essay on barbie movie

– Entertainment Analysis and Reviews

Barbie (2023) Film – Empowerment & Authenticity Explored

“Barbie” (2023) is a captivating live-action fantasy comedy helmed by director Greta Gerwig and co-written by both Greta Gerwig and Noah Baumbach. The film boasts an impressive production team, including David Heyman, Margot Robbie, Tom Ackerley, and Robbie Brenner as producers. Inspired by the iconic Barbie doll from Mattel, the movie stars the talented Margot Robbie in the titular role of Barbie, with Ryan Gosling charmingly portraying Ken. Additionally, the film features a stellar supporting cast, including America Ferrera, Kate McKinnon, Issa Rae, Rhea Perlman, and Will Ferrell.

Released by Warner Bros. Pictures, “Barbie” made its theatrical debut on July 21, 2023, captivating audiences with its imaginative storytelling and delightful performances. This much-anticipated adaptation of the beloved doll’s universe brings the world of Barbie to life like never before, taking viewers on a journey filled with laughter, magic, and self-discovery.

Plot Synopsis – What’s the movie barbie about?

Characters analysis, the meaning, themes and significance of the movie, ending explained.

The film “Barbie” takes a unique and self-aware approach, presenting a heartwarming yet humorous story of a doll named Barbie who ventures into the real world in search of meaning in life. The movie opens with a narration by Helen Mirren, who provides a voiceover about the inception of Barbie and how the iconic doll has influenced generations of little girls around the world.

Barbie, voiced by Margot Robbie, embarks on a soul-searching journey as she discovers her purpose and identity in the real world. Throughout the film, Greta Gerwig artfully blends comedy, emotional depth, and tongue-in-cheek dialogue to explore the complexities of being a teenage girl and the various challenges and aspirations that come with it.

As the story unfolds, Barbie encounters a range of experiences, including finding unexpected friendship, dealing with self-doubt and societal expectations, and coming to terms with her own uniqueness. The film’s emotional rollercoaster is complemented by its wit and cleverness, making it an enjoyable experience for audiences of all ages.

The movie showcases an impressive display of visual and technical brilliance, with meticulous attention to detail in costume design and production, paying homage to Barbie’s iconic evolution over the years. The cinematography, led by Rodrigo Prieto, adds a glossy and vibrant touch to the overall presentation, capturing the charm of Barbie’s universe and its inhabitants.

Critics and audiences have lauded “Barbie” for its subversive and refreshing take on the classic doll character, making it one of the most anticipated and talked-about blockbusters of the year. Margot Robbie’s portrayal of Barbie has been praised for its charisma and charm, while Ryan Gosling’s comedic performance as Ken has garnered considerable attention.

While “Barbie” does have moments of melancholy and emotional resonance, it ultimately leaves viewers with a sense of hope and inspiration, celebrating the power of embracing one’s individuality and finding meaning in life’s journey.

Overall, “Barbie” (2023) stands as a delightful and innovative addition to the world of live-action adaptations, offering a fresh and empowering perspective on the beloved doll character that has captured the hearts of millions for decades.

In the 2023 film “Barbie,” directed by Greta Gerwig, there are several characters who play significant roles in the story. Here are some of the key characters and brief descriptions of each:

• Barbie (Voiced by Margot Robbie): The titular character and the heart of the film. Barbie is a beloved doll who embarks on a journey from her fantastical world to the real world in search of meaning and purpose. Throughout the film, Barbie discovers her individuality, navigates self-doubt, and learns to embrace her uniqueness. Voiced by Margot Robbie, Barbie’s portrayal brings charm, charisma, and vulnerability to the character.
• Ken (Played by Ryan Gosling): Ken is Barbie’s iconic companion and love interest. In the film, Ken is portrayed as a hilarious “himbo,” a man who may be attractive but not particularly intelligent. Ryan Gosling’s performance brings humor and wit to the role, making Ken a memorable and endearing character.
• Helen Mirren (Narrator): Helen Mirren lends her voice to the film as the narrator. She provides insights into the history and significance of Barbie, offering a thoughtful and reflective perspective on the character’s cultural impact.

• America Ferrera: Known for her roles in “Ugly Betty” and “Superstore,” Ferrera plays a character who befriends Barbie in the real world, helping her navigate the challenges she encounters.
• Kate McKinnon: A versatile comedian known for her work on “Saturday Night Live,” McKinnon brings her comedic talents to the film, portraying a quirky and humorous character.
• Issa Rae: An acclaimed actress and writer, Issa Rae’s character adds depth and nuance to the story, contributing to Barbie’s emotional journey.
• Rhea Perlman and Will Ferrell: Both actors bring their comedic prowess to the film, adding laughs and humor to the narrative.
• Other Cast Members: The film features an array of other characters who interact with Barbie during her adventure, each playing a unique role in her growth and self-discovery.

It’s worth noting that Greta Gerwig’s “Barbie” is characterized by its self-awareness and clever humor, which extends to the portrayal of these characters. They contribute to the film’s subversive and refreshing take on the iconic doll, making “Barbie” a memorable and entertaining cinematic experience.

“Barbie” (2023) directed by Greta Gerwig carries several layers of meaning, symbolism, and significance that contribute to its overall impact and reception. Here are some key aspects to consider:

• Self-Discovery and Identity: At its core, “Barbie” explores the theme of self-discovery and identity. Barbie’s journey from her fantastical world to the real world represents a quest to find her true self and purpose. This mirrors the journey many individuals go through in adolescence and young adulthood as they navigate their identities and aspirations.
• Empowerment and Individuality: The film celebrates the power of embracing individuality and authenticity. Barbie’s character evolves beyond the stereotypical image of the doll, breaking free from societal expectations and embracing her unique qualities. This message promotes self-empowerment and encourages viewers to be true to themselves, regardless of external pressures.
• Feminism and Female Empowerment: As an iconic symbol of femininity, Barbie has often been criticized for perpetuating unrealistic beauty standards and gender roles. Greta Gerwig’s “Barbie” addresses this criticism head-on, subverting traditional tropes and presenting Barbie as a complex and empowered character. The film challenges societal expectations and promotes a feminist perspective on female representation and empowerment.
• Social Commentary: “Barbie” is self-aware and includes social commentary on various themes, including consumerism, pop culture, and the impact of media on body image. The film acknowledges Barbie’s historical significance and addresses the complexities of her cultural impact, both positive and negative.
• Humor and Satire: The film’s humor and satire add layers of entertainment and commentary. Through tongue-in-cheek dialogue and comedic situations, “Barbie” pokes fun at societal norms and expectations, offering a fresh perspective on a well-known character.
• Cultural Iconography and Nostalgia: “Barbie” is rich in cultural iconography, featuring nods to various eras of Barbie’s history and the impact she has had on generations of fans. This nostalgia appeals to audiences who grew up with Barbie and fosters a sense of connection and familiarity.
• Visual and Technical Brilliance: The film’s production design, costume design, and cinematography play a significant role in the storytelling. The attention to detail in recreating Barbie’s world and her iconic looks showcases the significance of the character in popular culture.

The ending of the movie “Barbie” (2023) is a poignant and emotionally resonant conclusion to Barbie’s journey of self-discovery and empowerment. Throughout the film, Barbie, voiced by Margot Robbie, ventures from her fantastical world to the real world in search of meaning and purpose. As the story unfolds, she grapples with self-doubt and societal expectations, ultimately learning to embrace her uniqueness and authenticity.

In the climax of the film, Barbie faces a crucial moment of decision. She must choose between returning to her original world, where she was initially created as a doll, or remaining in the real world, where she has discovered her true self and found meaningful connections with others.

This decision becomes a symbolic representation of personal growth and empowerment. Barbie’s choice to stay in the real world signifies her embrace of her individuality and her willingness to face the complexities and challenges that come with it. It highlights the importance of authenticity and staying true to oneself, even when it may be easier to conform to societal expectations or revert to a familiar but less fulfilling existence.

The emotional weight of the ending is amplified by the heartfelt performances of the cast, particularly Margot Robbie, who infuses Barbie’s character with vulnerability and strength. The audience witnesses Barbie’s growth from a seemingly perfect doll to a multidimensional and empowered individual.

In the concluding moments, the film leaves viewers with a sense of hope and inspiration. Barbie’s journey is not just about self-discovery, but also about finding her voice and becoming an agent of change. The movie shows that embracing one’s uniqueness can lead to a profound impact on the lives of others, inspiring them to do the same.

The movie’s visual brilliance and attention to detail in recreating Barbie’s iconic looks showcase the character’s cultural impact and nostalgic significance. The clever blend of humor and emotion in the film makes it a captivating and thought-provoking cinematic experience.

In the climax, Barbie’s choice to stay in the real world symbolizes personal growth and her acceptance of her true self. This poignant ending leaves audiences with a sense of hope and inspiration, reminding them of the importance of embracing uniqueness and empowering others to do the same.

“Barbie” (2023) is a delightful cinematic celebration of empowerment, individuality, and the journey of self-discovery. Greta Gerwig’s vision and the stellar performances of the cast bring a fresh perspective to the iconic character, making the film a memorable and empowering addition to the world of live-action adaptations.

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"Barbie," director and co-writer Greta Gerwig ’s summer splash, is a dazzling achievement, both technically and in tone. It’s a visual feast that succeeds as both a gleeful escape and a battle cry. So crammed with impeccable attention to detail is "Barbie” that you couldn’t possibly catch it all in a single sitting; you’d have to devote an entire viewing just to the accessories, for example. The costume design (led by two-time Oscar winner Jacqueline Durran ) and production design (led by six-time Oscar nominee Sarah Greenwood ) are constantly clever and colorful, befitting the ever-evolving icon, and cinematographer Rodrigo Prieto (a three-time Oscar nominee) gives everything a glossy gleam. It’s not just that Gerwig & Co. have recreated a bunch of Barbies from throughout her decades-long history, outfitted them with a variety of clothing and hairstyles, and placed them in pristine dream houses. It’s that they’ve brought these figures to life with infectious energy and a knowing wink.

“Barbie” can be hysterically funny, with giant laugh-out-loud moments generously scattered throughout. They come from the insularity of an idyllic, pink-hued realm and the physical comedy of fish-out-of-water moments and choice pop culture references as the outside world increasingly encroaches. But because the marketing campaign has been so clever and so ubiquitous, you may discover that you’ve already seen a fair amount of the movie’s inspired moments, such as the “ 2001: A Space Odyssey ” homage and Ken’s self-pitying ‘80s power ballad. Such is the anticipation industrial complex.

And so you probably already know the basic plot: Barbie ( Margot Robbie ), the most popular of all the Barbies in Barbieland, begins experiencing an existential crisis. She must travel to the human world in order to understand herself and discover her true purpose. Her kinda-sorta boyfriend, Ken ( Ryan Gosling ), comes along for the ride because his own existence depends on Barbie acknowledging him. Both discover harsh truths—and make new friends –along the road to enlightenment. This bleeding of stark reality into an obsessively engineered fantasy calls to mind the revelations of “ The Truman Show ” and “The LEGO Movie,” but through a wry prism that’s specifically Gerwig’s.

This is a movie that acknowledges Barbie’s unrealistic physical proportions—and the kinds of very real body issues they can cause in young girls—while also celebrating her role as a feminist icon. After all, there was an astronaut Barbie doll (1965) before there was an actual woman in NASA’s astronaut corps (1978), an achievement “Barbie” commemorates by showing two suited-up women high-fiving each other among the stars, with Robbie’s Earth-bound Barbie saluting them with a sunny, “Yay, space!” This is also a movie in which Mattel (the doll’s manufacturer) and Warner Bros. (the film’s distributor) at least create the appearance that they’re in on the surprisingly pointed jokes at their expense. Mattel headquarters features a spacious, top-floor conference room populated solely by men with a heart-shaped, “ Dr. Strangelove ”-inspired lamp hovering over the table, yet Will Ferrell ’s CEO insists his company’s “gender-neutral bathrooms up the wazoo” are evidence of diversity. It's a neat trick.

As the film's star, Margot Robbie finds just the right balance between satire and sincerity. She’s  the  perfect casting choice; it’s impossible to imagine anyone else in the role. The blonde-haired, blue-eyed stunner completely looks the part, of course, but she also radiates the kind of unflagging, exaggerated optimism required for this heightened, candy-coated world. Later, as Barbie’s understanding expands, Robbie masterfully handles the more complicated dialogue by Gerwig and her co-writer and frequent collaborator, filmmaker Noah Baumbach . From a blinding smile to a single tear and every emotion in between, Robbie finds the ideal energy and tone throughout. Her performance is a joy to behold.

And yet, Ryan Gosling is a consistent scene-stealer as he revels in Ken’s himbo frailty. He goes from Barbie’s needy beau to a swaggering, macho doofus as he throws himself headlong into how he thinks a real man should behave. (Viewers familiar with Los Angeles geography will particularly get a kick out of the places that provide his inspiration.) Gosling sells his square-jawed character’s earnestness and gets to tap into his “All New Mickey Mouse Club” musical theater roots simultaneously. He’s a total hoot.

Within the film’s enormous ensemble—where the women are all Barbies and the men are all Kens, with a couple of exceptions—there are several standouts. They include a gonzo Kate McKinnon as the so-called “Weird Barbie” who places Robbie’s character on her path; Issa Rae as the no-nonsense President Barbie; Alexandra Shipp as a kind and capable Doctor Barbie; Simu Liu as the trash-talking Ken who torments Gosling’s Ken; and America Ferrera in a crucial role as a Mattel employee. And we can’t forget Michael Cera as the one Allan, bumbling awkwardly in a sea of hunky Kens—although everyone else forgets Allan.

But while “Barbie” is wildly ambitious in an exciting way, it’s also frustratingly uneven at times. After coming on strong with wave after wave of zippy hilarity, the film drags in the middle as it presents its more serious themes. It’s impossible not to admire how Gerwig is taking a big swing with heady notions during the mindless blockbuster season, but she offers so many that the movie sometimes stops in its propulsive tracks to explain itself to us—and then explain those points again and again. The breezy, satirical edge she established off the top was actually a more effective method of conveying her ideas about the perils of toxic masculinity and entitlement and the power of female confidence and collaboration.

One character delivers a lengthy, third-act speech about the conundrum of being a woman and the contradictory standards to which society holds us. The middle-aged mom in me was nodding throughout in agreement, feeling seen and understood, as if this person knew me and was speaking directly to me. But the longtime film critic in me found this moment a preachy momentum killer—too heavy-handed, too on-the-nose, despite its many insights.  

