Article
Creed
Feminism
5 min read

The good, the bad and the Barbie

At the Barbie movie, Lauren Windle fraternises with her childhood enemy, and leaves pondering change and imperfection.

Lauren Windle is an author, journalist, presenter and public speaker.

Barbie stands between Ken and a rival with her hands raised.
Peacekeeper Barbie.
Warner Bros.

Barbie and I always had an unspoken understanding that our relationship would be mutually destructive. She made me feel inadequate; I was too short without a synched-in waist and pneumatic boobs. And I chewed her off her toes. One all. 

I have spent the better part of two decades not thinking about my adversary, until once again she reared her (not at all) ugly head. I always celebrate on July 21. It is, after all, my birthday. But this year, the date was eagerly anticipated by millions and not because they share my love of Colin the Caterpillar cake. Last Friday was ‘Barbie Day' and it was all anyone could talk about. 2 – 1 to Barbie. 

If you missed the news that there’s a Barbie movie now in the cinemas, clamber out from underneath that rock and let me tell you about it. The film, starring Margot Robbie and Ryan Gosling, caused quite a stir with, what I can only assume is, the biggest marketing budget since Nike release Air Jordans. Both Warner Bros and Barbie’s parent company Mattel have thrown money at making sure we all know about their candy-coated flick. The campaign has been so effective that production sparked a global shortage of fluorescent pink paint. 

The box office is now raking in cash as people flock to see the fuchsia film. When I attended a morning viewing this weekend, I was one of the few people who hadn’t come dressed head to toe in pink. Not a chance Barbie. 

On taking my end-of-row seat (to facilitate a quick getaway) I settled in for one hour and 54 minutes of fraternising with the enemy. I’ll level with you, Barbie had made some effort to change. The vibrant colours (mainly in a rosy hue) were still in place, along with the glossy hair and impossibly smooth legs. But there was a new self-awareness and self-deprecation that hadn’t featured in our childhood tea parties.  

Finally, my arch nemesis is on the right side of history, right? I’m not sure that’s the case. 

I had expected a vapid tale with fun flourishes. The story certainly delivered on both of those but with a lot more I hadn’t anticipated. From where I was sitting (popcorn in hand, legs stretched out into the aisle), it was a satirical story of feminism, patriarchy and the joy and anguish of fully embracing life on life’s terms. If you saw that coming, you probably have the gift of the prophetic, because it was certainly not on my radar.  

If you don’t think too much about the plot, the film is easy to enjoy. Helen Mirren offers a witty commentary which is like someone handing you a cup of tea with two sugars when you usually just take milk. It was a welcome surprise that you wouldn’t have asked for but were delighted to discover. It was a visual feast for the eyes with everything – especially the inhabitants of Barbieland – looking perfectly polished. There are also a number of very funny jokes – albeit with adult undertones.  

All good so far, but now let’s suppose that you, like me, will think about the plot. When the word is defined correctly, I am delighted to identify as a feminist. That does not mean that I support every feminism-associated declaration of the last 100 years, but it does mean that I passionately champion women and the correcting of previous (and some current) oppressions. This would make me a prime candidate for loving the Barbie movie. Finally, my arch nemesis is on the right side of history, right? I’m not sure that’s the case. Sometimes, in an attempt to show willing, we can allow the pendulum to swing a little too far in the wrong direction. 

Mattel’s campaign to rebrand Barbie from a ditsy blonde to an empowered achiever has been well documented. People didn’t want the lack of ambition that came with “shopping mall Barbie” or “beach Barbie” and they certainly didn’t want to have to live up to her unrealistic beauty standards. Apparently if a Barbie doll was to scale, she’d be 5ft 9 with size three feet, and only enough space in her waist for half a liver. 

Rather than continuing along these lines, portraying the company as inspiring for girls and women, they take the mick out of it. They highlight that Barbie has been a part of the problem. But in making their point, they outrageously infantilise men. Of course, this is satire, and comedy allows space for exaggeration, but it still didn’t quite sit right for me. Not one man offered a positive portrayal of masculinity (although Michael Cera’s Allan is a joy to watch). On the whole, men were either oblivious, obsessed with their own success, or childish and sometimes sit in board meetings wishing they could just tickle each other. 

The very brief summary – without revealing too much of the plot – is that Barbie is very happy in Barbieland, a perfect paradise where women do the lion share of the work and take all the leadership roles. But something starts to change, and the real world begins to seep in. After “causing a rupture” between the real world and Barbieland, “the patriarchy” is introduced into this female-led eutopia and the Barbies must banish it in order to restore the sorority-dominated lifestyle they previously enjoyed. Not a problem – when Ken found out patriarchy wasn’t about horses he lost interest anyway.  

In ten years, I think many of the critics who have lauded this film as a classic will cringe at their enthusiasm. 

In a world where even Caitlin Moran is writing a book posing the question “What About Men?” I fear this film will age badly. The vast majority of people, including women, don’t want to propel women by doing men down. In ten years, I think many of the critics who have lauded this film as a classic will cringe at their enthusiasm. 

Finally, let’s frame this with the ways the Bible has influenced the film. Oh yes, the biblical message hasn’t just underpinned Harry Potter and The Lion, the Witch and the Wardrobe, it’s apparent in the Barbie movie too. If we replace Barbieland with Eden we can see a stark comparison between the film and the creation story. In this utopia, Barbie is given authority over the land. She is given a helper in Ken. But their paradise is threatened by human fragility and quest for more knowledge. After it comes crashing down the inhabitants just want to get back to their previous state. 

