Snapshot · The Rest Is Entertainment
Marina Hyde selected Oppenheimer/Barbenheimer as her top film since the pandemic, calling its organic rise as a cultural phenomenon extraordinary and proof of what's still possible in cinema.
Where this was said
At 44:14 · chapter starts 41:00
Marina Hyde notes that Tarantino himself probably doesn't fully mean what he said — it's a provocation, a piece of 'stupid shit' designed to spark a reaction, and it has worked magnificently. She pushes back substantively: Gen Z is returning to cinemas, the franchise IP correction is underway, and horror is in a particularly interesting moment. Both hosts find the claim untrue from personal experience and proceed to their top-3 lists [1] — Marina Hyde "Tarantino declared there have been no good films since the pandemic. Marina Hyde and Richard Osman push back — cheerfully, with their own t…" 41:00 . Marina Hyde: Nope (Jordan Peele's film about the compulsion to film danger), The Souvenir Part II (Joanna Hogg's semi-autobiographical masterpiece), and Oppenheimer — or really Barbenheimer as a phenomenon, arguing that its organic emergence proved the full range of what cinema could still achieve. Richard Osman: Rye Lane (a perfectly formed South London rom-com), The Holdovers (Alexander Payne, Paul Giamatti, tender and beautiful), and The Ballad of Buster Scruggs (Tom Hiddleston, Tim Key — 'none of which outstay their welcome'). Osman acknowledges that Tarantino wants something visceral and shocking, and none of these films offer that — but 'if you have any sort of love in your heart, you would enjoy all three of them.'
Tarantino declared there have been no good films since the pandemic. Marina Hyde and Richard Osman push back — cheerfully, with their own top-3 lists. The real issue isn't whether good films exist; it's why Tarantino's provocation spawned a thousand lists and what that reveals about how media now works.
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