Still, if such a crowd-pleasing extravaganza can also offer some fodder for thoughtful conversations afterward, it’s accomplished several goals simultaneously. It’s like sneaking spinach into your kid’s brownies—or, in this case, blondies.

Available in theaters on July 21st. 

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

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Film credits.

Barbie (2023)

Rated PG-13 for suggestive references and brief language.

114 minutes

Margot Robbie as Barbie

Ryan Gosling as Ken

America Ferrera as Gloria

Will Ferrell as Mattel CEO

Kate McKinnon as Weird Barbie

Ariana Greenblatt as Sasha

Issa Rae as President Barbie

Rhea Perlman as Ruth Handler

Hari Nef as Doctor Barbie

Emma Mackey as Physicist Barbie

Alexandra Shipp as Writer Barbie

Michael Cera as Allan

Helen Mirren as Narrator

Simu Liu as Ken

Dua Lipa as Mermaid Barbie

John Cena as Kenmaid

Kingsley Ben-Adir as Ken

Scott Evans as Ken

Jamie Demetriou as Mattel Executive

• Greta Gerwig
• Noah Baumbach

Cinematographer

• Rodrigo Prieto
• Alexandre Desplat
• Mark Ronson

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Review: ‘Barbie’ is a film by women, about women, for women.

This essay contains spoilers for “Barbie.”

When we walked into the AMC Lincoln Square 13 in New York City for the Thursday 3 p.m. viewing of “Barbie,” we found ourselves surrounded by pink. Women wore heels and sparkling jewelry, and young girls in sundresses clutched their Margot Robbie Collectible Barbies . We had come prepared—adorned in our own pink outfits, we happily took photos for a friend group in exchange for a few of our own. People laughed and chatted through the trailers, and broke out in whooping cheers as the movie began. Every seat was filled. The positive energy was palpable. It felt like a party.

In a nuanced approach characteristic of the director Greta Gerwig, whose previous projects “Lady Bird” (2017) and “Little Women” (2019) received critical acclaim, the Barbie movie is a hilarious, vibrant tribute to an iconic doll central to decades of imaginative play. At the same time, the film manages to be an exploration of Barbie’s cultural impact—good, bad and in-between. Through on-the-nose commentary on everything from Barbie’s representation of independent female adulthood to her unrealistic, idealized body proportions, Gerwig makes a movie as layered and paradoxical as the reputation of the doll itself.

Greta Gerwig has made a movie as layered and paradoxical as the reputation of Barbie itself.  

“Barbie” dives head-first into many controversial topics: consumer culture, growing up, parental relationships, gender dynamics and a multitude of other issues—offering commentary while managing to make the doll look great in the process. Mattel allowed the societal perceptions of Barbie to be examined, though the film ultimately reclaims Barbie, because Barbie can be whatever you want, and Barbie supports all women. Whether Barbie’s feminism is direct or ironic, the movie seemed to say, it is guilt-free to buy her.

But for a project that is arguably an action-packed, 114-minute commercial for a doll, the main thematic takeaway from “Barbie” is that life as a real woman is significantly more difficult but resolutely more worthwhile than “life in plastic” could ever be.

For those who have been anticipating the release of “Barbie,” the sold-out theaters and tremendous box office numbers (Barbie brought in $155 million on its opening weekend) come as no surprise—nor does the vibrant appearance of the audience, a result of Mattel’s marketing campaign, which included pre-film partnerships with brands like Gap and Crocs .

The promotion worked because it tapped into an existing market of people who grew up with Barbie. Created in 1959 as one of the first grown-up woman dolls for children, the affordable toy has been a controversial yet beloved plaything for decades. Like many in the audience, the two of us played with Barbies as little girls, and therefore had firsthand access to the complicated influence that such a doll—who is anything she wants to be while always looking perfect—can have on a young girl.

Using the aesthetic history of the doll as inspiration, the first portion of the movie is set in Barbie Land, where self-proclaimed “Stereotypical Barbie” (played by Margot Robbie) and the other Barbies live in a peaceful paradise, partaking in various occupations and leisure activities. Their counterparts, the Kens, do nothing except “beach” and act as platonic companions for the Barbies (when desired). These scenes are packed with clever humor and nostalgia for those who remember playing with Barbies—just like in our games, the Barbies never use stairs, only pretend to drink liquids, and say “Hi Barbie!” to every other doll in sight.

The Stereotypical Barbie’s blissful naïvete is disrupted one morning when she starts to develop self-awareness and anxiety, accompanied by dreaded flat feet and “thoughts of death.” In order to return to how things were, Barbie needs to venture into the “real world,” where she is instantly sexualized and objectified, accused of being a fascist by teenagers and jailed for assault after punching a man who catcalls her.

The main takeaway from “Barbie” is that life as a real woman is significantly more difficult but resolutely more worthwhile than “life in plastic” could ever be.

The movie follows somewhat of a hero(ine)’s journey arc, complete with a car chase and a rise to leadership, as Barbie tries to rid herself of emotional turmoil—and eventually, as she tries to save Barbie Land from Ken (Ryan Gosling), who had a much more enjoyable time in the real world and decided to bring patriarchy back to Barbie Land with him.

But while the dolls and their conflicts (full of inside jokes from Barbie history) are certainly the most fun, vibrant part of the movie, the human characters in the movie—particularly Gloria, a Mattel employee played by America Ferrera, and her daughter Sasha, played by Ariana Greenblatt—shift the focus away from an analysis of dollhood and toward an exploration of womanhood.

As Gloria and Sasha discover that they are at fault for Barbie’s weird behavior, they attempt to help the doll reachieve stability for herself and her community. In doing so, the audience is privy to a moving exploration of what it means to grow up as a woman, from the perspective of both mother and daughter.

The movie is almost painfully upfront about the struggles women face, giving voice to a certain exasperated frustration that may seem overly explicit, but for many responding to the film, just feels true. After Barbie is ready to give in to self-pity and existential dread, Gloria encourages Barbie to forgive herself for her mistakes and imperfections, expressing all the impossible expectations placed on modern women. “It’s too hard,” she says about womanhood, “It’s too contradictory.” Stereotypical Barbie stares at her wide-eyed, and Gloria’s daughter gives her a surprised smile. In giving voice to the emotions that started this journey, Gloria empowers the Barbies to reclaim Barbie Land.

The movie is for everyone to see and enjoy, but ultimately “Barbie” is truly a film by women, about women, for women. 

In the end, Barbie, having seen the gendered challenges of the real world for herself and heard from Gloria the exhaustion that comes with them, still decides to become a human—a woman.

In an emotional scene between the ghost of Ruth Handler, the creator of the doll, and Barbie herself, they discuss what it would mean for Barbie to leave dollhood behind. Handler holds Barbie’s hands and tells her to “feel.” The scene fades into a montage of videos of young girls and grown women, laughing, talking, playing and enjoying their lives. The videos feature women involved in the process of making the movie. When Barbie opens her eyes again, she has tears on her face (so did many in the audience).

For us, this felt very reminiscent of St. Ignatius Loyola’s Contemplation on the Incarnation , which asks the retreatant to imagine the three Divine Persons gazing down on the earth full of people and considering what stimuli imbue their senses. These scenes, of so many different people and emotions, flash before Barbie, and she is overwhelmed with the joys and sufferings of the world, with women at the forefront.

The movie ends with Barbie, newly human and clad in her designed-for-the-partnership pink Birkenstocks, going to the gynecologist. This joke wraps up all the references to dolls not having any genitals (which Barbie ostensibly receives when she makes the choice to become human), while, we think, stressing the importance of reproductive health and bringing to the big screen public discourse about a taboo topic. Like every part of the movie, Gerwig pushes boundaries of conversation through humor that is written to make women, in particular, feel seen.

At its core, the Barbie movie is a much needed tribute to womanhood. This is evident in one of the most subtle but moving scenes from the film, which occurs early in Barbie’s trip to the real world, when she sits at a bus stop, crying because nothing seems to be going her way. She looks over and sees an old woman, played by the famous costume designer Ann Roth (aging doesn’t exist in Barbie Land). Barbie smiles at her and says, “You’re beautiful.” The woman smiles serenely and replies simply, “I know.” In retrospect, this deeply humane and moving encounter prefaces Barbie’s decision to join the real world. It seems as if Barbie is recognizing the magnitude of everything a real woman is, and everything she later chooses to be.

The female characters Barbie meets in the real world show her that women manage to exist in a world that is so often against them, and do so best when working together. The movie is for everyone to see and enjoy, but ultimately “Barbie” is truly a film by women, about women, for women. It is a film we certainly will be seeing again.

Brigid McCabe was an editorial intern at America Media in 2023. She studies History and American Studies at Columbia University.

Laura Oldfather was an editorial intern with America Media in 2023. She studies Theology and Journalism at Fordham University. 

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How the “Barbie” Movie Explains the Psychology of Patriarchy

Is patriarchy a toxic response to the discomfort of being human.

Posted August 21, 2023 | Reviewed by Davia Sills

• "Barbie" is an allegory of the rise of patriarchy.
• The film criticizes Mattel's patriarchal vision of female empowerment.
• "Barbie" is optimistic about our ability to refashion our world.

The Barbie movie begins with a parodic nod to Stanley Kubrick’s 2001: A Space Odyssey , where in the opening scene, the appearance of a black obelisk signals a milestone in the evolution of humankind—violence enters the community of peaceful apes who will now evolve into homo sapiens . In Barbie , the obelisk is replaced by Barbie (whose legs are equally monumental) and the apes by little girls who destroy their baby dolls; a new era in play has begun. This comic moment points to the different levels at which Greta Gerwig’s brilliant movie signifies: It’s a movie about dolls, to be sure, but also a movie about evolution, not simply that of dolls and play but also about the rise and endurance of patriarchy, seen through the lens of psychology.

The term “patriarchy” has been criticized for failing to acknowledge the oppression and injustice that exist within male identities. The film acknowledges this criticism when Aaron, the low-ranked administrator at Mattel, says, “I’m a man without power. Does that make me a woman?” But patriarchy is nevertheless grounded in gender , as bell hooks, who is well aware of identity -based power differentials, maintains: “Patriarchy is a political-social system that insists that males are inherently dominating, superior to everything and everyone deemed weak, especially females. ”

Barbie was created by Ruth Handler, a woman who defied the gender roles and restrictions of her time but who nevertheless designed a doll in which a limiting, oppressive ideal of female beauty prevails and whose character is all about her clothes and her body (see my essay “Barbie’s Body Project”).

Barbie’s impossible proportions advocate beauty standards (thinness above all) notorious for being internalized to the detriment of self-esteem and self-acceptance on the part of girls and women. Barbie’s feet make it impossible to move freely, from an attacker, or just to function. The first sign that there is a breach of boundaries between Barbieland and the Real World is that Barbie’s feet get flat; when she wears heels in this condition, she comments, “I would never wear heels if my feet were shaped like this.”

Let’s not be too hard on Handler; it was 1959, and in any case, as Gloria points out—she’s the Real World woman who caused the breach by imagining a line of Barbies in crisis—women internalize patriarchal ideals. The primarily male executives who ran Mattel after Handler elaborated on this inherent bias . Although women rule in Barbieland, it nevertheless embodies a patriarchal vision of a feminist universe since feminist theories do not advocate a simplistic reversal of privilege in which someone is still oppressed and disempowered. And with a few exceptions that aim at inclusiveness, the Barbies still look like Barbie.

The Kens of Barbieland are “women.” Ken #1 lives in a world where “Barbie has a great day every day, but Ken only has a great day if Barbie looks at him” (a description eerily reminiscent of abusive relationships). Ken lives in a psychological state of lack, a “life of blond fragility” where it “doesn’t seem to matter what I do/I’m always number two,” and where being second is tantamount to being nothing.

Barbie cruelly dismisses him; “every night is girl’s night,” to which he is pointedly not invited. He exists to partner with Barbie, and one of the happy outcomes of the film is that he learns to search for his identity apart from his persona as “and Ken,” as in “Barbie and Ken .” This secondary status, epitomized by Ken #1, accounts for the competition between the Kens, which exists from the start of the film. Humans compete when resources are scarce, the resources, in this case, being love, status, and recognition.

Sent off to entertain himself while Barbie tries to locate the source of the breach, Ken goes to Century City, where he discovers a world in which men rule. Barbie observes, “It’s almost like reverse here.” He acquires some simplistic ideas about patriarchy; in the Real World, it isn’t all that involved with horses and mini-fridges. But he understands its fundamental principles, and Gerwig makes it clear that they rule our world as well.

On her return to Barbieland, Barbie finds that Ken is in the process of turning it into a Kendom, thereby acquiring the respect and importance that he has lacked. And there’s an element of revenge as well, captured by one of his favorite songs, "Push" by Matchbox Twenty, with the signature line “I want to push you around.” Barbie finds that the Barbies have been brainwashed into supporting the patriarchal order of things, a comment on what happens to women in the real world (Handler and Barbie’s body come to mind). With the help of Gloria, Barbie figures out that the way to deprogram the Barbies is by stating the contradictions within patriarchal expectations for women. Barbie, who is becoming increasingly astute as well as human, observes, “By giving voice to the cognitive dissonance of living under patriarchy, you robbed it of its power.”

The Barbies trick the Kens into missing the vote to change the constitution that would make Barbieland into a Kendom by using competition between the Kens to provoke a battle. The battle is a comic fest (catch the guy giving mouth-to-mouth resuscitation to his hobbyhorse) that suddenly transforms into a brilliantly choreographed dance number; Gerwig was inspired by musicals of the 1940s. The transformation has meaning as well as spectacle, allegorizing the posturing—literal posturing through dance moves—and display so germane to patriarchy.

In case you miss the point about the psychology of patriarchy, it’s stated overtly but subtly in an almost throwaway line by Handler, who guides Barbie through her decision to become human. (This movie offers a wonderful rendition of the trope of “becoming human,” seen in characters like Pinocchio, the Tin Woodman ( Wizard of Oz ), and Data ( Star Trek: The Next Generation .) Handler tells her that being human has its drawbacks. For one, you die: “Ideas live forever. Humans, not so much.” And “being a human can be pretty uncomfortable. Humans make up things like patriarchy and Barbie to deal with how uncomfortable it is.”

