Let's make this simple: You want to know if there are any post or mid-credits scenes in Oppenheimer. The answer is there are not. Christopher Nolan's latest movie has no scenes after the credits start rolling.
Christopher Nolan is known for creating high-concept blockbusters that merge action and science fiction, but his latest film is firmly rooted in real historical events. Oppenheimer dramatizes the life and work of Robert Oppenheimer (played by Cillian Murphy), the father of the atomic bomb.
On Friday, we're going to start unpacking Nolan's latest movie and how it depicts such an important piece of American history, so be sure to check back then.
Does Oppenheimer Have a Post-Credits Scene?
As noted above, Oppenheimer doesn't have any scenes after the credits start rolling. This definitely isn't surprising, given that this is a historical drama rather than an action-packed blockbuster. Not to mention the fact that post-credits scenes have never really been Nolan's style, even when he directed the Dark Knight trilogy. And with a runtime clocking in at three hours, Oppenheimer already has plenty of room to tell its story.
Be sure to check back starting Friday for our full-spoiler breakdown of Oppenheimer! And in the meantime, let us know what you thought of Oppenheimer in the comments below.
Let's make this simple: Do you want to know if there’s a post-credits scene inBarbie? We’ll tell you right here: There are no post-credits or mid-credits scenes in the film.
That said, the credits do feature a fun tribute of sorts to the history of the Barbie doll, so you might want to stick around for that!
Is There a Post-Credits Scene in Barbie?
Mankind will forever mark Friday, July 21, as the day Barbenheimer officially arrived. "And it was on that day," the history books will read, "that humankind reached for their phones as the credits began to roll, and searched 'barbie post credits.' This is the word."
Of course, they're also gonna be searching for "Oppenheimer post credits," but that's a different chapter of that particular history text. Still, Barbie and Oppenheimer have taken the movie-going world by storm, and IGN will be all over both films throughout the weekend.
As noted at the top of this page, there are no post-credits scenes in Barbie, but there is a cute little tribute to the Mattel toy line if you want to stick around for that.
Oppenheimer is an explosive movie — and not just because of the bomb.
The hotly anticipated Christopher Nolan blockbuster contains a controversial — and steamy — sex scene, which “The Dark Knight” director was “nervous” to film.
“Any time you’re challenging yourself to work in areas you haven’t worked in before, you should be appropriately nervous and appropriately careful and planned and prepared,” Nolan, 52, told Insider.
“Knowing Nolan he’ll sprinkle a dash of making out with a teaspoon of moaning and call it a day,” one fan snarked on social media.
“I’m worried Christopher Nolan didn’t know what sex is and he had the actors stand naked pressing their thumbs to each others foreheads,” another joked.
Jean (Florence Pugh) and Oppenheimer (Cillian Murphy) are in the steamy scene.APChristopher Nolan (center) directing Emily Blunt and Cillian Murphy.AP
The movie, out July 21, is a biopic about J. Robert Oppenheimer (Cillian Murphy), “father of the atomic bomb.”
The supporting cast is a who’s who of famous faces, including Matt Damon (who broke a promise to his wife in order to appear in the film), Robert Downey Jr., Florence Pugh and Emily Blunt.
Christopher Nolan’s movies are seen by some as cold and sterile. Female characters are often a remote presence on the outskirts of the story. Nolan’s Batman and Joker were both chaste. Tom Hardy’s smirking dream thief character in “Inception” kept his clothes on.
The science-y biopic seems a less than sexy choice for the director’s first, reportedly “prolonged” steamy scene, which happens between Murphy’s Oppenheimer and lover/physician Jean Tatlock (Pugh). Their affair continues even after he marries Kitty (Blunt).
Early reviews from critics are calling the the film “sensual.” The Post’s Johnny Oleksinski called it “a movie that makes you say “Oh, my God” over and over again.”
Nolan told reporters that it would have been impossible to tell the story without the sex.
““When you look at Oppenheimer’s life and you look at his story, that aspect of his life, the aspect of his sexuality, his way with women, the charm that he exuded, it’s an essential part of his story,” the “Interstellar” director said.
