Critiques The Patriarchy Barbie #2023 Wants You To Know That You Have Value Just As You
Feminist Critique in Greta Gerwig’s Barbie Movie (2023)
Tags: #Barbie #BarbieMovie #FeministFilm #Films #GretaGerwig #Patriarchy #RoleModels
The feminist movie of the summer has dropped, and of course, here at Daughters & Dead Press, we headed into the cinema to watch it… several times actually. It’d be pretty hard to miss all the hype around the Barbie movie; it’s been creating waves and strong feelings since its release on July 21 and has already made history by being “the biggest debut ever for a film directed by a woman” (The Guardian 2023). There will be spoilers ahead, but we know you’ve already seen it.
The central topic swirling around the Barbie movie is the ‘woke feminist agenda’ it’s ‘pushing onto our young children’. The director, Greta Gerwig, and lead actor, Margot Robbie, have both commented on the movie’s feminist message - Barbie is discussion, a look at what women are and what they can be while commenting on the constraints society puts on them (see ABC News 2023). The Barbie movie is certainly not the first popular culture product that brought feminist topics to a wider audience in an accessible way. For example, Little Women (1994, which of course originates as an 1868 novel and got a Greta Gerwig version in 2019) centers on gender stereotyping, women’s struggles, and personal growth. Persepolis (2007, which was originally published as two graphic novels in 2000 and 2004) is a memoir about the role of women’s education in resisting governmental oppression of women’s identities. Hidden Figures (2016) highlights the racist and sexist discrimination of women in STEM professions. Each movie tackles an aspect of feminism, but they all remark on the inequality between women and men. The Barbie movie also critiques differences between the genders with its own unique spin.
In Barbieland, the Roles Are Reversed?
Barbieland is portrayed as a world where Barbies hold all the positions of power, president, supreme court justices, doctors, journalists, Nobel prize winners, while Kens are simply sent off to do Beach. Allan, Ken’s buddy, doesn’t even get Beach, but all of Ken’s clothes fit him. Even jobs that would not traditionally be considered as positions of power, such as mailpersons or background dancers, are held by Barbies. Barbies hold all economic capital as well (Bourdieu 1986), owning properties and cars while it is not exactly clear where Kens go at the end of the day. Kens just get Beach; they are not even lifeguards or mermaids, they can’t even swim. Barbies make all the decisions around Barbieland and they don’t consult with Kens. But everyday is a perfect day in Barbieland. Kens’ days are perfect, when Barbies acknowledge and look at them.
This is supposedly the patriarchy-in-reverse. It may seem like this at a first glance. However, calling it an inverted version of the male-dominated real world would be reductionist.
As opposed to the actual patriarchy, Kens are never treated unkindly nor are they met with violence in Barbieland. Barbies are generally very compassionate towards Kens. Despite not knowing where the Kens sleep, the worst ‘crimes’ against Kens are that Barbies are passively benevolent towards them. If the roles were truly reversed, Barbies would show at least some hatred towards Kens. But, Stereotypical Barbie doesn't hate Beach Ken, she just doesn't love him.
In contrast, when the patriarchal system infiltrates Barbieland and the Kens take over, Barbies are forced into servitude and their dream houses and cars are non-consensually relinquished. Barbies are brainwashed to serve Brewskis to Kens, show them their undivided attention, and (with Allan) massage their feet. Originally, Barbies took ownership of their accomplishments. When Kendom starts, the Kens’ version of Barbieland, Barbies start questioning their abilities and attribute their success to Kens. Moreover, Beach Ken just watches Stereotypical Barbie suffer and question her worth for the perceived injustice of his unrequited love.
Even so, with the Kendom, we get patriarchy-lite. The Kens are insecure due to the general indifference of the Barbies but they are mostly using patriarchy in a search for attention. While their taste in music is questionable, they do not enact the lyrics of Matchbox 20’s Push. Though it is hard to say that their brainwashing of Barbies is well meaning, they are reacting as ‘victims’ of the apathy they were shown previously.
A Patriarchal Barbieland?
Barbieland is by no means the utopia for women it frames itself as. With a closer look you will see that many patriarchal structures of the real world have been part of Barbieland even well before the Kendom coup. Barbies, while now diverse in body shapes and sizes, hold high beauty standards and adhere to body perfectionism: having flawless skin, great outfits, and high heel shoes. If they are not perfect, they become a Weird Barbie and nobody wants to be Weird Barbie. Weird Barbie is the outcast of Barbieland and not fully accepted by anyone.