There’s the moral of the movie: We find both terrible and creative ways to deal with the inevitable lack and the awareness of that lack that come with being human. Handler also suggests that patriarchy is not biological or inevitable for humans, a counter-argument to a widely accepted belief (see works by Grenta Lerner and Angela Saini). Humans make up things, like patriarchy and Barbie. And what is made can be unmade. Maybe we’ll see “Ordinary Barbie” after all!

hooks, b (2004). The Will to Change: Men, Masculinity, and Love . Washington Square Press.

Jones, W. Barbie's Body Project (1999). In Y. Z McDonough (Ed.). The Barbie Chronicles: A Living Doll Turns Forty (91-107). Touchstone Press.

Gerder, Lerner (1987). The Creation of Patriarchy . Oxford University Press.

Saini, Angela (2023). The Patriarchs: The Origins of Inequality . Beacon Press.

Wendy Jones, Ph.D. , a practicing psychotherapist and former English professor, is the author of J ane on the Brain: Exploring the Science of Social Intelligence with Jane Austen .

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Let’s Never Stop Questioning What Barbie Is Really About

As the secrets of the film are slowly stripped away, there’s a case for maintaining the debate over Barbie ’s true intentions.

So—wait. Do we know what Barbie ’s about? Maybe we should keep debating?

The text below is from the original article, published July 11, ahead of Barbie ’s release:

For months, the Barbie movie’s vast unknown has been one of its greatest assets. What little we understood amounted to a pair of highlighter-yellow rollerblades, dangled aloft by the spray-tanned arms of a bleached-blond Ryan Gosling: nostalgic, symbolic, a triumph of marketing honed along a (plastic) razor’s edge. Every new set photo, character poster, and teaser trailer that collected over the months leading up to Barbie ’s July 21 release has been received and dissected with the self-serious thrill of an 8-year-old planning their themed birthday party. Which, to be clear, is exactly as it should be. Questioning Barbie , like assembling an identity as a child, is a necessary pursuit. This is what movies like Barbie —and icons like the doll herself—are made for: both the indulgent pleasure and the outrageous nuance of mythologizing.

The secrets of director Greta Gerwig’s long-anticipated film are, in fact, starting to dissolve: The Los Angeles premiere prompted a round of spoiler-free first reactions (mostly positive), and the official critic review embargo is reportedly up soon. But even with the film finally accumulating eyeballs, there’s still a collective sense of protectiveness over the Barbie brouhaha. We don’t want the mania to break, not yet. There are still ample dopamine deposits to be discovered in deliberating what, precisely, Barbie has to say. After a promotional music video dropped yesterday featuring Gosling’s Ken serenading his second-rate status, one particular TikTok comment best summarized this feeling: “Every time I see a trailer for this movie I am more confused but I also want to see it more.”

Even Barbie star Issa Rae has enjoyed the opacity. As she shared in a December 2022 Hollywood Reporter story , she was perplexed when Gerwig first presented the story to her. “I’ll be 100 percent honest, when she was talking, like, it was entertaining, but I didn’t get it.” she said. “I was like, ‘I don’t know what the fuck she was talking about, but whatever it is, I’m excited she’s behind it.’ And then reading it was, like, ‘Oh my God, I love her even more.’”

So, then, what is Barbie about? My hope is that actually watching the plot play out will only heighten the debate. The film’s IMDb logline encourages that possibility: “Barbie suffers a crisis that leads her to question her world and her existence.” If Barbie’s questioning herself, why would we not want to do the same?

Thus far, we’ve had such fascinating theories on the objective of her eponymous film:

1) It’s about having an existential crisis (and also, death).

Here’s what we know for sure: In Barbie , our protagonist finds herself losing her grip over her inherent Barbie-ness. “Do you guys ever think about dying?” she asks during one of her classic blowout parties, earning stunned, judgment silence in response. Dolls don’t die ! Matters only worsen from there: Suddenly, her fake shower is freezing; she falls, rather than floats, from her rooftop into her convertible; her feet slump from their iconic arch. To remedy this imperfection, she’s instructed to explore the “real world,” so she can know “the truth about the universe.”

The problem with the “truth about the universe” is that it’s a hot mess, and people die. Barbie is not a mess, nor does she ever die. She doesn’t even age. This supposedly irreconcilable truth seems to be Gerwig’s entry point to dissecting the artifice we’ve built around Barbie as a symbol of idealized femininity. What about perfectionism remains so enticing, even when we know and acknowledge its fruitlessness? And what about the changelessness of Barbie makes her seem like the perfect woman?

2) It’s about Ken becoming a villain. Or something.

The logline attached to the full Barbie trailer lays out an intriguing path for Ken, Barbie’s eternal boyfriend: “To live in Barbie Land is to be a perfect being in a perfect place. Unless you have a full-on existential crisis. Or you’re a Ken.”

One TikTok theory posited that Ken didn’t belong in Barbie Land because he’s “an imposter,” owing to the unexpected casting of Gosling in the role. The “Just Ken” music video further establishes that Ken can’t extricate himself from Barbie, though she finds him only ancillary. If Barbie were to cozy up to Don’t Worry Darling , the film might depict Ken growing resentful over his lesser billing beside a more successful female partner. He might even discover the real world is a rather agreeable place for cis, white, supposedly heterosexual men like himself. (Of course, we shouldn’t assume Ken’s sexuality isn’t fluid. Or that he has a sexuality! He’s a doll!) Might he then want to stay?

Even if Barbie doesn’t lay out its “men are problematic” bent quite so literally, it’s already clear Gosling’s performance is one of the best of the film. If that’s the case, there’s one hell of a debate to be had over why Ken’s character arc is so essential to our understanding of Barbie herself.

3) It’s about the inescapable clutch of corporations.

We can’t talk about Barbie without talking about the marketing of Barbie . It is everywhere: on Krispy Kreme donuts and Ruggable rugs and OPI nail polish and GAP T-shirts and toothbrushes and luggage and pool floats and ice cream and frozen yogurt and makeup and cars and blankets and hairbrushes and heels. Her Dreamhouse is on Airbnb. Every publicist pushing sunglasses or sex toys has retooled their strategy around “Barbiecore” for the summer. I have never worn so much pink in my life.

The problem with all this consumerism is jarringly obvious, even (and perhaps especially) when it’s a great deal of fun. And with fervor comes backlash, as witnessed in critiques that Barbie is little more than a flashy commercial for toy brand Mattel. These critiques, by the way, are correct . At the same time, the Mattel CEO is an actual character in Barbie (played by Will Ferrell), and all signs point to him as a primary antagonist. Therein lies the rub: Barbie is a brand, and is therefore about branding, and is then a critique of branding, in the same breath as it further establishes that branding. You see? We could keep talking about this! Forever!

4) It’s about feminism.

Well, yeah. Duh.

5) It’s about the swan song of girlhood.

[Young girls] are “funny and brash and confident, and then they just—stop,” Gerwig told Vogue in May. “How is this journey the same thing that a teenage girl feels? All of a sudden, she thinks, Oh, I’m not good enough .” It’s clear that a big chunk of Barbie ’s aim is to explore why girls abandon not only their Barbie dolls, but some of the positive beliefs associated with them.

“We haven’t played with Barbies since we were, like, five years old,” a group of teens tell Margot Robbie’s Barbie in the film trailer. Her face falls. If girls don’t need Barbie, what does she exist for? And who (or what) do they turn to instead? What happens to a girl to make her abandon what was previously such a source of enrichment? What does it mean to age, when Barbie herself cannot?

6) It’s about ... Barbie.

Barbie is a plastic paradox. She is a narrow vision of womanhood, and she is also an everywoman. She has hundreds of jobs and has never worked a day in her life. (She is also, importantly, not alive.) She is more than 60 years old and eternally, vaguely 20-something. (Past reports indicate Mattel claims she’s 19 .) She is sexy but sexless. She’s a child’s plaything, with influence felt widely on adults.

“If you love Barbie, this movie is for you,” reads the copy in the Barbie trailer . “If you hate Barbie, this movie is for you.” There is no clearer case for why the Barbie discourse should continue long past the film’s ecstatic release. She is— as the memes tout —everything! Her movie is all of the above! We need not agree on every one of Barbie ’s precise intentions; we need only recognize why there’s so much more to dissect than an endless onslaught of pink.

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Is Barbie a feminist icon? It's complicated

Rachel Treisman

The 50th anniversary of Barbie, in 2009, was commemorated in New York by a lineup of Barbie dolls from different eras, starting with the original in a black-and-white swimsuit. Craig Ruttle/Associated Press hide caption

The 50th anniversary of Barbie, in 2009, was commemorated in New York by a lineup of Barbie dolls from different eras, starting with the original in a black-and-white swimsuit.

The Barbie movie has smashed box-office records , brought dress-up back and put feminism in the spotlight.

Specifically, it has many asking: Has a doll long criticized for perpetuating outdated gender norms and unrealistic body image become a feminist icon? Has she always been one?

For context: The movie takes place largely in Barbieland, a candy-colored, women-centered utopia where Barbies hold the positions of power (all of the jobs, really, except for "beach") and Kens are essentially peripheral. That's painted in stark contrast to the "real world," of course.

M.G. Lord, the author of Forever Barbie: The Unauthorized Biography of a Real Doll and co-host of the new Barbie podcast LA Made: The Barbie Tapes , describes it as an angry movie made palatable through the lens of childhood products.

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"It's almost shocking, in a way, to see such a powerful message in a highly stylized, campy movie with all that pink," she tells Morning Edition 's Leila Fadel.

And the film has stoked strong emotions, both from fans who feel seen by its takedown of the patriarchy and critics who have slammed it as overly woke (including conservative commentator Ben Shapiro, who set fire to two dolls in a widely panned protest ).

Director Greta Gerwig, who has built a devoted following for such female-forward movies as Lady Bird and Little Women , has labeled Barbie "most certainly a feminist film." Mattel executives, on the other hand, have said the opposite .

Fittingly, the Barbie doll itself has been at the center of such a debate pretty much since its debut in 1959.

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Ruth Handler co-founded Mattel and created the doll — which has held over 200 jobs, from astronaut to executive to president — to show girls like her own daughter that they could be anything.

But Handler would not describe herself as a feminist, says Lord, who once asked her that directly.

And Barbie has faced plenty of backlash over the years. Much of it has focused on the dolls' unrealistic body image: Researchers have found that if Barbie were a real person , she would have to walk on all four because of her proportions. Studies have linked playing with ultra-thin dolls to negative body image and increased risk of eating disorders in children.

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There have also been protests focused on Barbie's embrace of traditional gender norms. In 1972, feminist groups gathered outside a toy fair to protest dolls that they said "perpetuated sexual stereotypes by encouraging little girls to see themselves solely as manniquins, sex objects or housekeepers." Decades later, in 2013, topless women's rights activists protested the opening of a life-size Barbie Dreamhouse in Berlin , burning a doll on a cross and chanting "pink stinks."

While Lord says the new movie is "incredibly feminist," she hesitates to apply that word to Barbie herself. Instead, she sees the doll as its own sort of Rorschach test.

"People who hate Barbie for one reason or another, one might say that they project their fears and prejudices onto the doll. And people who irrationally adore this hunk of plastic are also puzzling to me," Lord says. "I think that may be the secret to why she's endured so long: That she weathers the projections and the conflicting projections of so many people."

The rise of Barbie — and the feminist movement

Astronaut Barbie dolls (from left) from the 1960s, 1980s and 1990s on display at the Smithsonian's National Air and Space Museum in 1995. Greg Gibson/AP hide caption

Astronaut Barbie dolls (from left) from the 1960s, 1980s and 1990s on display at the Smithsonian's National Air and Space Museum in 1995.

The iconic toy has its roots in a similar-looking but differently regarded German doll: Bild Lilli , which Lord describes as a highly sexualized and lurid gag gift for men (that eventually became popular with children), based on an off-color tabloid comic strip.

Handler came across the doll in a toy store window during a vacation to the Swiss Alps in the 1950s, after years of trying to convince her male colleagues of the appeal of a fashionable adult doll. Mattel eventually based Barbie off of Bild Lilli, tweaking some of her features (and ultimately settling a lawsuit with her manufacturers).

Lord says Barbie's message was "proto feminist" from the outset, as she came with the paraphernalia for a self-supporting career — a portfolio of fashion sketches, in the case of the original Barbie.

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"So she's got that body, no husband, and the ability to make a living in a real field," Lord says.

She draws a connection to Helen Gurley Brown's 1962 book Sex and the Single Girl , which made the case for women's financial and sexual autonomy.

The Ken doll was introduced in 1961. And Barbie got her first Dreamhouse in 1962 — more than a decade before most single women in the U.S. would be able to own their own home, let alone bank account.

The problem, Lord says, was that second-wave feminists of the 1960s didn't really see all of Barbie's career props and ensembles: "They just saw that thing underneath and protested."

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The National Organization for Women accused Mattel of gender stereotyping boys and girls in 1971, a year before its members participated in the toy fair protest.

Over time the feminist movement — and the people who identified with it — changed.

"I think the second-wave protests were probably important, but third-wave feminism, the kind that took hold in the 1990s, was kind of less judgmental than the feminism of the 1970s," Lord says.

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Lord says the movie's production and costume design directly reference the Barbies of the early 1990s — the ones Gerwig herself would have been exposed to growing up — and mirror the messages of those later iterations of feminism (the third wave in the 1990s and the fourth wave in 2012).

As ideas of feminism and womanhood changed over the years, so did Barbie herself.

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The secret to barbie's enduring appeal she can fend for herself.

For example: The first Black and Latina Barbies debuted in 1980. Barbie first ran for president in 1992. In 2016, Mattel introduced new Barbie body types: petite, curvy and tall.

Today, its online store boasts Barbies modeled after inspirational female figures — from Jane Goodall to Naomi Osaka to Laverne Cox — and people with disabilities, from a doll with Down Syndrome to those that come with props like hearing aids and wheelchairs.

Lord says modern-day feminism's focus on intersectionality paved the way for "big-tent Barbie," adding that the dolls and products "always both reflect and shape the marketplace."

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The body positivity movement surfaced around this same time. Lord believes that had an influence on many companies, whether that meant retailers working with a more diverse range of models or Mattel finally tampering "with what had been both the controversial and yet winning formula" of the doll's proportions.

"The idea was you could still be a Barbie, a highly valued commodity or whatever, but you didn't have to look a certain way as much as perhaps one did in the past," Lord says.

More than a doll — or a label

Barbie Careers Assortment dolls are displayed at the New York Fair in 2016. Diane Bondareff/Diane Bondareff/Invision/AP hide caption

Barbie Careers Assortment dolls are displayed at the New York Fair in 2016.