“It felt very important to understand their relationship and to really see inside it and understand what made it tick without being coy or allusive about it — but to try to be intimate, to try and be in there with him and fully understand the relationship that was so important to him.”
According to a report that originated with The Guardian and eventually made its way to the New York Post, Christopher Nolan’s Oppenheimer “features prolonged nudity for [Cillian] Murphy and Florence Pugh.” Notably, the Guardian writer, Charlotte Edwardes, states in the piece that she was “not allowed” to screen the film before writing her feature, which includes interviews with Murphy and Nolan. Well, I did see it before writing this, and I can confirm that it does not feature “prolonged nudity for [Cillian] Murphy and Florence Pugh”—at least, not in a particularly revealing way.
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Murphy plays J. Robert Oppenheimer, “the father of the atomic bomb,” and Pugh is Jean Tatlock, the doctor with whom Oppenheimer was romantically involved both before and after his marriage to Kitty Harrison in 1940. We see Oppenheimer and Tatlock meet at a Communist Party USA soiree and engage in some banter that’s extremely Old Hollywood in its zippiness and innuendo:
Tatlock: …You sound uncommitted.
Oppenheimer: I’m committed to thinking freely about how to improve our world. Why limit yourself to one dogma?
Tatlock: You’re a physicist. You pick and choose rules? Or do you use the discipline to channel your energies into progress?
Oppenheimer: I like a little wiggle room. Do you always tow the party line?
Tatlock: I like my wiggle room too.
Cut to fucking. They’re nude, but the only naughty bits exposed are Pugh’s boobs as she rides Murphy, cowgirl style. They break, chat, and his amazing mind is exposed when he reads Sanskrit from a book (her request) as she resumes riding him. Later in the movie, after Oppenheimer is married to Harrison (Emily Blunt), he meets with Tatlock and they have more sex and then a conversation. They’re seated in chairs across from each other to chat, and the implication is that they’re fully nude, though both have their legs rather severely crossed so that no genitalia is exposed. Who knows what’s going on in those creases, in fact. This scene is, on one hand, “prolonged,” but on the other, not quite the nudity we were promised, as they’re mostly covered (albeit by their own nude bodies).
There’s another brief nudity scene just after this, during a security hearing in front of the Atomic Energy Commission in 1954. (These hearings of Oppenheimer’s, as well as the Senate hearings for Lewis Strauss’ Secretary of Commerce cabinet nomination, form the movie’s dual spines, as Oppenheimer regularly flashes back to relevant events based on the hearing discussions.) Oppenheimer’s relationship to the Communist Party was heavily scrutinized during the hearings (which eventually lead to his security clearance being revoked), and so the topic of his affair with Tatlock, a card-carrying member of the party, came up. To represent the invasiveness and Oppenheimer’s vulnerability, Nolan depicts Oppenheimer nude at the table where the commission is grilling him (again, full nudity is only implied, as we see him from the chest up). We cut to Tatlock riding him while facing him as he sits in his chair (they really loved that position). And that’s about it. It’s racy for Nolan, but unremarkable if you have an internet connection and the ability to Google sexual imagery.
Oppenheimer is rated R for “some sexuality, nudity, and language,” but it’s a soft R—about as soft as the dick we don’t get to see. Pugh is good (when isn’t she?), but her performance is brief, somewhere between a cameo and a bit part. This is true for many of the actors who pop up: Gary Oldman? Rami Malek? Kenneth Branagh? Matthew Modine? Josh Hartnett? Alex Wolff? Benny Safdie doing a Hungarian accent?!? It is a sausage fest—er, implied sausage fest.
More than that, Oppenheimer is a showcase for Murphy to deliver the performance of his career, a Tár-like tour de force in which his character’s incredible mind is on display, and yet given its insurmountable vastness, he remains an enigma. As Safdie’s Edward Teller says to him late in the movie: “Nobody knows what you believe. Do you?” Murphy gives Oppenheimer a palpable confidence that, along with his brilliance, allows him to lead the Manhattan Project. Yet the physicist remains conflicted, and his fears that he did more harm than good in developing the bomb take hold after it kills tens of thousands and destroys Hiroshima to an enthused domestic response.