The film demonstrates the desperation to 'return to Eden', in the face of an imperfect and broken world. But it also highlights the beauty that can be found in allowing yourself to experience life on life’s terms; to cry, feel pain and embrace the ache associated with change. For that, I respect its efforts. Although I think Disney’s Inside Out manages to achieve the same without belittling men. 

 

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Belief
Creed
Wisdom
5 min read

Mapmaking our meaning in a modern world

Real ‘reasoning’ happens only when we have learned to trust one another.
A hand holds a pen over a map, at the side is closed journal and colour pencils.
Oxana v on Unsplash.

People first began to think about theology not because they were looking for intellectual stimulus or solutions to abstract problems, but because they found themselves living in an unsettling and vastly expanded ‘space’. They were conscious of new dimensions in their connection with each other, new dimensions in coping with their own fear, guilt, despair, a new sense of intimate access to the limitless reality of God. They connected these new experiences with the story of Jesus of Nazareth, executed by the Roman colonial government, reported by his closest friends as raised from death and present with them and their converts in the communication of divine ‘spirit.’ As we read Christian scripture, we are watching the first generations of Christian believers trying to construct a workable map of this unexpected territory. 

When I started writing the assorted pieces that make up the little book on Discovering Christianity (published earlier this year), my hope was above all to convey something of this sense of Christian thinking as a process of mapmaking in a new and bewildering landscape. That’s why one chapter – originally drafted for a Muslim audience – tried to list some of the things that an interested observer might spot in looking from outside at the habits of Christian believers: not first and foremost their spectacular and uniform embodiment of unconditional divine love (if only), but just the sorts of things they said and did, the sort of language used about Jesus, the rituals of induction and belonging. Indeed, if there is one biblical text I had in mind in virtually all the chapters, it is the simple phrase, ‘Come and see’ that Jesus uses in St John’s gospel when he is first followed by those who will become ‘disciples’, literally ‘learners.’ 

‘Come and see’. When we use language like that in everyday life, we’re encouraging others to share something that has excited or troubled us (or both). It’s not a proposal for solving a problem. It’s not even a recruitment campaign. It’s an invitation to stand where someone else is standing and look from there. In the rich symbolic context of John’s gospel, it’s about sharing Jesus’ ‘point of view’ – which is, as we’re told right at the start of the gospel, a point of view unimaginably close to the heart of eternal life and reality itself.  

We can only see in this way when we move away from our ordinary perceptions a bit. Just as we can only learn to swim when we have jumped into the water, so we shan’t learn what faith is all about until we have been prodded by whatever forces around us to take the risk of trusting that (so to speak) the ground is going to hold beneath us if we step forward (I like to speak sometimes about discovering what images, ideas, perspectives and relations are ‘load-bearing’ in our lives).  

So part of the invitation is also about telling the stories of those who have taken that kind of risk and what sort of lives they have shaped for themselves in the light of it. There is little point in summoning others just to share my individual set of feelings. But there is perhaps more weight is saying, ‘A lot of people have felt this shape beneath the surface, this grain running through things.’ Which is why – as the book seeks to explain – theology works with the ‘classical’ shared texts that most Christian communities found themselves reading together in the first hundred years after Jesus; and works also with the history of the arguments and diverse perceptions that reading brought into focus.  

We read and think in company; our theological reflection like the rest of our lives of faith is a shared, ‘conversational’ affair.

It's not unknown outside theology. We have become so much more interested over the last few decades in how to understand works of art not just in terms of what the artist ‘meant’, but in terms of what the actual work does or makes possible. What world does it create? So we read the Bible, obviously, but we also read the readers of the Bible (think of the Jewish Talmud, with the original text of its classical legal discussions literally surrounded on every page by the arguments that this text has generated). We read and think in company; our theological reflection like the rest of our lives of faith is a shared, ‘conversational’ affair. And so along with reading the Bible and immersing ourselves in the history of what sense others have made of the basic text and story, we also bring to bear the sorts of things that are part of our current conversations in society and culture – the habits of ‘reasoning’ that we have picked up.  

There is an important difference between talking about ‘reason’ as a sovereign, detached capacity and talking about ‘reasoning’, the range of processes and practices that carry forward a common life of intelligent learning (and that learning may be at any level of supposed ‘intellectual’ capacity; once more, it’s not about abstractions). Our society these days is fairly comprehensively confused about this: we have a mythological picture of some supremely obvious way of arguing that allows for no final dispute; we call it ‘science’; and then we expect the impossible of it and are disillusioned and sceptical when it can’t give us absolutely certain answers. One of the many ironies of our society is that we are besotted with ‘science’ and at the same time fascinated by the idea that there are many ‘truths’, or else suspicious that apparently objective sources are actually controlled by other interests. Real ‘reasoning’ happens only when we have learned to trust one another’: a long story, but an all-important element in our human discovery. 

Bible, tradition, human reasoning – those are the tools we bring to this job of mapmaking. The book is really just a meditation on those words, ‘Come and see’, as the basis of Christian thinking. At the centre of everything is a set of very ambitious claims about what God is like – and what we are like. Part of what we’re invited to ‘come and see’ is ourselves. Once again it’s not unlike what happens in a really good play or film, when we go away conscious that we have seen not just someone else’s story but something fresh about our own selves. 

And my greatest hope for the book is that it may prompt someone to look a bit harder, to listen in to how Christians talk – and in that moment find that they recognize what’s being said in some complicated and untidy way. One of the most vivid characters in the gospel I’ve been quoting says of Jesus that he has told her everything she has ever done. I hope that those who are moved to investigate a bit further will come to that same unsettling and exciting point where they see themselves freshly, and the new landscape begins to unfold.  

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