The dolls are more than what the manufacturers make for children, Lord says.

For one, writers and visual artists have been using Barbie as an image and metaphor for years. And they hold special significance to the kids that play with them.

"You can't constrain a child's imagination based on the availability of certain products," she says.

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She says the movie reflects how young girls play with Barbies, from the marker-covered, shorn-haired doll played by Kate McKinnon to the all-female makeup of Barbieland's Supreme Court — and the relative unimportance of Kens.

"Then there's the ugly awakening that, in fact, in the world, men are entitled in ways that I think maybe little girls in their imaginative worlds can't anticipate," Lord says.

So what does all this mean for Barbie's contested feminist identity? Lord says the label itself carries a lot of weight.

For example: Barbie launched a female empowerment ad campaign in 1985, featuring an anthem in which girls sing "We can do anything, right Barbie?" It was rousing and uplifting and well-received, she said.

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And yet, Lord said, executives at Mattel and at Ogilvy & Mather, Barbie's ad agency, refused to identify as feminists. It was a stigmatized word at the time, Lord explained in a recent newspaper column .

Lord says she's puzzled that executives behind the movie are treating that word as "radioactive" even decades later — though acknowledges it's still not without backlash.

"Maybe you don't want to offend the kind of people who incinerate dolls because the movie involving them is perceived as being anti-male," she says.

The broadcast interview was produced by Kaity Kline and edited by Phil Harrell.

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Greta Gerwig’s Barbie is a Fascinating, Spectacular Philosophical Experiment

Barbie literalizes the abstract and abstracts the literal in an engaging, thought-provoking inquiry into the female experience.

Do you remember the scene in Singin’ in the Rain where Gene Kelly and Cyd Charisse dance a romantic, longing modernist-ballet number? That scene is a dream sequence within a dream sequence. Gene Kelly’s character, an actor in late 20s Hollywood, is pitching a movie to a studio head and the film allows the viewer to watch the description he is conjuring. In this imaginary scene, a “young hoofer” comes to Broadway with dreams of being a star, and has them stymied for a while, along the way meeting a beautiful woman—Cyd Charisse—who is dating a gangster. He imagines falling in love with her anyway, and so the film takes us to that fantasy, which takes the form of a windy dance on a blue-and-pink-tinted soundstage.

What we’re watching is so far removed from the plot of the actual Singin’ in the Rain —which is about the Hollywood community adjusting after the advent of sound technology—but it doesn’t matter. It is a beautiful scene, a stunning bodily representation of desire and passion in the brief moment they are allowed to manifest. Movies don’t exist just to relay plots; they have tools and qualities all their own that permit experimentation, and even allow the visual exploration of abstract things like feelings, thoughts, and ideas.

It is known, via a Letterboxed profile curated by the writer-director-Greta Gerwig, that her new film Barbie takes some inspiration from Singin’ in the Rain , as well as other musicals from Hollywood’s Golden Age, including Kelly’s even more abstract An American in Paris . Gerwig’s Barbie, a dramatically hyped mainstream film about the famous Mattel doll that was created in 1959 and went on to become one of the most influential pop cultural forces in history, shares an essence with these movies.

It is an inventive, highly wildly conceptual thought experiment—not merely about the doll Barbie or even her complicated legacy and what she represents, but also about what it means to be a woman. It takes place in a similar kind of space as “the movie musical” writ large, a genre of alternate reality in which emotions and thoughts can be explored through music, song, dance, and other stuff that doesn’t happen in real life.

Barbie combines the rules of the movie musical’s imaginary netherworld with the investments of a Beckett or a Ionesco play. We’ve all seen plays where human actors play unwieldy concepts like “the city of St. Louis” or “polio” or even real material things like “bullets.” That’s the variety of inquiry Barbie is; yes, it explores the complex figure of the Barbie Doll through cinematic conventions of faux-documentary, movie-musical, and traditional Hero’s Journey narrative, but it also is simply an unreal experiment, a highly symbolic exercise where theoretical entities get to speak for themselves, and where real people get to tell anthropomorphized theoretical entities what effects they have on the human experience. The whole movie is a mise-en-abyme-heavy dream sequence, a fantasy of a dialogue between real women and womankind’s evolving, go-getting golem plaything.

I was fascinated by Barbie , which was written by Gerwig and Noah Baumbach, and which earnestly takes on a lot of hard work and mostly pulls it off. Compellingly, Barbie literalizes the abstract and abstracts the literal as it progresses. Gerwig’s own (presumed) thoughts and research into three-score years of Barbie frame the story, especially via the movie’s opener, a 2001: A Space Odyssey pastiche in which little girls discover the Barbie doll for the first time; the narrator (Helen Mirren) reminds us that, before Barbie, little girls could only play with  baby  dolls, pretend to be mothers; Barbie was the first grown-up doll. She was the first major girl-marketed cultural signifier insisting that a girl could be someone other than a mother. And not only that, but that she could be someone glamorous and exciting.

After this, the film follows a day in the life of a blonde Barbie, the main Barbie, the “Barbie you think of when someone says ‘think of a Barbie,'” the film calls her. She is played by Margot Robbie, who also produced the film. She lives in Barbie Land, a realm where the souls? subconscious minds? astral projections? of literal Barbie Dolls live and interact together. While their doll-bodies are being played with in the Real World, their selves live here, though they take on the characteristics of the things happening to their doll-bodies in play. This means that Barbie Land is kind of magic; outfits change spontaneously depending on the activity, Barbies float from one level of their Dream Houses to another—as if they are being played with by invisible hands.

Barbie Land is a paradise of female empowerment. The narrator reminds us how Barbie has taken on many more meanings and identities since her debut in a bathing suit in 1959, and that the Barbie concept is diverse in terms of representations of female excellence and perfection. Barbie is all women, the narrator reminds us, and she is a reminder that women can do anything. In Barbie Land, the Barbies—beautiful, accomplished, happy in all their different appearances and jobs and roles—run a supportive, productive world. There are also Kens, who do not have jobs or purposes. Barbie’s Ken (Ryan Gosling) lives for her, longs to unite more with her, wants her to love him. In interviews, Gerwig has noted that Barbie, and not Ken, is the main draw of Mattel products, and analyzed its fascinating implications: “Ken was invented after Barbie, to burnish Barbie’s position in our eyes and in the world. That kind of creation myth is the opposite of the creation myth in Genesis.”

Gerwig notes the potential for Barbie’s incredible progressiveness and takes advantage of it—telling a story about a Barbie who discovers that, in actual life, women are seen as the accessories. For the record, I don’t think the film advocates that people of any gender should be accessories to those of another gender, but Barbie still allows us to revel in the delight of an all-female paradise for a while.

Anyway, one day, our Barbie begins to experience an existential crisis—she begins to wonder about dying and freak about about “forever” and stasis. Her feet loosen from their arched position and land flat on the floor. Panicking, she goes to see an oracle-style Barbie known as Weird Barbie, maimed with crayons and perpetually in a split position after her doll self got “played with too hard.” Weird Barbie (Kate McKinnon) explains that Barbies are psychically connected to the children playing them, and so in order to correct these out-of-place crises, Barbie has to travel to the Real World and find that girl and help her assuage her concerns.

Barbie heads on a journey to the Real World, accompanied by Ken, who longs to prove himself to her. But when they arrive in the modern world (Los Angeles), they discover something jarring: the world is not, in fact, a feminist society in which women get to exercise (and be celebrated for) their skills and aptitudes, but… the opposite. Barbie herself grows very depressed, while Ken feels empowered, by this rift. Ken runs back to Barbie Land to tell the other Kens that “men rule the world” in reality while Barbie discovers that she’s unwittingly something of a villain there. She discovers, from a group of tween girls, that not only is Barbie not a feminist hero, but is also a controversial and outdated toy who has contributed to and participated in the creation of impossible, unhealthy, and problematic standards for women, not to mention the glorification of capitalism and the mass production environmentally-poisonous plastic. And she discovers Mattel, an FBI-style entity determined to keep the existence of the Avalon-like Barbie Land a secret.

While evading the Mattel G-Men, Barbie winds up meeting her playmate, who turns out not to be a child, but the mother of a child. She, Gloria (America Ferrera), has always loved Barbie, but her love for Barbie cannot override the frustrations and problems of her regular life, including a lack of professional and creative fulfillment (she’s a secretary at Mattel). But something happens when they’re together, and Barbie decides to bring her new friend and her Barbie-hating preteen daughter Sasha (Ariana Greenblatt) back to Barbie Land to help empower them. But when they get there, they discover that Ken has brought the idea of male supremacy back, taken over the paradise, and brainwashed all of the brilliant, accomplished Barbies into serving them and ornamenting their spaces.

Barbie isn’t a subtle movie, and that’s okay! Subtlety is overrated. It’s clear now, if it hasn’t been before, that Barbie slings many, many metaphors about the state of female existence in its current moment. Barbie is about a jealous, women-hating current that runs deep in male perspective. Ken is ultimately a bit of an incel (even though he’d be called a Chad BY the incels), and in Barbie we watch as all the progress, works, dreams of women are dismantled and erased and destroyed by men who need to feel like they control powerful women in order to feel powerful, themselves. It’s a movie that feels like it’s about Abortion Bans and the January 6th insurrection and our Post-Trump society just as it feels (sadly) timeless.

But even more insightful is what happens to Barbie when she realizes her world is a disaster. She grows depressed, begins to hate and doubt herself. She feels unattractive, unimportant, like a failure. Gerwig was influenced in writing the screenplay by the 1994 nonfiction book Reviving Ophelia, about the sudden, mass self-confidence and depression crisis that hits girls around puberty. “They’re funny and brash and confident, and then they just—stop,” she explained of the phenomenon to Vogue . “…All of a sudden, [girls think], Oh, I’m not good enough .”

Watching Barbie , this moment (when Robbie’s Barbie collapses into despair, feeling like a failure because she can’t fix the horrible things happening around her), was one of the most intuitive moments I’ve ever seen on film. Even more so is when Gloria comforts her, by acknowledging the horrible double-standards that make women feel this way, universally, delivering a heart-rending, passionate soliloquy that provides the film’s heart as well as its thesis statement. I cried a lot during the Barbie movie, but I really cried here.

Barbie not only understands what it’s like to be a woman, but has a lot of love for women, which is refreshing. It also has a lot of love for childhood, but it doesn’t allow the nostalgia for girlhood to muddle the empowerment of adult women. Barbie is a genuine masterpiece for its studies in making the intangible tangible , and this is epitomized by its magnificent production, set, and costume design.

The Barbie Dream Houses don’t have walls, just like in life. The Barbie World doesn’t come with food, just adhesive decals and plastic pieces. There is an extroardinary tactility, solidity to this world that is so reminiscent of playing with Barbies, like how McKinnon’s defaced Barbie almost always has her legs split apart. Watching the film, I remembered the feel and movement of these toys. There’s a Proust joke in Barbie , but I’m not joking when I’m saying that if Proust saw Barbie, he’d write another 1,000 pages. That’s how evocative Gerwig’s direction is. There are whole scenes in the movie that seem intended just to allow the audience to feel .

Robbie, who demonstrates tremendous physical comedy skills while also relaying depths of humanity, is wonderful as this torn Barbie. Gosling, whose relentless commitment to his character is astonishing, would be the film’s scene-stealer if Robbie wasn’t such a strong anchor. But Ferrera is the best part of the star-studded cast, a phenomenally real woman.

Barbie is so insightful in its symbolic intervention that when it returns to its Hero’s Journey/Barbie-vs. Mattel plot, it becomes a lot less satisfying. Mostly because, after watching ideas come to life, becoming reminded about the tethers to branding and commercial interests feels irrelevant and almost contradictory and even occasionally unpleasant. There’s a little too much humanization in the end, actually, partially of entities who might not deserve it, in a story that is, ultimately, about women . Things get messy and very, well, imperfect.

Still, I spent the nearly two-hours of Barbie noting how thoughtful and ambitious it was. Personally, I felt very seen and understood. I was moved and even felt a little appreciated, in a universal way. And that’s not an easy to do with a main character who is essentially a lump of plastic shaped like a person. But there is nothing fake, nothing false about Barbie . To Barbie , life may be plastic, but it’s also profound.

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‘Barbie’ is, at its core, a movie about the messy contradictions of motherhood

Assistant Professor of Film and Media Studies, Arizona State University

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Aviva Dove-Viebahn does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

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Editor’s note: This article contains plot spoilers for “Barbie.”

The wildly popular “ Barbie ” movie has been touted for its celebration – and critique – of femininity.

As a mother and a media scholar , I couldn’t help but see “Barbie” through an even narrower lens: as a film that, at its core, is about mothers and daughters.

The film’s plot centers on a life-size doll, known as “Stereotypical Barbie,” played by Margot Robbie , who begins to malfunction: Her feet go flat, and she can’t stop thinking about death. So she leaves her perfect plastic life to embark on a quest to restore the boundary between the real world and Barbieland. Along the way, she learns that the real world is nothing like her girl-power wonderland, where Barbies hold all the positions of power and influence and Kens are just accessories.

But its thematic heart rests in the film’s examination of the tensions around being a mother – a role often taken for granted, even as the cultural fantasies of motherhood clash with the actual sacrifices that moms make.

Motherhood as mere drudgery?

I was immediately struck by the movie’s funny but chilling observations about motherhood.

“Since the beginning of time,” unseen narrator Helen Mirren intones sardonically in the film’s first line, “since the first little girl ever existed, there have been dolls.” (Cinephiles will immediately recognize this scene and its setting as an homage to Stanley Kubrick’s famous “ dawn of man ” opening from “ 2001: A Space Odyssey .”)

Girls appear on screen, wearing drab, antiquated dresses and playing “house” with their dolls in a primitive setting, expressionless and practically drooping with boredom. The problem with these dolls is that girls “could only ever play at being mothers, which can be fun” – Mirren pauses meaningfully – “for a while.”

Then, she adds, her tone turning cynical, “Ask your mother.”

The appeal of motherhood, Mirren seems to suggest, eventually morphs into unwanted drudgery – a reality underscored moments later when the girls meet their first Barbie, who towers above them, larger than life, inspiring them to smash their mundane baby dolls.

Barbie – a doll of a young, beautiful woman – compels kids to leave the ennui of motherhood behind for the pink plastic sparkle of Barbieland, where all the Barbies live their best lives forever, embodying feminine perfection and possibility.

