Speaking of contrast, this leads nicely into my first point, the art of counterprogramming.
The Art of Counterprogramming
Counterprogramming in broadcast programming is the simultaneous attraction… woah Josh, skip the technicals!
Essentially, when a blockbuster is released, another studio will air a completely different film to capture a different target audience — taking advantage of the movie craze!
Economics-wise, this immediately led me to think of “opp. cost” of moviemakers, and if it would be better to just release the movies on separate weekends. I think this ultimately depends on the audience.
If both films share a similar audience, then Counter-Progamming may end up being Counter-Productive. Between the series finale of Harry Potter and an animated feature of Winnie the Pooh, it’s a clear win for Warner Bros. and a flop for Walt Disney Pictures.
However, CP has worked before, with Warner Bros’ “The Dark Knight” and Universal Pictures’ “Mamma Mia!”, each film exceeding expectations. In such cases it seems, demand for one is spurred by the other, and whatever rivalry or perceived competition between the two translates into a bigger box office for both the filmmakers.
Barbenheimer is the next big Counterprogramming stunt. However, their story does not end here. More specifically, to what extent are the audiences for Barbie and Oppenheimer really different?
A Shift of Culture
At first glance, it seems that Barbie and Oppenheimer appeal to very different audiences.
A rational agent should be able to link “I’m a Barbie Girl, in a Barbie World.” and “Now I am become Death, the destroyer of worlds.” to their respective target groups.
However, is their Cross Elasticity of Demand (CED) value truly ‘0’?
Inspired by an article by Screenrant, I wonder how much both films’ philosophy overlaps. One is fun and inclusive, the other is thought-provoking and distorted.
If you believe that movies are a reflection of society, then these films may very well appeal to surprisingly similar audiences, uncertain and struggling to establish their worldview. The sporadic shifting of tastes & preferences in today’s society makes it very possible to see both a gaggle of girls and a bunch of “gym bros” at Barbie.
The Profit Motive
Throughout my research of the Barbenheimer drama, I’ve become increasingly invested in the saga. From Barbie’s expected triumph at the box office, to Christopher Nolan’s first release for Universal Pictures after his falling out with Warner Bros (who are making Barbie!), this is a testament to how seemingly competing filmmakers may collude to achieve their no.1 goal…
Profit maximisation! Yes, I have not forgotten about the economics element!
Don’t be fooled — movie-making is first and foremost a business.
From what we have discussed on Counterprogramming and Culture, the pitting of Barbie vs Oppenheimer may very well be an intentional marketing strategy. Aside from the media attention to generate hype and fuel demand, this collusion-of-sorts seems to extend the demand two-fold; both Barbie and Oppenheimer fans watch the other film just to have a taste of the other side for themselves.
This makes the duo strong complements, and both studios reap the benefits by keeping up the “competition”.
A Cinematic Masterpiece
To conclude, Barbenheimer is a rare case where there is such conflict of film philosophy and perceived difference, and yet releasing the movies on 21st July may turn out to be the profit-maximising decision for both filmmakers.
Either way, this cinematic experience is going to be a special one. So, who’s going?
The Common good 
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