In a new Weekend Essay, lsjamison writes about the paradox of Barbie, whose power rises from her ability to make you love her and hate her at once.
My childhood Barbies were always in trouble. I was constantly giving them diagnoses of rare diseases, performing risky surgeries to cure them, or else kidnapping them—jamming them into the deepest reaches of my closet, without plastic food or plastic water, so they could be saved again, returned to their plastic doll-cakes and their slightly-too-small wooden home. My abusive behavior was nothing special.
Gerwig’s “Barbie” certainly knows that little girls—or, at least, a certain kind of little girl—likes to ruin her Barbies: deface them, torture them, dismember them. One of the film’s pivotal characters is Weird Barbie, played by Kate McKinnon, a Barbieland misfit who has turned strange because “someone played with her too hard in the real world.
Indeed, it turns out that even Barbie’s existential crisis is—quite literally—a call coming from inside the corporate house; specifically, from a high-level executive assistant named Gloria who works on the top floor of the Mattel headquarters. Gloria is a lifelong Barbie devotee, but mother to a teen, Sasha , who has emphatically outgrown hers. Gloria has been secretly drawing rogue Barbie models at her desk: Crippling Shame Barbie, Cellulite Barbie, and Irrepressible Thoughts of Death Barbie.
At one point, we watch Karen’s brother Richard berating her with his scolding concern: “All you ever eat is salad and iced tea!” His worries are less altruistic than instrumental: “Your fans are worried.
The story of Barbie has always been a story about mothers and daughters. The very first Barbie—created by a businesswoman named Ruth Handler, the first president of Mattel—was named after her own daughter, Barbara. She first came into the world on March 9, 1959, wearing a black-and-white-striped bathing suit, with red lips and a high blond ponytail.
The psychologist D. W.
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