The framing of motherhood as thankless and undesirable echoes mid-20th-century feminist critiques of child rearing and housework. These roles not only bound women to the home but also forced them to perform repetitive tasks that didn’t reflect their abilities and derailed their ambitions.

In her 1949 book “ The Second Sex ,” French philosopher Simone de Beauvoir argued that women, to empower themselves, needed to reject the myth that motherhood represented the pinnacle of feminine achievement. American writer Betty Friedan would echo this sentiment in her 1963 book “ The Feminine Mystique ,” railing against the image of the “happy housewife heroine” who finds fulfillment in being a wife and mother.

It’s no coincidence that these ideas overlapped with the invention of Barbie in 1959. While predating the women’s movement of the 1960s and 1970s, Barbie’s creator, Ruth Handler, did design the toy to allow girls to imagine their future adult selves , rather than simply play-acting as mothers using baby dolls.

The value in ‘motherwork’

And yet, not only do many women enjoy being mothers, but motherhood also plays an essential role in society and life.

In her 1976 book “ Of Woman Born ,” feminist poet Adrienne Rich draws a distinction between the fulfilling relationship mothers can have with their children and the patriarchal institution of motherhood, which keeps women under men’s control.

Sociologist Patricia Hill Collins coined the term “motherwork ” in the mid-1990s to highlight the experiences of women of color and working-class mothers, many of whom don’t have the resources to pursue their own ambitions over caring for their families and communities. When you’re just trying to navigate the day-to-day without wealth or other forms of privilege, options like hiring a nanny or paying for graduate school aren’t feasible or a priority.

For these mothers, the survival of their children is not a given. Instead of tedium and oppression, motherwork acknowledges that mothering can be a radically important labor of love and a source of empowerment in its own right.

In “Barbie,” the mother-daughter relationship between Gloria, played by America Ferrera , and her daughter Sasha, played by Ariana Greenblatt , contains these contradictions.

After experiencing a vision of the person whose sadness seems to be the source of her malfunctions, Stereotypical Barbie initially assumes it’s Sasha’s tween angst that’s disturbed the perfection of Barbieland and drawn her into the real world. Instead, Barbie discovers it’s Gloria’s loneliness – and her nostalgia for a simpler time when she played Barbies with her daughter – that has caused the rift between reality and fantasy.

Sasha and Gloria’s adventure with Barbie – first escaping the Mattel executives who want to lock Barbie in a box and then journeying back to Barbieland to rescue the other Barbies from the Kens, who are trying to take over – repairs the relationship between mother and daughter.

Gloria remembers what it’s like to find joy in motherhood, and Sasha realizes that her mother isn’t just a bland set of values against which to rebel. Gloria is a fully fledged person with a rich inner life who, by her own estimation, is sometimes “weird and dark and crazy,” which Sasha admires.

Sasha – and all the Barbies – have something else to learn from Gloria, too.

Stunned that even someone as perfect as Barbie feels like she’s not good enough, Gloria delivers a poignant monologue encapsulating, in Barbie’s words, “the cognitive dissonance required to be a woman under patriarchy.”

Gloria, as a mom struggling to reconcile her deep love for her child with the fear that she’s constantly failing at motherhood, knows all too well how this cognitive dissonance wears women down.

In her 2018 book “ Mothers: An Essay on Love and Cruelty ,” scholar Jacqueline Rose argues that motherhood is tied to notions of citizenship and nation and, for this reason, can become “the ultimate scapegoat for our personal and political failings.”

The ending to “Barbie” rejects the notion that mothers are to blame for their children’s mistakes. Instead, the film offers another perspective through the character of Ruth Handler, Mattel’s founder, who’s played by Rhea Perlman. Handler helps Barbie see what awaits her if she chooses to become human.

Symbolically letting go of her creation and encouraging her to forge her own path, Ruth tells Barbie that she cannot control her any more than she could control her own daughter, and that mothers should pave the way for their children, not hinder them.

“We mothers,” she explains, “stand still so our daughters can look back to see how far they’ve come.”

This sentimental and self-effacing message seems at odds with the film’s nuanced portrayal of motherhood through humor and critique.

But, throughout, “Barbie” invites viewers to question even its own structure, tenets and messaging – and presents multiple perspectives on motherhood.

Mothering is hard work and sometimes may even be thankless labor. It may bore or disappoint. It can be affirming or heartbreaking or both. It involves leading and following, holding on and letting go.

Being a mother shouldn’t have to be about sacrifice or about fitting some impossible ideal. Instead, motherhood can highlight the possibilities of living in – and with – the contradictions.

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• Movie Review
• This Barbie is a feminist parable fighting to be great in spite of Mattel’s input

Greta Gerwig’s Barbie is often good and sometimes great, but it always feels like it’s fighting to be itself rather than the movie Warner Bros. and Mattel Films want.

By Charles Pulliam-Moore , a reporter focusing on film, TV, and pop culture. Before The Verge, he wrote about comic books, labor, race, and more at io9 and Gizmodo for almost five years.

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Barbies might “just” be toys, but Barbie™ is an impossibly perfect paragon of glamorous femininity who’s had as many specialized professions over the course of her 64-year-long existence as she has bespoke outfits. There are few pieces of corporate-owned IP that are truly as Iconic (in the pre-social media sense of the word) as the doll that put Mattel on the map and taught children of all genders — but especially little girls — to long for hot pink dreamhouses. That’s why it isn’t all that surprising to see Mattel Studio’s brand protection-minded influence splashed all over Warner Bros.’ new live-action Barbie movie from writer / director Greta Gerwig.

Valuable as the Barbie brand is, it makes all the sense in the world that Mattel would want Gerwig’s feature — a playful, surreal adventure that does double duty as a deconstruction of its namesake and her technicolor, dreamlike world — to play by a set of rules meant to protect their investments. But as well meant as Mattel’s input presumably was, Gerwig clearly came with a bold vision built around the idea of deconstructing some of the more complex realities of what Barbie represents in order to tell a truly modern, feminist story.

Watching the movie, you can often feel how Mattel and Gerwig’s plans for Barbie weren’t necessarily in sync and how those differences led to compromises being made. Thankfully, that doesn’t keep the movie from being fun. But it does make it rather hard to get lost in the fantasy of it all — especially once Barbie starts going meta to poke fun at the studios behind it in a way that seems to be becoming more common .

Along with celebrating innumerable pieces of Mattel’s history, Barbie tells the story of how the most Stereotypical Barbie (Margot Robbie) in all of Barbie Land gains the tiniest bit of self-awareness one day and starts to find her growing sense of complex personhood so alarming that she sets off for the Real World to find out what the hell is going on. Like the vast majority of Barbies who call Barbie Land home, all Stereotypical Barbie knows about her own world is based on the picture-perfect, idealized experiences she and her friends are able to breeze their ways through solely using the power of their imaginations. 

Things don’t just happen to Barbies. They’re very much the arbiters of their own wills who’ve worked hard to become people like President Barbie (Issa Rae), Dr. Barbie (Hari Nef), Lawyer Barbie (Sharon Rooney), and Pulitzer Prize-winning Writer Barbie (Alexandra Shipp). But life for Barbies also isn’t especially difficult or complicated, partially because they’re all dolls living in a plastic paradise. Mainly, though, it’s because Barbie Land’s an expressly woman-controlled utopia reminiscent of Steven Universe ’s Gem Homeworld , where neither misogyny nor the concept of a patriarchy exists because that’s not what Barbie™ is about.

As an unseen Helen Mirren — who seems to be playing a version of herself as Barbie ’s narrator — points out who’s who in the film’s opening act, you can see how Mattel’s willingness to let Gerwig and co-writer Noah Baumbach’s script poke fun at Barbie™ led to some extremely good world-building.

Barbie Land isn’t just a predominantly pink pocket dimension where Life-Size -like dolls live in life-sized, yet still toy-like dream homes. It’s the embodiment of the easy-to-digest, corporate-approved feminism and female empowerment that Mattel and many other toy companies deal in. Only in Barbie Land, the idea of a predominantly female supreme court or construction sites full of nothing but hardworking women aren’t just dreams — they’re a regular part of everyday life. And all the Barbies are better for it because of how it reinforces their belief that they can do anything.

But outside of the Stereotypical Barbie-obsessed Ken whose job is to stand on the beach (Ryan Gosling), none of the other Kens (Simu Liu, Kingsley Ben-Adir, Ncuti Gatwa, Scott Evans, and John Cena) are ever really given personalities to speak of. It’s clearly a purposeful decision meant to reinforce the idea that Ken dolls, which were invented after Barbie dolls, are the Eves to their Adams — accessory-like beings created to be companions rather than their own people. But as solid as the idea is, in practice, it has a way of making the Kens of color feel like thinly-written afterthoughts hovering around Gosling and like Barbie isn’t sure how to utilize its entire cast — a feeling that intensifies more and more as the movie progresses.

Long before Barbie even starts to have her existential crisis and seek guidance from Weird Barbie (Kate McKinnon), it becomes painfully clear that there was a strong desire on either Mattel or Warner Bros. parts for audiences to be spoon-fed as much of the film as possible before actually sitting down in theaters. If you’ve watched even a couple of Barbie ’s lengthier ads or the music video for Dua Lipa’s (who plays Mermaid Barbie) “Dance the Night,” you’ve seen a significant chunk of this film and its more memorable moments.

What you’ve seen less of is how often Barbie slows down to have characters repeat jokes and belabor points as if it doesn’t trust the audience to catch beats on their initial deliveries. Some of that can be attributed to the PG-13 movie trying to make sure that viewers of all ages are able to engage because as existentially heavy and slightly flirty as Barbie gets at times, it’s a movie about Barbies, which is obviously going to appeal to a bunch of literal children. But once Barbie’s in the real world being harassed by lascivious men, ruthless teen girls, and a bumbling, evil corporation that the movie goes to great lengths to make fun of, you also get the sense that more than a bit of the movie’s unevenness on the backend stems from Mattel putting its foot down about how it, too, needed to be a part of Barbie’s live-action, theatrical debut.

There’s a time and a place for corporations to try getting in on the fun of events like this by way of meta humor that acknowledges their own existence and the role they play in bringing projects like movies about Barbie dolls into being. But rather than creating the necessary conditions for those kinds of jokes to land, not need explanation, and add substance to Barbie, both Mattel and Warner Bros.’ self-insert jokes work more to remind you how the movie is ultimately a corporate-branded endeavor designed to move products.

That doesn’t keep Gerwig’s latest from being an enjoyable time spotlighting a decidedly inspired performance from Robbie. But it is going to make the rabid Barbie discourse even more exhausting than it already is when the feature hits theaters on July 21st.

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Teaching Barbie: Scholarly Readings to Inspire Classroom Discussion

Barbie is having a(nother) moment. Researchers have been studying the famous doll for years.

Since she was created in 1959, Mattel’s Barbie doll and her descendants have been fodder for feminist researchers, sociologists, gender theorists, and other academics. As we all probably know by now, the doll was invented by Ruth Handler, who noticed her daughter Barbara playing with paper dolls and giving them adult narratives and roles. At the time, most dolls looked like infants, but Handler saw a gap in the market for adult dolls for girls, and the rest is Barbie history. Initially a teen fashion doll, Barbie has gone through six decades of transformations and rebranding , becoming a cultural icon over the years and appearing as an astronaut, doctor, physicist, and just about any other professional you can think of.

Girlhood, Gender, and Sexuality

Linda Wason-Ellam. “ ‘If Only I Was Like Barbie.’ ” Language Arts , vol. 74, no. 6, 1997, pp. 430–37.

It’s impossible to understand Barbie without acknowledging the toy plays a big part in young girls’ construction of their sense of self. This ethnographic study investigates how young girls construct gendered identities and meanings through exchanges between visual and written texts, including Mattel’s book version of Cinderella, where Barbie takes on the titular role.

Catherine Driscoll. “ CHAPTER FOURTEEN: Girl-Doll: Barbie as Puberty Manual. ” Counterpoints , vol. 245, 2005, pp. 224–41.

Bringing together two relevant cultural texts for pre-adolescent girls, Catherine Driscoll considers dominant gender discourses through analyses of Barbie dolls and puberty manuals in the early 2000s as influential manifestations of the “tween” space in public and popular representations of girlhood.

Claudia Mitchell. “ Charting Girlhood Studies .” Girlhood and the Politics of Place , edited by Claudia Mitchell and Carrie Rentschler, Berghahn Books, 2016, pp. 87–103.

A good summary of what has been accomplished or found so far in girlhood studies, which has often drawn on how girls understand gender and power dynamics through playing with Barbie.

Louise Collins, et al. “ We’re Not Barbie Girls: Tweens Transform a Feminine Icon. ” Feminist Formations , vol. 24, no. 1, 2012, pp. 102–26.

Based on the insights collected from a research workshop for middle-school girls, this article asks what girls feel, think, and hope when playing with Barbie. Drawing on the insights middle-school girls delivered when discussing and reflecting on the constructions of female bodies and feminine identities in popular culture, Collins et al suggest that consumers are not simply vessels for consumption—they can be critical engagers of the products they consume.

Michael A. Messner “ Barbie Girls versus Sea Monsters: Children Constructing Gender .” Gender and Society, vol. 14, no. 6, 2000, pp. 765–84.

How do toys help children make meaning of gender? In this article, Michael A. Messner examines this question through an analysis of children’s interactions with pop culture.

Anna Wagner-Ott. “ Analysis of Gender Identity Through Doll and Action Figure Politics in Art Education .” Studies in Art Education, vol. 43, no. 3, 2002, pp. 246–63. 

Using action figures and dolls as pedagogical tools, this article explores how art educators can engage young people in a critical dialogue to uncover preconceived ideas, attitudes, and values inherent in gendered objects.

Becky Francis. “ Gender, Toys and Learning .” Oxford Review of Education, vol. 36, no. 3, 2010, pp. 325–44.

Drawing on the claim that children learn gender through playing, Becky Francis conducts evaluated selected toys—including some Barbie accessories—to identify the gender discourses reflected in the children’s choice of toys.

Whiteness and Race

Maureen Trudelle Schwarz. “ Native American Barbie: The Marketing of Euro-American Desires. ” American Studies , vol. 46, no. 3/4, 2005, pp. 295–326.

A particular concern of Barbie critics is the brand’s focus on and centering of whiteness, which the brand has addressed through the creation of ethnically diverse versions of the doll. In this in-depth analysis of Native American Barbie dolls and what they teach girls—and society more broadly—about Native American cultures in the United States, author Maureen Trudelle Schwarz argues that Barbie sanitizes the horrors of colonialism and Indigenous oppression.

