It’s more than a meme. It’s a lifestyle.

From time to time, conflicting worlds collide. Two things that don’t go together unexpectedly overlap, and that inexplicably works. This is the case of the cinematographic consolidation of Barbie And Oppenheimer, both of which hit theaters on July 21. Barbenheimer, as he is called, is an ideological expression of opposites attracting. And since it dominates pop culture, the world is a better place for it.

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On paper, these two films have absolutely nothing in common. Barbie is a candy-coated adventure that follows the iconic Mattel doll as she navigates the real world. Oppenheimer is a brooding biopic centered around the man who oversaw the development of the atomic bomb. The marketing of the latter generates serious portraits of the pensive main character blowing on a pipewhile the former serves up hyper-saturated posters of Barbie laughs in a hot pink convertible. In any logical world, these projects – starring Cillian Murphy and Margot Robbie, respectively – have nothing to do with each other. But it’s not a “logical” place, it’s the Internet.

Coined by extremely online fans, Barbenheimer celebrates the two highly anticipated films — with dueling themes and contrasting aesthetics — as an epic double feature and unsuspecting fashion collaboration. The artists have created movie posters that seamlessly merge the universes. Custom t-shirts are hitting the market, featuring bombshells in cartoonish artwork and two-tone pink and black color schemes. And the movies are there too. AT Oppenheimerin London, Cillian Murphy confirmed that he would “of course” see Barbie. During a pink carpet interview, Issa Rae shared her viewing plans: OppenheimerSO Barbiethen mimosa. It’s not a matter of whether you see Barbie Or Oppenheimer. It’s: in what order do you see them?

On the red carpet, movie fashion couldn’t be more at odds. Barbie painted the world pink through a viral press tour of bubblegum sparkle, saturation and luminosity. Oppenheimer was an understated sartorial affair, with Murphy’s range of dark suits dubbed “the Anti-Ken.” And even, Barbenheimer emerged as the trending aesthetic of the day.

Bright pink and black. Fashion-forward mini-dresses and co-ords. Light blush and severe eyeliner. Barbenheimer isn’t just a buzzword, it’s a magical fusion of competing visual narratives. It is Nicola Coughlin’s campy Met Gala dress. It’s Paris and Nicki Hilton missing each other’s notes on a 2000s red carpet. It’s a rugged-looking leather loveseat with a surprisingly pink plush interior.

A pervasive personal style myth is that you have to be consistent. If you stick to certain aesthetic confinements, that means you know who you are, or so the message says. Barbenheimer – in all of his chaotic clashes – requires mix-and-match experimentation. Slip fishnets under your sparkly evening dress. Pair a black cowboy hat with your Barbie western boots. Throw on chunky Doc Martens to offset your bubblegum bomber jacket. There’s no thematic cohesion, just incredibly good taste.

Of course, a world-threatening explosion and a roller-skating outing have very different stakes. But therein lies the multifaceted beauty of the human being. Unlike Barbie, we can’t all be optimists every day. And who wants to be eternally dressed for the end of time? Barbenheimer, in all his delicious contradictions, allows this duality. Good viewing.

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