Moviegoers across the world have divided themselves into camps: Barbie and Oppenheimer. While theorists will use their data-weapon to argue that escapism sells well in times of crises to predict a win for Barbie, if box office numbers are anything to go by, the popular vote is tilted in favour of Christopher Nolan’s film. It is a biopic free from the trappings of hagiography, where you wildly oscillate between sympathy and hate for the protagonist. Till the very end, you just cannot make up your mind whether J. Robert Oppenheimer is a hero or villain; to force a layered view of a subject where the grey does not merge into the black or white is a rarity in today’s polarised world.