Elizabeth Chin. “ Ethnically Correct Dolls: Toying with the Race Industry .” American Anthropologist, vol. 101, no. 2, 1999, pp. 305–21.

Examining the claim that providing more diverse toys is a progressive solution to white hegemony, this anthropological study with a group of working class, Black ten-year-old children complicates the politics of representation and inclusion.

Nina Cartier. “ Black Women On-Screen as Future Texts: A New Look at Black Pop Culture Representations. ” Cinema Journal, vol. 53, no. 4, 2014, pp. 150–57.

In this article, Nina Cartier offers a short but important critique of Nicki Minaj’s Black Barbie, along with other representations of Black womanhood onscreen.

Margaret Hunter and Alhelí Cuenca. “ Nicki Minaj and the Changing Politics of Hip-Hop: Real Blackness, Real Bodies, Real Feminism? ” Feminist Formations, vol. 29, no. 2, 2017, pp. 26–46.

Examining Nicki Minaj’s body of work, particularly her embodiment of her Black Barbie persona, the authors argue that Minaj’s offers a brand of feminism that is highly marketable because it merges a language of critique and oppression.

Okafor, Chinyere G. “ Global Encounters: ‘Barbie’ in Nigerian Agbogho-Mmuo Mask Context. ” Journal of African Cultural Studies , vol. 19, no. 1, 2007, pp. 37–54.

Beyond being an American doll, the product of Barbie was exported across the world, thus spreading its message across borders. In this article, Chinyere G. Okafor writes about the doll’s impact on Nigerian beauty standards through the image of the Agbogho-mmuo mask of the Igbo ethnic group. The encounter between these two beauty standards is the site of a global image-making network, the author suggests, and its discussion allows for an analysis of the globally empowered Barbie doll and her impact on Nigerian culture.

Marketing Barbie

Marlys Pearson and Paul R. Mullins. “ Domesticating Barbie: An Archaeology of Barbie Material Culture and Domestic Ideology. ” International Journal of Historical Archaeology , vol. 3, no. 4, 1999, pp. 225–59.

Drawing on the history of Barbie since the 1950s and the distinct “single career girl” marketing strategy employed by Mattel, the authors of this article offer a systematic examination of Barbie fashions, accessories, and playsets, which they argue reveals several distinct phases in the domestic symbolism associated with the doll. By tracing the history of Barbie accessories, the authors are able to pinpoint changes in Barbie’s domestic image over the last 40 years.

Erica Rand. “ Making Barbie. ” Barbie’s Queer Accessories , Duke University Press, 1995, pp. 23–92.

Delving deep into the history of Barbie and Mattel’s uneven and deflecting history around the character, Erica Rand writes about the erasure of Ruth Handler from the history of the doll’s creation by Mattel (something that has been curiously rectified in Gerwig’s film) and the gender meanings made by the company that invented Barbie.

Postfeminism, Pop-feminism, and Other Critical Lenses for Classroom Discussions of  Barbie

Rosalind Gill. 2007. “ Postfeminist Media Culture: Elements of a Sensibility .” European Journal of Cultural Studies 10 (2): 147–166.

To understand the complexity of Barbie, it’s important to understand the existence of postfeminism and how it manifests through media culture. In this article, Rosalind Gill suggests a few approaches to engaging with postfeminist pop culture in critical and feminist ways.

Jess Butler. “ For White Girls Only? Postfeminism and the Politics of Inclusion. ” Feminist Formations , vol. 25, no. 1, 2013, pp. 35–58.

In this article, Jess Butler delves into the lack of intersectional perspectives in the literature on postfeminism, which she argues privileges a white, middle-class heterosexual subject. By drawing on the image of pop star Nicki Minaj, Butler suggests an intersectional approach to producing knowledge about postfeminism.

Angela McRobbie. “ Postfeminism and Popular Culture: BRIDGET JONES AND THE NEW GENDER REGIME. ” Interrogating Postfeminism: Gender and the Politics of Popular Culture , edited by Yvonne Tasker and Diane Negra, Duke University Press, 2007, pp. 27–39.

In this article, Angela McRobbie analyzes the postfeminist messages of the Bridget Jones franchise to emphasize the “double entanglement” of being a woman, where a productive home and work life are desirable to complete a modern woman’s life.

Alice Leppert. “‘ Can I Please Give You Some Advice?’ ‘Clueless’ and the Teen Makeover .” Cinema Journal , vol. 53, no. 3, 2014, pp. 131–37.

While we probably won’t have to wait that long for academic critical engagements with Gerwig’s Barbie, reading critiques of similar films might help us think about it critically. In this article, Alice Leppert analyzes a common trope in teen films through the film Clueless: the teen makeover that makes the unpopular nerd into a popular girl.

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Shauna Pomerantz et al. “ GIRLS RUN THE WORLD? Caught between Sexism and Postfeminism in School. ” Gender and Society , vol. 27, no. 2, 2013, pp. 185–207.

A study on how teenage girls understand sexism in a society that teaches them that gender is no longer a question of concern. By exploring Canadian girls’ experience with the postfeminist belief that sexism doesn’t exist, the authors suggest that postfeminist narratives make it difficult for teenage girls to identify and name gender discrimination.

Carrie Smith Smith and Maria Stehle. “ Popfeminism. ” The German Quarterly , vol. 91, no. 2, 2018, pp. 216–27.

In this short article, the authors define the concept of “pop feminism” in a capitalist society, a critical perspective to understand Barbie as part of a postfeminist, neoliberal system of power and hierarchies.

Michelle S. Bae. “ Interrogating Girl Power: Girlhood, Popular Media, and Postfeminism. ” Visual Arts Research , vol. 37, no. 2, 2011, pp. 28–40.

Challenging the usual critiques of girl power, Michelle S. Bae offers an alternative approach for interpreting the concept — which directly implicates Barbie and the toy’s history with women’s empowerment. Understanding that the dominant discourse on girl power is still located in an essentialist frame of white Western hegemony, Bae uses the original criticisms of girl power as a starting point for arguing that girl power might be interpreted as subversive to patriarchy and are marked by contradictions.

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‘Barbie’ Offers a New Perspective on Women at Work — And It’s Not What You Think

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The Big Picture

• Greta Gerwig's Barbie defies expectations by tackling deep themes and resonating with women in a raw way.
• Barbie explores the gendered social phenomenon of women being expected to give up childhood joys and sacrifice for others.
• The film shows that women don't have to surrender their imagination and can find empowerment and joy in childhood toys.

After an astonishing box office performance and a superb critical response , it’s abundantly clear that Greta Gerwig 's Barbie is the complete opposite of the cynical consumerist propaganda most audiences assumed it to be: i.e., “It's just a toy commercial.” The multiplicity of themes that Gerwig, a female director with a pointed history of deftly summarizing the nuances of female existence, manages to balance is a staggeringly impressive triumph. What's more, said themes are moving. Scroll through social media for five minutes, and you'll witness how deeply Barbie 's piercingly tender insights about humanity and living in the world as a woman have resonated with countless femme-identifying individuals in a raw, rare way.

Personally, what I can't stop turning over in my mind is an Etalk interview with actress America Ferrera conducted before the movie's debut. Ferrera, who plays Mattel employee Gloria, speaks to how men are allowed to continue celebrating things from their childhood into adulthood, like video games and comic books, while women are conditioned to grow up, put those joys aside, sacrifice for others, and do our expected duties with a selfless, willing smile. "That was really what touched me about Gloria as a character," Ferrera explained. "This woman somehow made it to adulthood holding onto, like, the value of play and the value of aspiration and imagination. [It's] in a way counter-culture. We can be a lot of things at once ... we can be joyful and playful and imaginative and childlike and be a grown woman, professional, taken seriously."

This gendered social phenomenon Ferrera references is the narrative equivalent of a truth bomb. I found myself fist-pumping because a prominent entertainer validated the experiences and frustrations I knew like the back of my hand but had previously left uninterrogated. Moreover, Ferrera's observations tie into her character's remarkable third-act speech. Alongside every complicated issue that Barbie tackles with grace, the film champions female joy and self-expression through the avenue of our childhood toys . Now, why did Gerwig choose to incorporate such a specific theme, and why is this subtext-almost-text proving meaningful to women across the world?

A beloved doll, known for her perfect life in an idyllic, colorful world, finds herself on an unexpected journey when she starts to feel out of place. Seeking answers, she leaves her fantastical home and steps into the real world, where she experiences the highs and lows of human life. With the help of new friends, she navigates the challenges of identity and purpose, discovering the importance of authenticity and inner strength.

Greta Gerwig's 'Barbie' Subverts Expectations About Adult Women

Barbie's ( Margot Robbie ) journey from Barbieland into the real world culminates when she meets America Ferrera's Gloria. Contrary to Barbie's assumptions that a young girl with an existential crisis was playing with her, it's a grown woman employed by Mattel who designs potential Barbies in her spare time and despairs over her strained relationship with her teenage daughter, Sasha ( Ariana Greenblatt ). Frankly, it's remarkable that Barbie depicted an adult returning to the comforts of her favorite childhood doll in a time of distress, depression, and confusion. In her grief, Gloria turns to a symbol — a reminder of when things were simpler. She longs for the purity of that youthful, innocent joy the world's fundamental inequality ensured she could never recapture in its entirety. But Gloria tried; the Barbie that kept her company through the years (the one she tried to pass down to her daughter) transformed into a mirror reflective of Gloria's adult fears. Barbie remained a beacon of hope even though Gloria's peers probably would have wagged their fingers and tsked their tongues at a professional woman placing emotional value on a doll.

At this point, Gloria's speech about the cruel impossibilities of being a woman has taken on a life of its own. Some might dismiss it as "feminism 101," but for a blockbuster film, it's rather radical. Listening to Gloria describe how navigating the world as a woman is like swimming through a sea of knives, how our responses to every contradictory and changing demand are never good enough, sweet enough, sexy enough, strong enough, is a world-altering revelation for Robbie's "stereotypical Barbie." Ferrera's observations about the gender divide surrounding "childish" interests are a side alley conversation but still relevant to her monologue; their core message is the same.

'Barbie' Review: Greta Gerwig’s World of Plastic Is Fantastic

Starring Margot Robbie and Ryan Gosling, Greta Gerwig turns 'Barbie' into much more than just a toy commercial.

Girls grow up far too fast. We're sexualized by grown men before we have any comprehension or desire. A greater moral, emotional, and sexual responsibility is automatically forced upon us even though we don't seek it out. Boys will be boys, as the awful saying goes, so girls must pick up the slack and be smarter, polite, and more performative but still behave themselves by not "tempting" men into misbehavior. Any time a woman participates in fan culture with a stereotypically strong male presence, such as Star Wars , comic books, anime, or sports, we're harassed. We don't belong there, you see; nasty girls aren't allowed. But if women enjoy romantic comedies and YA novels or cry during a Taylor Swift concert, then our interests are stupid and trivial. There's no way to be a woman in a fandom space and win.

In 'Barbie,' America Ferrera's Gloria Shows That Women Don’t Need To Surrender Their Imaginations

So what fantasy solution does Barbie offer to Gloria's dilemma? Gloria and her daughter bridge the fragile gap between them because of Barbie's influence. A mother, a daughter, and a walking-talking doll save one another in crucial, intersecting ways. They swap lessons on the highs and lows of humanity . Their understanding of the world expands, and Barbie, a beloved old doll, is the linchpin for these revelations . Gloria rediscovers her strength by treasuring how profoundly Barbie impacted her life for the better. She doesn't need to throw her toys into the trash and re-commit herself to domesticity like a "proper" woman.

All Gloria must do is recontextualize what Barbie means to her as an adult. That bright, pink-fueled world of imagination and play is still open to her. Barbie still imparts empowerment and joy, even if said joy is a mature, resilient hope that had to survive the inevitability of being battered, broken, and remade. This is no Narnia where you hit puberty and get kicked out as punishment. In fact, Gloria's arc reminds me of Jim Henson 's Labyrinth , another movie that pushes back against the stereotypical coming-of-age narrative . Sarah ( Jennifer Connelly ), the teenage protagonist, doesn't have to abandon her fantasy world to grow up. Her viewpoints have matured, but her toys and creativity will always be with her "when you need us." I call that a win.

'Barbie' Empowers Women to Carry Childhood Joys into Adulthood

As a woman in her mid-30s and a self-proclaimed nerd who grew up in online fan spaces (Geocities, message boards, LiveJournal, fanfiction.net, Tumblr, etc.), I viscerally related to America Ferrera's interview. I have always been a ride-or-die geek with a strong preference for science fiction, fantasy, and anime. To this day I collect Funko Pops and design my home around these tiny plastic replicas. Despite my age, proven professional experience, and it being no one's business but my own, I'm still told I need to dismiss childish things. Cherishing my old stuffed animals, covering my walls with Lord of the Rings fan art, cosplaying at conventions, and writing fanfiction is met with active hostility. Men try to quiz me to prove I'm a true fan or shun me from social circles. "You can't have movie posters on your wall forever," someone told me.

The joke's on them. A mature, professional woman and someone who relishes the wonder of toys , play, and creativity aren't mutually exclusive concepts. Thanks to my maturing viewpoints, I engage with the media I love more than I did as a kid. These activities don't just make me happy, they're integral to who I am. They inform my passions and frame the lens through which I view the world. Figures like Leia Organa ( Carrie Fisher ) and Captain Marvel ( Brie Larson ) remind me why I keep existing despite a hostile world actively determined to grind me into dust. I buy an Ahsoka Tano action figure, place her on a shelf, and toss her a wink of solidarity when I walk by.

For Barbie to include such a subtle, intuitive, counter-cultural, and personal statement is a wonder I'm still astonished by. Like the crying women on TikTok whom the Barbie movie touched, I feel seen. More than that, I feel gratified. Through Gloria, Barbie reminds us that women shouldn't just treasure their play but nurture and reclaim it . There's nothing wrong with wearing sparkling pink outfits and Mass Effect t-shirts or trading friendship bracelets at the Eras Tour. Imagination, creativity, and enthusiasm aren’t things women must surrender because society dictates it. Barbie posits such elements as our strength — and what Barbie says, goes.

Barbie is available to stream on Max in the U.S.

Watch on Max

• Movie Features

• Greta Gerwig

Come on Barbie, let’s go party:  The Barbie movie is a raw analysis of the female experience

• Ella Van Leuven
• August 28, 2023

Spoiler warning: This article reveals important plot points for “Barbie”.

