on the barbie movie

after barbie, i unearthed by skincare products for the first time in a week. a freshly-opened doll, the weight of the movie hasn’t fully set in, but the impression it’s left on me is palpable and pink. a flick about perfection that strives for perfection. in the same vein, each major character contrasts their self-image with reality, becoming imperfect and fulfilled versions of themselves. barbie’s character arc focuses on unearthing the roots of her idealized worldview, and learning to water the flowers that must blossom within her. she represents, at once, the constraints that frilly pink gender roles impose on women, and the freedom that embracing femininity as central to the female experience in a male-dominated society can produce. it’s no coincidence that mattel makes a parody of itself in a movie co-produced by it, attempting at once to humanize its executive board and appear approachable in all its corporate glory, and promote its product on film.

where does gender end and we begin? how far can the hurdles of womanhood in modern-day society be ignored and to what extent do they serve as an excuse and explanation for the way women are? incidentally, barbie confronts and critiques both the male and female gaze. the desire for men to be submissive and non-confrontational instead of active and complacent participants in feminist thought and movements, as represented in ken’s over-the-top tween antics, is simultaneously a symbol of the imagined threat that feminism poses to men, and the process by which men grow to be blind to gender. the lilting theme of innocence flows like a brilliant plastic river through the beating heart of this movie, irradiating midlife hearts with pink. for barbie, crossing the threshold between her utopian fantasy world and the harsh dystopian biosphere of los angeles, california captures a young girl’s loss of innocence when paralleling the perfection encapsulated by barbie, against her own reality. in this reality, cellulite is the bane of all evil and horses serve on the supreme court. in a sense, then, barbie is exposed to that same injustice and fear that girls start to see in the world when they stop playing with her. ken’s character arc also mirrors barbie: rebelling against powerlessness only to find discomfort in your newfound power. upon returning to barbie land, he decides to import the patriarchy à la bubonic plague to every ken in town. the vindictive nature of rebellion rears its ugly head here, as barbian society spins on its head to become the antithesis of its former self. in the end, the middle ground found at the end of the movie, in which barbie and ken learn to coexist as equals while aware of their power differences and history, is perhaps as optimistic as it is vague.

but a movie about the most perfect barbie knows better than to write the most perfect ending. its focus is locked steadily on the transformative power of words and change. the act of voicing feelings and frustrations, however taboo or disturbing, carries a weight that can rattle hegemony. is that not what being a woman is all about? the presence of discomfort in this movie is intentional and strong - casual references to genitals and gender bending corporate executives. it all glows from the same thematic sun - that nothing is perfect without blindness. initially, barbie’s dream world seems like the place to be, until the unexpected appearance of the ostracized acid punk witch lady brings the towers down. not even barbie land, with its empty plastic glasses and priceless plastic healthcare system, is complete without suffering at the expense of others. curiously, this reality could represent both the illusions of young, pre-pubescent girlhood and the world we are encouraged to return to as adults and take inspiration from. it’s no surprise that the ideal woman is then child-like, defenseless and vain. if reality for women really is complex, then this world must be abandoned and surrendered to the ruins of time, left only as a nostalgic memory.