The last of the movie’s three hours is a cinematic rendering of “Am I the asshole?” The detonation of the bomb—equally glorious and ominous clouds of red and white—takes up only a few minutes and comes at the end of the second act. It’s almost like Jaws, when you finally see the monster so late in the game. It’s an incredible sequence, and the ginger handling of the bomb that occurs leading up to it, with strings slicing at the film’s score, is legitimately suspenseful. Nolan delays the sound of the bomb as we watch it explode—for a minute or so, we only hear rustling, breathing, and a light score as the team watches their creation of destruction. And then—WHAM!—the bomb’s sound floods in. Nolan uses this device just a few minutes later as Oppenheimer addresses an auditorium of admiring Americans, post-Hiroshima. The sound mostly falls out, and Oppenheimer looks around to see skin hanging off members of his audience, a hallucinatory vision of the atrocities his shared invention wreaked. And then—WHAM!—cheering and applause crash in, as defeating as the bomb itself.
All together, Oppenheimer is riveting and moves swiftly despite its talky nature (Jennifer Lame’s editing is exquisite). Because it comes out Friday, the same day as Barbie, the “Barbenheimer” meme was invented as people joke about the right order to see two seemingly disparate movies. They’re both extremely confident statements from visionary directors, and, to different degrees, they’re about characters struggling to understand whether what they represent is good or bad for the world. Neither is big on easy answers. When asked about the Barbie/Oppenheimer rivalry, Murphy said, “My advice would be for people to go see both, on the same day. If they are good films, then that’s cinema’s gain.” Yep, see both. Duh!
This piece was written during the 2023WGAandSAG-AFTRAstrikes. Without the labor of the writers and actors currently on strike, the movie being covered here wouldn’t exist.
With California's equine industry reeling from the July 16 announcement from 1/ST Racing that it would close Golden Gate Fields later this year, the state's racing scene receives a much-needed source of optimism July 21 when Del Mar opens for its 31-day summer meet.
The popular seaside track 20 miles north of San Diego is a destination for horsemen and fans alike, with tickets for its Friday opener already sold out. Equine entries for Friday are also in abundance, with 113 entries and 11 also-eligibles in 10 races—an early continuation of the track's success last year when it averaged 9.14 runners per race, far above industry norms, particularly in California. Horseplayers responded by betting a daily average of $18.7 million.
With the exception of a few promotions—such as an opening-day $1-million guarantee for a single ticket Pick Six winner—few changes from last year are in store at the track "Where The Turf Meets The Surf." As in 2022, Del Mar is again staging 39 major stakes and record-equaling stakes purses of $8.275 million, beginning with the traditional opening-day feature, the restricted $100,000 Oceanside Stakes for 3-year-olds. The one-mile grass race is a prep for the $300,000 Del Mar Derby (G2T) at 1 1/8 miles Sept. 3.
"I think it's a lot better race this year than the last couple of years in terms of quality and depth. That should get us to a good start," Del Mar vice president and racing secretary David Jerkens said.
Game Time and Panic Alarm are both owned by Hronis Racing and trained by John Sadler, with the latter 3-year-old an import from Europe and the former a two-length winner of the Alcatraz Stakes at Golden Gate Fields May 28.
Photo: VASSAR PHOTOGRAPHY/RONNIE WACKERLY
Game Time wins the $75,000 Alcatraz Stakes at Golden Gate Fields
Game Time "fits the condition very well, a stakes winner in Northern California this year. He runs a good race every time," Sadler said. "Panic Alarm is a horse we bought as a yearling over there in Europe (with the ticket signed by BBA Ireland). He was up there in Ireland and ran at Royal Ascot, didn't run very well, but has got here and done pretty well."
Both Jerkens and Sadler spent the early portions of their careers in Northern California, with Sadler running some of his first horses in the late 1970s at defunct Bay Meadows, and Jerkens spending about 10 years at Golden Gate, becoming racing secretary there prior to accepting his current position at Del Mar.
"I hope everyone lands on their feet," Jerkens said of those impacted by Golden Gate's impending closure. "Been around a million racetracks, and the community there and people there are second to none. I hope it works out for them in the end."