With the biggest opening weekend of 2023, and the biggest ever opening weekend for a female-directed film, Greta Gerwig’s “Barbie” is making waves in both the film industry and society. 

“Barbie” isn’t just a movie about the dolls that were a part of so many girls’ childhoods. “Barbie” analyzes expectations for women, the patriarchy and the female experience as a whole. Throughout the film, Gerwig does a beautiful job of discussing the expectations that are placed on women by both society and themselves. 

The film quickly addresses that Barbie was never meant to be a role model for how women are supposed to look, she is a representation of everything a woman can be. The opening sequence discusses the fact that Barbie was the first non-baby doll for young girls. Barbie has the power to encourage girls to be anything they want to be —- the president, an astronaut, a chef, or anything in between.

The movie follows “Stereotypical Barbie”, played by Margot Robbie, as she goes on a journey of self-discovery and redefines her views of the world around her. After Stereotypical Barbie starts noticing horrifying changes to her normally perfect appearance, including flat feet and cellulite, she and Ken (Ryan Gosling) make their way to the real world to both save herself and discover her true purpose. 

On their journey through the real world, Barbie and Ken meet Gloria (America Ferrera) and Sasha (Ariana Greenblatt), a mother and her daughter who join them on their mission to save Barbie, and eventually all of Barbieland. 

One of the most memorable moments of the film is Gloria’s monologue, in which she addresses how truly impossible it feels to be a woman. She tells Barbie, “I’m just so tired of watching myself and every single other woman tie herself into knots so that people will like us.” Not only does society set impossible expectations for women, we also set impossible expectations for ourselves. 

Gloria’s speech is the first time many women have had these feelings put into words. Her monologue allows many women to feel truly seen in the struggles they face every day. 

While some argue that Gerwig’s film is “anti-men”, the film is truly a criticism of the detrimental effects of patriarchy and how it affects women everywhere. The film enacts a genius reversal of the roles that men and women are typically given in both film and the real world. 

In the beginning of the film, the Kens’ very existence depends upon the Barbies giving them attention. Just as women have been portrayed in film for so long, the Kens are shallow and generally don’t have a lot going on in their heads. 

When Ryan Gosling’s Ken visits the real world, he has his first experience with patriarchy, encountering a world where men run everything and women are often treated as “less than” and objectified.

Ken takes this information back to the other Kens, and while Barbie is still in the real world, he transforms Barbieland into Kendom, a patriarchal society based largely off of horses and beer. Ken transforms “Barbie’s Dreamhouse” into his “Mojo Dojo Casa House”, and he and the other Kens quickly move to take over the government and warp all the values of Barbieland.

There is a pointed difference in how Barbieland treats the Kens and how Kendom treats the Barbies. While the Barbies just let the Kens follow them around withholding invitations to girls’ night, the Kens put the Barbies into a patriarchal trance, making them wear maid costumes and forcing them to wait on the Kens hand and foot.

Once Barbieland is restored to its former state, the Barbies don’t flip the roles and force the Kens to serve them. Rather, Barbie apologizes for taking Ken for granted, pushing him to discover his own purpose apart from being in love with her.

Through its comic portrayal, with Ken eventually telling Barbie, “To be honest, when I found out the patriarchy wasn’t about horses, I lost interest anyway,” the film makes important points about how deeply harmful patriarchy is to women everywhere. Although Kendom feels exaggerated and includes a lot of comedic elements, it’s a very real criticism of how women are treated in the real world.

The Barbies are saved by powerful female friendships, and the film effectively snaps its audience out of the “patriarchy trance”, just like Gloria snaps the Barbies out of the trance the Kens placed upon them.  “Barbie” isn’t just a visually stunning movie about dolls. The film delivers a raw analysis of the female experience, helping women everywhere to feel seen in their daily struggle to simply exist. Through the film, Gerwig tells us that we are all Barbie, pushing women to see themselves as the powerful and independent beings we truly are.

This Post Has 2 Comments

Thank you for putting so many confusing thoughts for me into the written word. I was floored at the deep social commentary that I believed the movie exposed, rather than the fluff i had been told it was. Being a boomer, born in 1960, Barbie was a large part of my childhood and surely encouraged me to aim higher than my mother did, although she was very successful. God knows it is very hard to be a woman in a patriarchy and I did love Gloria’s monologue about the struggle of women.

This commentary perfectly clarifies my experience of watching Barbie—and never having had one instead opting for all forms of sports. ( Not to mention that I was probably too old to play with dolls when Barbie first appeared!). I would have liked to have been able to articulate so well what the film is telling us. Now I need to see it again.

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Home — Essay Samples — Entertainment — Barbie — Exploring Identity and Cultural Reflections in the Barbie Movie 2023

Exploring Identity and Cultural Reflections in The Barbie Movie 2023

• Categories: Barbie Film Analysis

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Words: 724 |

Published: Oct 25, 2023

Words: 724 | Pages: 2 | 4 min read

Table of contents

Introduction, gender, identity, and cultural shifts: a screenplay’s influence, challenges and triumphs: bringing barbie to life, beyond the screen: societal impact and cultural significance.

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How Barbie, The Movie, Embraces Empowerment

Barbie made records with the biggest opening of the year with its explosion of pink and a whole lot of fun. But perhaps most importantly, Barbie, the movie is going to place Barbie centre-stage in the world of female empowerment .

Written and directed by Greta Gerwig, renowned for putting women and their untold stories at the forefront of her movies, like Little Women and Lady Bird , Barbie has been reimagined from her once two- dimensional character into a fleshed-out real woman who enters the real world, played by Margot Robbie .  Even Barbie’s high arched feet, once designed permanently for high heels in plastic, get flattened out in the film.

The movie completes Barbie’s make-over, bringing her into current times as an inspiration for girls. It’s tagline “You can be anything,” is important, and marks the culmination of years in which Barbie’s image has been slowly transformed from vacuous blonde stereotype with an unrealistic body shape into a girl who inspires others to reach their full potential. The hope now is that a movie about Barbie makes her a real feminist icon.

A decade ago, Barbie was in trouble.  Mattel’s iconic white-skinned, blonde fashion doll was being left on shop shelves.  Her sales were in free-fall, largely because she had not evolved from the ideal of white beauty, favoured in 1959, the year that she was launched.  Consumer studies in 2015, had her pegged as vapid and shallow. There was also the issue of her body shape – a waist so impossibly tiny that critics said she encouraged anorexia in little girls, and if she had been expanded to human size, there would have been no room for her internal organs.

In attempts to see her evolve, she started to be sold in different skin tones, given curves to match a real woman’s, wheelchairs, hearing aids, and skin conditions. She was given more careers in typically male dominated worlds like science and engineering , and Mattel launched the Barbie Dream Gap Project in 2018, a global initiative to encourage girls to see themselves as smart and capable, equal to boys.

Tech began to play its part too.  Youtube video blogs from Barbie’s bedroom made her relevant as she tackled social issues.   There are now dozens of Barbie apps available, like Barbie Magical Fashion, Barbie Dreamhouse Adventures, the Barbie: You Can Be Anything game.

Greta Gerwig is one of very few women to have ever been nominated for best director.  As someone who personally knows the struggle women face competing in a male environment, taking on Barbie as a movie project could have been seen as an odd choice. Barbie’s tarnished image as an out-of-date stereotype has never quite disappeared, but Gerwig saw Barbie as an opportunity. 

Now she has made history as Barbie  scored a US$356m  (A$527m) opening weekend around the world, making it the biggest debut ever for a film directed by a woman. This week, the film has surpassed one billion dollar earnings at the box office.

In the movie, Barbie discovers that some women in the real world hate her and find her oppressive. In this way, Gerwig tackles the subject head on.  “It felt like we had to give the counter argument to Barbie and not give her short shrift, but give it real intellectual and emotional power,” says Gerwig. “Mattel was incredibly open to it. I said: ‘We have to explore it, because it’s a lie any other way’.”

Stand by to see Barbie win over her critics.

Barbie, the movie opens July 21.

You can read more stories by Lucy Broadbent here ! Lucy Broadbent is the author of What Would Ted Lasso Do?

Lucy Broadbent is the author of the award-winning 'What Would Ted Lasso Do? How Ted’s Positive Approach Can Help You', a motivational and fun self-help guide. Her most recent book is 'How To Be A Lioness.' Lucy is a journalist and travel writer, formerly travel editor for Hello! Magazine and contributor to The Carousel and Women Love Tech, The Los Angeles Times, The London Times, The Sunday Times, The Telegraph, The Daily Mail, Marie Claire (US, UK, Australian editions) You can buy a copy of her book on Amazon or her website here: https://www.lucybroadbent.net/

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America Ferrera's Glorious 'Barbie' Monologue Explained

Usually, monologues are frowned upon in movies. If they are included in a script, they often end up on the cutting room floor because screen time is just so precious. But the famous Barbie monologue ,  delivered by Gloria (America Ferrera) in Act 3, resonates so powerfully that audiences are both emotional and empowered!

While the monologue (from the screenplay written by Greta Gerwig and Noah Baumbach, with  input from Ferrera)  feels like the unexpressed voice of millions of women, it also pulls various elements of the story together in a coherent, strategic way: theme: check. Spine of the film: check. Empowering message: check. Rally cry for the protagonist: double check!!

Let’s take a look at the Barbie monologue and explore how a well-crafted monologue can drive the narrative forward and sharpen a story.

Read More: 10 Most Thought-Provoking Villain Monologues

Theme vs. Spine

Most of us know what theme is (that thing we had to write essays about in high school when we read books like  Catcher in the Rye ), it’s basically the underlying message or reason why the story is being told. Most movies have multiple themes and they are usually presented either as a statement to be disproved or a question to be answered.  

In  Barbie , some of the themes include self-acceptance, unrealistic expectations, idealized femininity, male vs. female roles in society, and consumerism to name a few. These themes are most clearly expressed when Barbie leaves Barbie Land, goes to the Real World, and heartbreakingly discovers that men rule society (unlike Barbie Land) and most girls shockingly abandon their Barbie dolls at a young age, making Barbie irrelevant to teen and adult women.   

'Barbie' (2023)

The spine of a screenplay, however, is the central narrative that drives the plot and the characters' actions. Think of the spine as the essential backbone that connects all the main events and actions of the characters as they explore and question the theme.  

The spine of  Barbie  is Barbie’s journey to the real world to solve the mystery of why she’s malfunctioning. Dolls aren’t supposed to think about death, so something must be really wrong with Barbie! She thinks that if she can solve that mystery, her fallen arches (and her happiness) will return to their normal state. What she’s not expecting is how difficult and confounding the journey will be – especially to an outsider like her. 

The Character Gloria 

Gloria is a major ally for Barbie when she gets to the Real World. Gloria serves as a tour guide, helping Barbie navigate this foreign land. Gloria not only works for Mattel (Barbie’s creator) and has that inside knowledge, but she’s also a single mom whose own daughter has given up on Barbie dolls, amplifying the rift between mother and daughter. If Gloria can solve Barbie’s problem (i.e.: Barbie’s malfunction), she can solve her own problem with her daughter (i.e.: their relationship malfunction). This makes Gloria’s character the spine of the film personified. 

Gloria’s Monologue

Gloria’s monologue not only hits at the heart of what modern women experience in society today, but it also serves as a battle cry for Barbie. Now in Act 3, Barbie feels defeated because she’s unable to discover the source of her malfunctioning – it’s her “All is lost” moment. She feels doomed to live the life of an unhappy plastic toy forever and never know the beauty and mystery of the human world. But Gloria’s monologue may offer Barbie a light at the end of the tunnel.  

Let’s Look At The Opening of the Monologue  

“It is literally impossible to be a woman. You are so beautiful and so smart, and it kills me that you don't think you're good enough. Like, we have to always be extraordinary, but somehow we're always doing it wrong.” 

Though this doesn’t provide a clear answer to Barbie’s issue of why she’s malfunctioning, it does help her to understand the unfair, prejudiced battle she is fighting. The expectations of real women are totally unrealistic, just like those of a Barbie doll. Finally, some common ground and a clear expression of one of the film’s main themes.

Gloria Goes on to Say:

“You have to be thin, but not too thin. And you can never say you want to be thin. You have to say you want to be healthy, but also you have to be thin. You have to have money, but you can't ask for money because that's crass. You have to be a boss, but you can't be mean. You have to lead, but you can't squash other people's ideas. You're supposed to love being a mother but don't talk about your kids all the damn time. You have to be a career woman but also always be looking out for other people. You have to answer for men's bad behavior, which is insane, but if you point that out, you're accused of complaining. You're supposed to stay pretty for men, but not so pretty that you tempt them too much or that you threaten other women because you're supposed to be a part of the sisterhood. But always stand out and always be grateful. But never forget that the system is rigged. So find a way to acknowledge that but also always be grateful. You have to never get old, never be rude, never show off, never be selfish, never fall down, never fail, never show fear, never get out of line.”

Gloria’s frustration and honesty about all the contradictions women face helps Barbie start to understand that women are expected to walk a tightrope between their real selves and who society thinks they should be. However, this is a tightrope where the walker is doomed to fall off! This is a clear expression of the spine of the film and Barbie’s journey. 

Gloria Continues: 

“It's too hard! It's too contradictory and nobody gives you a medal or says thank you! And it turns out in fact that not only are you doing everything wrong, but also everything is your fault.”  

Ding! That’s exactly what Barbie’s been feeling but didn’t know how to express it! She starts to feel inspired as Gloria sums it all up.   

“I'm just so tired of watching myself and every single other woman tie herself into knots so that people will like us. And if all of that is also true for a doll just representing women, then I don't even know.”

America Ferrera in 'Barbie' (2023)

This is the battle cry with the answer Barbie’s been searching for: stop worrying if other people like you because you cannot live up to other people’s expectations. You must accept your true self, flaws and all, despite all the twisted messages society sends you. This is easier said than done of course, but it’s the only way to get through human life. 

This truthful, heartfelt monologue causes Barbie to snap out of her gloomy state of mind to see the reality of the situation and discover the solution. They must find the courage to fight unrealistic expectations, stand up to patriarchy and commercialism , and live their authentic, flat-footed lives. 

Once the monologue is delivered, Barbie and Gloria can team up to help the other brainwashed Barbies escape the male-dominated world Ken has brought to Barbie Land and discover their own authentic selves. 

How To Use Monologues in Your Script

This monologue is a tool that allows the main characters (Barbie and Gloria) to find a resolution to their big problems and arc or change. As a screenwriter, determine which character represents the spine of your film and experiment with giving them a third-act monologue. Ask yourself: how does the monologue affect my protagonist? How does it change their trajectory? How does it clear the path to victory? 

