The Kenworld Frat Party is pretty cringe, but the Kens are incredibly easy to manipulate. A sullen teenager lectures Barbie on how much everything sucks for a couple minutes, then we return to hijinks. So much fun, in fact, that the only way we can tell anything might be bad is because characters are forced to say that it is. The people are mostly friendly and fulfilled. The parts of it that we are presented with in the movie are sunny and clean. The real world in general is pretty great. She may actually be literally invincible in the real world? Ken is denied any sort of male privilege, and the idea that he could get around even the simplest job requirement just because there is a “Patriarchy” is riotously mocked. Barbie is never scared or in danger, the world contorts itself to keep her safe. The obligatory harassment that women must be subjected to in woke movies is a joke (literally). The Patriarchy that Barbie encounters? Actually pretty decent. )īarbie has this same “problem.” And by “problem” I mean “opportunity,” because that’s where it slips in the subversion. Because the camera controls how the audience interacts with the story. But the camera treats her as an empty sex object, and that’s all anyone gets from her when they watch the movie. In the written narrative of the script, she’s a complex plot-critical character. She is a master mechanic, having grown up around cars and taught to fix them from childhood by her father. As written, her character has significantly more connection to the Transformers than Shaia’s character. This was expanded on in Lindsey Ellis’s video essay on Megan Fox’s character in Transformers. It’s a common problem in video games, which sometimes want to tell complex stories, but whose core gameplay loop still centers on the good ol’ “kill tons of dudes” paradigm.Ĭinemanarrative Dissonance was coined in that video essay, which used the example of Transformers. I first heard of it here, presented by Dan Olson in this now-famous video essay. Ludonarrative dissonance is the conflict between a video game's narrative told through the story and the narrative told through the gameplay. Barbie un-brainwashes the other Barbies, and as a group they trick the Kens into fighting each other while they regain control of Barbieland. They escape back to Barbieworld, which has been turned into a 24/7 frat party by Ken. Barbie escapes Mattel with the help of the woman that was playing with her and has been having a crisis-of-meaning. Ken discovers The Patriarchy and returns to Barbieland. In the Real World she discovers men hold many positions of power and is yelled at by a teenager, before being taken to Mattel HQ. Barbie Refuses The Call, but is forced to go anyway, and Ken comes along. She visits a mentor who tells her to travel to the Real World to comfort the angsty child playing with her. What is the plot of the Barbie part of the movie?īarbie’s perfect world develops imperfections (burnt waffle, flat feet) and Barbie starts to have uncomfortable feelings about death.
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