A year ago, it was Sadler who trained the star of the Del Mar summer meet in Flightline, who took the track's signature race, the $1.05 million Pacific Classic (G1) by a record 19 1/4 lengths. A start later, he would roll in the Breeders' Cup Classic (G1) at Keeneland on his way to being honored as Horse of the Year.
Photo: Benoit Photo
Flightline wins the Pacific Classic at Del Mar
A month and a half before this year's Pacific Classic, which will again be run the Saturday of Labor Day weekend, Sept. 2, there is no horse of his quality pointed for the 1 1/4-mile race. Hollywood Gold Cup (G1) winner Defunded, trained by Bob Baffert, is the West Coast's top prospect for the race, with more likely to join the mix after Del Mar stages the 1 1/16-mile San Diego Handicap (G2) July 29.
Flightline gave Sadler his fourth win in the Pacific Classic, all coming within the past five runnings. Hronis Racing owned all four, Flightline in partnership and solely with Tripoli (2021), Higher Power (2019), and Accelerate (2018). Accelerate also won the 2018 Breeders' Cup Classic and an Eclipse Award as champion older male that year.
"I have a horse called Missed The Cut that is going to run in the San Diego," Sadler said. "He really looks like a mile-and-a-quarter horse."
After making seven starts overseas, Missed The Cut, a son of Quality Road, was second in a June 11 allowance race at Santa Anita Park in his United States debut for owners Bee Zee, Lanes End Racing, St. Elias Stables, Edward Babington, Edward J. Hudson Jr., and Lynne Hudson.
The Pacific Classic is one of six races that Del Mar will run as part of the Breeders' Cup Challenge Series: Win and You're In—races that provide paid, automatic berths into designated Breeders' Cup races. The Pacific Classic winner earns a berth in the Nov. 4 Breeders' Cup Classic at Santa Anita.
Photo: Anne M. Eberhardt
John Sadler
"We think we're going to be there in some of those big races, just going to be more of a normal course than last year," said Sadler, a three-time training champion at Del Mar.
With 12 winners last year, Sadler tied for eighth in the summer standings, trailing Phil D'Amato and Baffert, who tied for first with 19 wins apiece.
Juan Hernandez ran away with the riding title, outpacing Umberto Rispoli, Ramon Vasquez, and Mike Smith. Hernandez also won the 2021 title during Del Mar's shorter fall meet.
Without gaming to supplement purses in California, Del Mar's overnight purses do not reach the levels seen by some tracks in other regions of the country, though they are competitive. Maiden purses at Del Mar will be contested for $82,000, the highest maiden purses in California history.
Working with Thoroughbred Owners of California, Del Mar is again offering overnight purse bonuses available via the track's lucrative "Ship & Win" incentive program and its maiden dirt bonus program.
"We have to do it the old-fashioned way out in California," Del Mar executive vice president of racing and industry relations Tom Robbins said of luring participants.
Outside of the older male dirt division, graded stakes winners Offlee Naughty, Twilight Gleaming, and Window Shopping were among the horses that breezed July 18 at Del Mar, likely indicative of upcoming starts at the meet.
Photo: Benoit Photo
(L-R): Del Mar executives Tom Robbins and David Jerkens
According to Jerkens, eastern-based trainers Jonathan Thomas, Tom Proctor, Rowan Crichton, and Jerry O'Dwyer are sending horses to stable at Del Mar this summer, most for the first time and Proctor after an absence over the past few years. Robertino Diodoro, Patrick Biancone, Amador Sanchez, Todd Fincher, and Jeff Engler are also set to return after racing at Del Mar last summer, Jerkens added.
The track has other draws, with dry weather that rarely results in a race being moved off the grass, and with far cooler summer temperatures than other parts of Southern California.
"It's also not a bad thing to be only 100 yards from the Pacific Ocean," Robbins said.
Del Mar is a meet to which California horsemen regularly point their best horses after the May and June doldrums of the long Santa Anita Park season and lesser summer afternoon racing of the Los Angeles County Fair at Los Alamitos Race Course. Two-year-old racing also gets in full swing during summer at Del Mar, culminating with the Del Mar Futurity (G1) and Del Mar Debutante (G1) late in the meet.
"For me, personally, I've got lots of horses to run—a lot of different categories," Sadler said. "I'm excited to get them going."