Monologues don’t have to be put in the third act, they can occur anywhere in the screenplay, but they usually come at an emotional turning point before a plot turning point. The monologue should clarify a character’s feelings to the audience and set in motion the character’s next moves. 

Read More: How to Write Memorable and Compelling Monologues

Bottom Line

You may not have room in your screenplay for such a lengthy speech in your script, but just the act of writing the monologue may clarify and focus the story in your own head. 

Read More: Barbenheimer: Why Are Barbie and Oppenheimer Battling at the Box Office?

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An Analysis of the New Barbie Movie: Reimagining Childhood Iconography and Its Impact

Type of paper: Essay

Words: 1340

Published: 08/09/2023

ORDER PAPER LIKE THIS

In the realm of iconic cultural figures, few names hold as much recognition and influence as Barbie. For decades, this plastic fashionista has played a crucial role in shaping the imagination and aspirations of generations of young girls. In 2023, the release of the “Barbie” movie aimed to breathe new life into the character, presenting her in a contemporary cinematic light. While dismissing the “Barbie” movie as mere entertainment might be tempting, a closer examination reveals a tapestry of themes, characters, and artistic choices that have implications beyond the surface. This essay delves into the intricate layers of the movie, examining its narrative, target audience, cast, and specific characters, particularly Barbie and Ken. This analysis will unearth this record-breaking movie’s significance in modernizing an age-old character while pondering its implications for the broader cultural landscape.

What Is the Barbie Movie About?

The long-anticipated “Barbie” movie was advertised to the public at the end of 2022 when its trailer was presented before several screenings of “Avatar: The Way of Water.” The film itself ventures beyond the realm of a typical childhood tale, offering a captivating narrative that combines elements of adventure, self-discovery, and empowerment. Set in the fictional realm of “Barbieland,” the story follows Barbie, a fashion-conscious young woman who is magically transported to a world where her choices shape her destiny. Barbie embarks on a journey of introspection, transcending her reputation as a mere fashion icon. As the seemingly straightforward narrative unfolds, the audience witnesses Barbie navigating diverse challenges, each demanding her to tap into hidden strengths and adaptability. Her evolution from a fashionable toy to a multidimensional character mirrors society’s ongoing quest for broader, more nuanced representations in popular culture.

Barbie Movie Cast

The “Barbie” movie, directed by Greta Gerwig, boasts a diverse and talented cast, showcasing the entertainment industry’s push toward inclusivity and representation. The casting choices encompass a spectrum of ethnicities, backgrounds, and experiences, fostering a sense of authenticity in the characters’ interactions and personalities. For instance, while the main character is played by Margot Robbi, many other Barbies are non-white or characteristically slim. This intentional casting aligns with the modern emphasis on reflecting the real world within the realm of entertainment. At the same time, the cast features such famous figures as Dua Lipa and John Cena. The cast members’ performances breathe life into the characters, granting them depth and relatability that extends beyond their toy origins.

Is the Barbie Movie for Kids?

While the “Barbie” movie undoubtedly retains its appeal to its traditional young audience, it skillfully caters to a broader demographic. Through intricate storytelling and thoughtful character development, the film invites both children and adults to embark on an engaging, emotional journey. Subtle humor and sophisticated references sprinkle the narrative, providing a layer of enjoyment tailored to a mature audience. This shift indicates a broader trend in the entertainment industry, where creators recognize the value of creating content that resonates with different age groups, promoting shared experiences within families, and fostering cross-generational dialogue.

The Image of Barbie

Barbie’s visual representation in the movie encapsulates a contemporary aesthetic that aligns with the evolving beauty standards of today’s world. The main character’s physical attributes remain aspirational, yet the film consciously tones down the exaggerated proportions that were a hallmark of her earlier incarnations. Along with it, the movie presents Barbies of various races, ages, and body types. This adjustment speaks to the ongoing discourse surrounding body positivity and promoting healthier beauty ideals. By presenting a more realistic image of Barbie, the movie reshapes perceptions of beauty and promotes a healthier body image for young viewers.

Beyond physical appearances, the movie crafts Barbie’s image as a symbol of empowerment and determination. Her journey from a fashion-forward icon to a multidimensional character underscores the idea that women can be both stylish and strong. Barbie’s evolution into a capable problem-solver and leader reflects a larger societal shift in recognizing women’s multifaceted capabilities and challenging stereotypes that often limit their potential.

In a striking visual transformation, Barbie is depicted engaging in physically demanding activities and showcasing her prowess in ways that defy traditional gender roles. Her image as a fearless explorer, scientist, or inventor amplifies her role as a source of inspiration for young girls aspiring to careers in science, technology, engineering, and mathematics. This image underscores the importance of providing diverse role models in media to break down barriers and encourage girls to explore fields historically dominated by men.

The Image of Ken in Barbie Movie

Ken, played by Ryan Gosling, is the quintessential male counterpart to Barbie. His character experiences a noteworthy transformation in the 2023 movie. No longer confined to a secondary or supportive role (as seen in his song “I’m Just Ken”), this character evolves into a complex character with his motivations, aspirations, and character arc. Far from being a mere accessory to Barbie, Ken is presented as an equal partner who values collaboration and teamwork. His character subverts stereotypes, sending a positive message about healthy relationships and the importance of mutual respect. This development reflects shifting gender dynamics and the industry’s recognition of the importance of portraying well-rounded male characters. The exploration of Ken’s emotions and growth not only contributes to the movie’s narrative depth but also challenges traditional notions of masculinity, inspiring conversations about gender roles and expectations.

Socio-Cultural Implications of the Barbie Movie

Beyond the silver screen, the 2023 “Barbie” movie carries significant socio-cultural implications. Its deliberate efforts to modernize a cultural icon serve as a commentary on society’s evolving values and expectations. The film becomes a lens through which viewers can contemplate the changing perceptions of femininity, beauty standards, and gender roles. As Barbie navigates challenges and growth, her journey becomes a metaphor for the ongoing journey towards empowerment and self-discovery, transcending generations and cultures.

Remarkably, despite record-breaking box office and high viewer rating, the “Barbie” movie has sparked discussions and controversies that highlight its broader cultural impact. While celebrated for its positive messages, the film has also faced criticism for perpetuating unrealistic beauty standards. This duality encapsulates the multifaceted nature of Barbie’s influence, forcing us to confront the complexities of media representation and its implications for young minds. Moreover, the “Barbie” movie has paved the way for merchandise, spin-offs, and a larger franchise that extends beyond cinema, cementing Barbie’s status as a cultural icon and sparking conversations about consumerism, branding, and marketing to children.

Nostalgia and Reinvention

The “Barbie” movie’s juxtaposition of nostalgia and reinvention highlights its unique position as both a homage to its origins and a step toward the future. By preserving the core essence of the character while also injecting contemporary themes, the film bridges the gap between generations. It invites the older audience to reconnect with their childhood memories while introducing the character to a new wave of admirers. This interplay between the past and the present showcases the enduring power of cultural icons to adapt and resonate across time.

The 2023 “Barbie” movie is a testament to the dynamic nature of cultural symbols. Through its engaging narrative, diverse cast, and reimagined characters, the film transcends its plastic origins, shaping a new narrative that resonates with modern sensibilities. It reflects the entertainment industry’s commitment to inclusivity, challenges traditional gender roles, and navigates the delicate balance between nostalgia and innovation. As a piece of cinematic artistry, the movie exemplifies the potential of cultural reimagining to create relevant and thought-provoking content for both new and established audiences. In a world of constant change, the “Barbie” movie asserts that even the most iconic figures can evolve, inspiring fresh interpretations and new dialogues across generations.

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We’re living in Barbie’s world. So what does Black Barbie mean?

A new documentary on Netflix examines a doll that’s become so much more.

On the way home from the splash pad recently, my daughters — 4 and 7 — ran damp and carefree down the sidewalk, beach towels draped over their heads and dripping down their backs. “How do you like my ha-air ,” they sang, stroking the long terry cloth as if it belonged to Rapunzel.

If these were different children and I a different mom, the scene would have been sweet. What little girl doesn’t want Disney princess locks? But my babies are Black, and their hair does twisty acrobatics when it’s wet. Their beauty is not the standard in this country. So it’s up to me to make sure they find joy in their own reflection.

Imbuing your children with main character energy is tough. But it is especially daunting when society does its best to relegate them to the wings. So I have mini-lectures on the magic of their coily hair at the ready. We stream “ Ada Twist, Scientist ” nonstop in this house. My girls think Misty Copeland basically invented ballet. And our Barbies? Every single one has skin and hair like ours. The significance of that is covered by a Barbie movie of its own: “Black Barbie,” a documentary that premiered on Netflix this week.

The film was written and directed by Lagueria Davis, whose aunt Beulah Mae Mitchell worked at Mattel, first in the factory and then for decades as a receptionist. The executive producer is famed showrunner Shonda Rhimes, who has three Black daughters of her own and two Black Barbies in her image. Their documentary unpacks Black Barbie’s relationship to the original iconic doll and Black children’s relationship to both toys.

“I don’t think they were dolls,” Rhimes says in the film. “They were representations of what I wanted to be.” In a way, she made her own Black Barbie. If Olivia Pope, Kerry Washington’s character in “Scandal,” wasn’t the epitome of Barbie, Rhimes doesn’t know what is.

The first Barbie dolls came out in 1959. In the ensuing years, Mattel did make several dolls with Black skin. There was Francie in 1967, Christie in 1968 and Julia in 1969. They interacted with Barbie, but they weren’t her. They were the “friends of.” The also-rans.

Black Barbie hit toy store shelves in 1980 — the same year I was born. She was the brainchild of Kitty Black Perkins, Mattel’s first Black designer. Inspired by Diana Ross, Black Barbie’s outfit was a sleek red “disco skirt” with a slit up one side. Her hair was short and curly because Black Perkins had a short 'do at the time. The pink box she came in practically shouted her arrival: “She’s black! She’s beautiful! She’s dynamite!” By naming her Barbie, Mattel made her the center of attention.

“When I designed this doll, there was a need for the little Black girl to have something she could play with that looked like her,” explains Black Perkins, who recruited and mentored other Black talent at Mattel before retiring in 2003 as chief Barbie designer. “I wanted her to reflect the total look of a Black woman.”

But while she was an official Barbie, Black Barbie still had a qualifier — a name with two words, not one. The distinction — Black Barbie — was at once revolutionary and reductive. The documentary spends a considerable amount of time wrestling with that tension. Who gets to claim full Barbie-hood? Will the Black Barbies always be second-class citizens with the same name? And does it matter? Because in the end, we’re talking about dolls here. But are we really?

“Black Barbie” feels most impactful when it lets the children answer those questions. We adults complicate things. We heap all the hurt and hero-play of our own childhoods on Barbie’s tiny shoulders. Kids see things through clearer microscopes. And they also tell it like it is.

Inspired by the “doll test” carried out in the 1940s by psychologists Kenneth and Mamie Clark to measure the impact of segregation on Black children, the documentarians assembled groups of children to play with Barbies of all kinds.

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When asked who’s the prettiest one, a young girl picks out Brooklyn, a Black Barbie with long braids, “because she has Black skin like all of us.” A little boy in a different group immediately chooses the blond Barbie “because of her dress.” When asked about race and racism, the kids are either blissfully ignorant or eerily tuned in. One girl says that when she hears the word “race,” she thinks of actual running, but she also knows what a Karen is. Another boy explains police brutality.

“I’m a teeny tiny bit sad that kids just can’t be kids,” says actress Gabourey Sidibe (now the mom of twins) in the documentary. She’s right. This is what it’s like being a Black mother to Black children. So many of us want to parent carefree children who live without the gravity of racism. But parenting also means preparing, arming our children with the tools needed to survive in a world that doesn’t center them. Weighing one against the other is a battle as constant as bedtime.

The movie’s most eye-opening moment is the children’s response to a simple yet loaded question: Who’s the real Barbie? Every single child points to the White Barbie. More than 40 years after Black Barbie’s debut , the kids still know who everyone’s rooting for. They might not be able to spell “hierarchy” yet but, oh, do they understand it.

It was chilling. So much so that I called my older daughter into the room to interrogate her, gently. Would she like a White Barbie? And if so, why?

“Because I’ve never had a White Barbie in my life because you never buy them!” she said, scandalized and fascinated. The dolls were cute and flexible, she added. Plus her friend had brought a White Barbie to the splash pad. “So now I want one,” she explained matter-of-factly.

Fair enough. She’s still not getting one, though.

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‘Black Barbie: A Documentary’ Review: Becoming the Main Character

A new Netflix documentary explores what led to the release of Black Barbie in 1980, both celebrating her existence and recognizing her limitations.

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By Concepción de León

For more than four decades, Lagueria Davis’s aunt, Beulah Mae Mitchell, worked at Mattel. Davis, the director of the new Netflix documentary “Black Barbie,” was not a fan of dolls, but was drawn to the subject by her aunt, who is a devoted collector.

On the surface, the documentary is about what led to the 1980 release of Black Barbie, but the issues it explores run much deeper: the harm of lacking a “social mirror,” the slow pace of progress and the tensions around darkening a white fictional character.

There were already Black dolls in the Barbie universe before Black Barbie, but all were ancillary — friends of Barbie’s. The Black version of Barbie, created by the company’s first Black designer, Kitty Black Perkins, was meant to be a main character.

What is most interesting about the documentary is the question of whether Black Barbie ever managed to escape her predecessors’ marginalization, as white Barbie remains the standard. Does society need Black versions of white cultural products or new products in which Blackness is centered?

Featuring a wide range of Mattel employees, academics, cultural commentators and women who have had Barbies made in their image, such as the Shondaland founder Shonda Rhimes, the ballerina Misty Copeland and the fencer Ibtihaj Muhammad, Davis complicates our understanding of Black Barbie, both celebrating her existence and recognizing her limitations.

“Black Barbie” looks at a Black toy company that produced multiracial dolls and a line within Mattel that was focused on stand-alone Black characters, created by Stacey McBride-Irby, a protégée of Perkins. Staying with these scenes a little longer, exploring what worked and did not, would have expanded the conversations taking place in the film and the dissonance inherent in trying to make a white doll Black.

Black Barbie: A Documentary Not rated. Running time: 1 hour 40 minutes. Watch on Netflix.

Concepción de León is a writer and book editor based in New York. More about Concepción de León