Barbies are also defined by their role in society. Though in Barbieland, this takes the form of Doctor Barbie and President Barbie, their worth is tied to their position of power. They are not simply Barbie who happens to be a doctor but also likes to play jazz or garden or cook or play football. It is a movie about Barbies, but the depth of character for most Barbies is restricted.
While Barbies regain their ability to own their achievements, Stereotypical Barbie is still saddled with the responsibility to help Beach Ken overcome his insecurities and become his emotional support after returning Kendom to Barbieland. Stereotypical Barbie apologizes for taking Beach Ken for granted. Beach Ken, however, simply states that he was more interested in the horses and that doing the patriarchy was difficult; he never apologizes for taking over her house or making the Barbies serve the Kens – nor does he take accountability. Moreso, while Stereotypical Barbie and Beach Ken are discussing their relationship, Barbie sets a boundary with Ken, telling him that they are only friends. A few minutes later, Ken takes an act of kindness as love and romanticizes the situation, attempting to kiss Barbie. The lack of respect is indicative of the way in which particularly men tend to not take no for an answer.
Above all, which Barbie is created is the decision of men. The CEO, CFO, and other positions of power at Mattel Headquarters are held by men. The CEO signs off new Barbie models based on whether they will make profit. The men in power decide which Barbie gets discontinued and which Barbie will make it into the store - and thus into Barbieland. When Gloria proposes a Normal Barbie, the CEO is initially shutting her idea down until another man confirms that she would be a success (side eye to Mattel: so, when can we expect to find Normal Barbie on the shelves?). As a result, the Barbies in Barbieland are, at least to some extent, represented through the male gaze. Barbieland, therefore, is not free from the patriarchy but neatly interwoven into it. Or, to quote that one businessman: “We’re doing [patriarchy] well. We just hide it better”. And that is also true for Barbieland.
You Have Value Just As You Are
Barbie’s ‘woke agenda’ seems to be that people have value, without overreaching, without exhausting themselves; you are worthy as you are (Gerwig 2023). There are more subtle themes of acceptance, like Gloria and Sasha repairing their mother-daughter bond. But this is glaringly obvious in Gloria’s beautifully delivered monologue to Stereotypical Barbie, which is echoed in Stereotypical Barbie journeying forth into the real world – she has value, just as she is. In fact, all of Barbieland improves upon this point, with President Barbie apologizing and accepting Weird Barbie into her cabinet and giving Kens a role in the judicial system.
In the end, Stereotypical Barbie is faced with the dilemma of no longer knowing who she truly is and who she wants to be. No longer does she feel defined by her stereotypical self and the impossible standards that came with it. She doesn’t have to be extraordinary. Barbie is, instead and for perhaps the first time, given the choice to leave Barbieland behind and live as a regular human instead. And that’s okay. Barbie has value just as she is.
The Barbie movie could, of course, have done a better job addressing other systems of oppression such as racism or classism. We also would have appreciated to see how the real world could have been made better for real women and girls instead of just resolving the issues in Barbieland. As such, the Barbie movie was by no means perfect but it didn’t have to be. How could any single film about and with women meet the impossible standard put upon them? To quote Gloria, ‘it’s too hard, it’s too contradictory’. Instead, let’s say thanks to what message the Barbie movie has given us.
Note: no, we will not be watching Oppenheimer; it doesn’t even pass the Bechdel Test.
Sources
ABC News (2023). Greta Gerwig and Margot Robbie discuss Barbie's surprising feminism. 12 July, https://www.youtube.com/watch?v=GuWr-v3TOO8
Bourdieu, P. (1986). The forms of capital. In Richardson, J. (ed) Handbook of Theory and Research for the Sociology of Education. New York: Greenwood
Gerwig, G. via Fandango (2023). Whether you love Barbie, or you hate Barbie, we promise #BarbieTheMovie is perfect for you. 24 July https://vm.tiktok.com/ZGJbeTW1s/
The Guardian (2023). Greta Gerwig makes history as Barbie has biggest opening weekend for film directed by a woman. 24 July,
Image Credit
Barbie Movie (2023a). Meet our Barbies and Kens #BarbieTheMovie. 4 April, https://twitter.com/barbiethemovie/status/1643236949841547264?s=20
Barbie Movie (2023b). And, meet the Humans. #BarbieTheMovie. 4 April, https://twitter.com/barbiethemovie/status/1643240050728267780?s=20