Chapter 1: The Marketing Engine Behind the Barbie Movie

What more can be said about the Barbie Movie that hasn’t already been discussed? Released amidst a chaotic backdrop, the film has sparked a myriad of geopolitical and socio-economic analyses. The contrast between Barbie and the more somber Oppenheimer, which premiered on the same day, has prompted conversations about realism versus escapism. Interestingly, AMC reported that over 20,000 viewers opted for a double feature of both films.

Furthermore, the film's release was impacted by international tensions, such as the Chinese 9-dash line controversy, which led to Vietnam banning the film while the Philippines requested alterations to its content. Amidst Hollywood's struggles with dwindling ticket sales and significant labor strikes, one wonders if Barbie should address pressing issues like artificial intelligence, economic disparity, and sex trafficking. Perhaps these topics are better left unexamined.

My views on these matters are limited, apart from the obvious stance against unethical practices. However, I do have concerns regarding the framing of the film as anything beyond a strategic marketing initiative. By doing so, it attempts to distance itself from the brand's historical missteps.

In a recent interview with the New York Times, director Greta Gerwig expressed sentiments that reveal a perplexing misunderstanding of the current landscape.

"If there is a kind of earnestness that once would have precluded a director from 'selling out,' it is the same earnestness that now precludes them from thinking about that notion at all. [...] The movie is a celebration of Barbie and a subterranean apologia for Barbie. It is a giant corporate undertaking and a strange, funny personal project. It is a jubilant, mercilessly effective polymer-and-pink extravaganza whose guiding star turns out to be Gerwig's own sincerity. 'Things can be both/and,' she said. 'I'm doing the thing and subverting the thing.'"

This statement raises eyebrows. It’s clear that Gerwig is aligning herself with a commercial venture. There's no shame in that; she is an accomplished director aiming to elevate her career.

Nevertheless, we cannot ignore that the primary aim of a Mattel™ Licensed and Approved Barbie® Movie is to drive Barbie doll sales. When Gerwig claims, "I'm doing the thing," she is indeed engaging in marketing, which is inherently straightforward.

"Subverting the Thing," by definition, would imply creating a film that renders Barbies unattractive to consumers, given that the "thing" is a toy designed to generate profit for Mattel shareholders. Anything else remains "Doing the Thing": marketing a product with a refreshed, empowered narrative to appeal to parents who have lost interest in the doll. In reality, true subversion would resemble the original marketing approach from decades ago, which often embraced outdated notions of sexism. Few would be inclined to purchase a Barbie under those circumstances.

Willa Paskin, who penned the excerpt mentioned above, captures the essence perfectly but stops short of linking it directly: the film "speaks directly to women, mothers in particular, about the impossibility of perfection..." But why? "...so we can feel great about purchasing perfect Barbies for our children."

It shouldn’t come as a shock that the Barbie movie is well-crafted. Its quality is essential; otherwise, it wouldn't function effectively as marketing. Barbie capitalizes on both the uplifting narrative of embracing natural flaws and the tools to eliminate them.

This brings us to a significant issue regarding discussions surrounding the Barbie Movie: it is still the same corporation that once sold dolls alongside a book titled "How to Lose Weight." The same entity that made toys proclaim "Math is tough." And this is before we even touch on the pervasive "glammed-up, male-gaze ready, hot-to-trot, blond, thin, high-heeled woman" tropes. One cannot challenge the politics of Barbie while simultaneously upholding Barbie's beauty standards. Ironically, the day after the film's trailer was released, Google searches for blonde hair dye surged threefold.

Similar to how corporations embraced Pride Month only after a majority acknowledged that gay rights are human rights, the feminist movement is now being co-opted by businesses. Should it cease to be profitable to promote empowerment, directors like Gerwig will pivot towards endorsing "Family Values" without hesitation. And they will assert, "Things can be both/and. I'm doing the thing and subverting the thing."

Barbie is an entertaining film. It's enjoyable. Just don't be deceived into believing it's anything more than a well-crafted advertisement. The Barbie® Movie exists to sell Barbies.

Chapter 2: Video Insights

The first video titled "The Rarest Barbie Movie Dolls That I Would Sell My Soul For" explores the most coveted Barbie dolls from the film, revealing the allure and nostalgia associated with these collectibles.

The second video, "EVERY Doll Reference In The Barbie Movie!" dives into the various doll references featured throughout the film, showcasing how these nods contribute to the overall narrative and fan experience.