In just under 48 hours, the Oscar
snubs have generated numerous news cycles with a spectrum of reactions,
including passionate, indifferent, and unconventional takes. Notably, even a
former U.S. presidential runner-up has chimed in.
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| The 'Barbie' snub discourse has overshadowed the exclusion of other performances, but context is needed in all of these discussions |
The focal point of this discussion revolves around Greta Gerwig and Margot Robbie, the leading figures associated with Barbie, who were notably absent from the best director and best actress categories, respectively. The widespread discontent is somewhat justified given that Barbie was not only a legitimate awards contender but also the highest-grossing film of 2023, making it an Oscar contender that resonated with a broad audience, leading to diverse opinions.
Moreover, the film conveyed a
surprising and subversive feminist message, for which Gerwig and Robbie were
acknowledged as the primary architects. Adding to the irony, Ken (played by
Ryan Gosling) received a nomination while the actress portraying Barbie
(Robbie) did not, creating a narrative too enticing for the viral outrage
machine of 21st-century social media to resist.
Following the Oscar nominations and
the initial perception that the snubs for Barbie might work in the film's
favor, the public outcry on behalf of Greta Gerwig and Margot Robbie has taken
an unfortunate turn toward toxicity. Despite Gerwig and Robbie being nominated
for Barbie as co-screenwriter and producer, respectively, the focus on their
exclusion from specific categories has overshadowed other positive aspects,
including America Ferrera's surprise nomination.
Valid points can be raised about Gerwig's omission, especially given her track record of directing films that have all been nominated for best picture. The Hollywood Reporter's Scott Feinberg highlights that Gerwig's directorial contributions have been recognized only once, prompting legitimate questions about the response from the Academy's directors branch. Notably, the directors branch is currently reported to be 75 percent male.
However, attributing Barbie's snubs
solely to sexism oversimplifies the issue. Notably, Ryan Gosling and Margot
Robbie did not compete head-to-head for their acting nominations, and claiming
misogyny overlooks the accomplishment of director Justine Triet, the only
female nominee in the category.
A more complex question to explore
is whether the Academy exhibits bias in considering certain types of work, both
in front of and behind the camera, as more "awards-caliber" than
others. The Oscars traditionally lean toward gravitas, and comedy, especially
offbeat comedies, often faces challenges in this context. Within this framework
of genre bias, the intersection of gender bias becomes apparent. The theme of
Barbie, embodying the stereotypical perfection of a doll, raises questions
about the expectations placed on women to effortlessly portray flawlessness.
Despite the subjectivity inherent in artistic awards, the irony of the Barbie
snubs lies in the suggestion that Greta Gerwig and Margot Robbie made
projecting perfection and beauty appear too easy compared to their male
counterparts.
One ironic aspect of the backlash to the Barbie snubs is the attempt to pit women against women, contrary to the inclusive spirit depicted in Barbie Land. Some criticism has been directed at a column that appeared to downplay the performances of nominated actresses in defense of Margot Robbie. Additionally, an increasing online chorus points out another irony: Despite Barbie's onscreen diversity and inclusiveness, the intense focus on its awards snubs exemplifies a form of white feminism at its worst. The obsession over perceived slights toward two white women takes precedence over acknowledging the achievements of women of color, both those nominated (like Lily Gladstone and America Ferrera) and those not (such as Greta Lee from Past Lives).
In evaluating the snub of any
performer, including those from historically excluded backgrounds, it is deemed
somewhat reductive to label it as racist, homophobic, or ableist. Rather, these
biases are seen as systemic issues within the awards ecosystem. The challenge goes
beyond unconscious bias, as it affects how audiences and voters engage with
films that center on nonwhite perspectives. Director Gina Prince-Bythewood, of
The Woman King, highlighted this issue, stating that unconscious bias continues
to influence the reception of films with nonwhite characters at their center.
In the context of this year's nominations, there were jokes on social media suggesting that the Academy might have considered its job done regarding Asian representation after the success of Everything Everywhere All at Once in 2023. This sentiment raises questions about whether the wins for that film reduced the urgency to cast potentially historic votes for Lily Gladstone or Charles Melton, who ultimately did not make the cut. The discrimination lies not just in the failure of individual actors to secure nominations but in the rarity of opportunities for Asian, Latino, Indigenous, and disabled actors to even be considered. As Viola Davis eloquently stated in her 2015 Emmys speech, "The only thing that separates women of color from anyone else is opportunity. You cannot win an Emmy for roles that are simply not there."
In this year's Oscar nominations,
half of the 20 actors recognized have previously received nominations, and all
are white. Describing their roles is challenging due to their diverse and
multidimensional nature, portraying characters ranging from stifled domestic
partners to tortured teachers and vainglorious artists. In contrast, Greta Lee,
who is 40 and has been a professional actor for almost half her life, received
her first lead role in Past Lives. This lack of past nominations is not unique
to Lee but is a common experience for performers from historically excluded
backgrounds. Given the scarcity of opportunities, the impact of snubs is felt
more acutely.
In December, Greta Lee was honored with the breakout in film award at the Unforgettable Gala, an event celebrating Asians in entertainment. Reflecting on her career, Lee expressed gratitude for finally being the center of her own story, portraying a character dealing with love, fate, and life's choices. However, there's a fear that this remarkable experience might be an anomaly for artists who, after emerging from the fringes into the spotlight, fall short of ultimate recognition.
Lee's words can also serve as a
plea and a call to action for those in the industry—writers, casting directors,
producers, and studio executives. Her message encourages tapping into the
untapped potential of performers who have been confined to limiting roles,
urging the industry to embrace and amplify the full humanity of
underrepresented talents.
