Written by Amani Rizwan

Thumbnail & Banner Photo by Jaap Buitendijk/Universal Pictures

This year’s Oscar nominations brought their usual cocktail of snubs and surprises, yet amidst the chatter, one contender stood out in the plastic fantasia of Hollywood: the Barbie movie. The omission of Barbie from the nominations for Best Actress and Director at the Oscars has ignited an array of fiery pink reactions across social media (#HillaryBarbie). But this isn’t to say Barbie hasn’t been nominated for anything else. With 8 nominations, the film flaunts nominations across categories, from Best Supporting Actor for Ryan Gosling, Best Supporting Actress for America Ferrera, Best Adapted Screenplay to Best Picture, and it even boasts two Best Original Song entries. Yet, in the dollhouse of discontent, Margot Robbie’s absence from the Best Actress category has stirred up a whirlwind of social media indignation, while Greta Gerwig finds herself once again locked out of the director's chair. As the debate simmers, it raises questions about the intricate nature of Oscar recognition and the societal messages embedded in the film, implying that the snub runs deeper than mere award categories.

Let’s not tangle ourselves in knots over Robbie’s omission. While her absence may sting, it's worth noting that her producer's hat still garners recognition in the Best Picture race. Likewise, Gerwig, along with her husband Noah Baumbach, finds solace in the screenplay nomination. Her nomination stands out to me more, making me wonder if the Academy actually pays any attention to the categories. Nevertheless, it’s as good a time as any to bring up what may be, the most bizarre reaction to the controversy. Enter former presidential candidate and master tweeter, Hillary Clinton, who drew parallels to her own electoral college loss in 2016. With a cryptic hashtag #HillaryBarbie, she offers solace to the film's dashed dreams, echoing the sentiments of millions of devoted fans, “Greta & Margot, While it can sting to win the box office but not take home the gold, your millions of fans love you. You’re both so much more than Kenough. #HillaryBarbie”.

And at the risk of adding fuel to the fire, I don’t think Margot’s snub is as big of a misfire as most people are making it out to be. Firstly, the Best Actress category is jam-packed this year with the likes of Emma Stone, Carey Mulligan, Lily Gladstone, and more. Margot isn’t the only one who was kicked aside — Greta Lee delivered an absolutely heartrending performance in Past Lives that, in my opinion, is far more deserving of an Oscar nod. Secondly, the main argument being made is that the snubs reflect the ideas the movie was trying to portray, seeing as Ryan Gosling, the male lead, was nominated for a movie centred around women. This just seems insulting to America Ferrera, whose nomination for Best Actress is just as significant as Gosling’s. Those who erase her nomination for the sake of a simpler story reveal more about themselves than they do about the Oscars.

As the debate rages on, it's also become clear that Barbie's feminist credentials are under scrutiny — which is why I have my qualms with Gerwig’s screenplay nomination. Despite the film’s glossy veneer, it sidesteps its titular character's origins, a doll fashioned from borrowed inspirations that flirt with controversy. Ruth Handler, the mother of Barbie dolls, originally created Barbie to combat the dolls at the time that she thought had “flat chests, big bellies, and squatty legs” and looked like “overweight six- or eight-year-olds.” So, the narrative's attempts at feminism — Barbie crying at the sight of the old woman or America Ferrera’s monologue — feel as shallow as a kiddie pool. Sure, one could argue that the movie isn’t obligated to examine feminism that intricately, but when juxtaposed with its nuanced, inventive exploration of toxic masculinity through Ken, it just seems a bit lacklustre. He got a grandiose ballet dance number, and a Mojo Dojo Casa House sequence that certainly outshined other performances. And that’s all thanks to Greta’s directing skills! Her screenplay pales in the face of her expert directing chops. That’s the one nomination she wholeheartedly deserved. From the opening scene to the office chase to Barbie’s big sleepover, each aspect of the film felt original and incredibly fine-tuned.

Moreover, the film’s best scenes are all homages to the Golden Era of Hollywood. All the travel scenes to and from the real world relied solely on practical effects that would have Marvel’s CGI team in a coma, and the entirety of “I’m Just Ken” brought back the talents of Fred Astaire and Gene Kelly. The Academy is notorious for undermining women's works, seeing as only three of the eight women ever nominated have won Best Director. Mind you, the Oscars have been around since 1929, so the reality of Gerwig’s loss is more profound than the world of Barbies and Kens. Not to mention their general distaste for movies that are a bit bubblier and don’t involve agonising pain.

So, while the Barbie snubs have sparked outrage, particularly surrounding Margot Robbie and Greta Gerwig, it's essential to consider the context of a competitive year and the film's own complexities. Ultimately, the Academy, though often criticised, is much like a plastic doll — dressed to impress, but beneath the shiny facade, it is as flimsy as a polyester gown. Their choices reflect their own priorities and shouldn't diminish the film's achievements or Margot or Greta's talents. Instead of getting caught up in award-season drama and bad feminism, appreciate the film's originality, its technical feats, and its exploration of gender dynamics, even if imperfectly executed. Remember, the real world is far more complex than the plastic utopia of Barbie, and true art thrives on sparking conversation and challenging perspectives, regardless of the number of naked golden statues it garners.

Are Barbie’s Oscar Nominations Kenough?

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