>Moms complaining about vegana and sex jokes being in the Barbie movie now rightwing
homie moms are liberal moms b***hing about the sex jokes in a Barbie movie of all things.
They said all land taken from the Indians should be given back. This would include all the land their ice cream is made on but they think indians only lived in flyover country
Like how the left whined constantly about the notion of child trafficking being portrayed negatively in a movie, that sure wasn't cringe and disturbing at all
>OH MY GOD ITS ALMOST LIKE THEY HAVE Cinemaphile INSIDERS
imagine the first time we became aware that people knew we existed, must've been scary way back
>>Sure, I'm posting in this thread too but that doesn't mean I care also. I came to point out how I'm smarter than everyone else who is doing exactly what I am.
>productions costing hundreds of millions of dollars and months if not years of the lives of hundreds if not thousands of workers are just a proxy for twitter slapfighting
kill all amerimutts honestly. garbage homosexual dumpster civilization. no, pedro, your 40% manlet ass is not aryan, stop typing about how ackshully it's the euros or the israelites or the immigrants or whatever.
It’s the israelites. America, the Great Satan, is a mere satellite state of the ~~*small rootless international clique*~~, at home both everywhere and nowhere.
While you are participating in the clickbait industrial culture war, commercial real estate is quietly crashing and about to start the next great financial collapse
meanwhile at disney...
meanwhile at bud light...
meanwhile at arkane...
meanwhile at gillette...
meanwhile at bioware...
meanwhile at square enix...
i could go on
I'm tired of hysterical schizophrenic femcels who live vicariously through shitty cultural moments. Lose weight. Stop popping pills. Get a real job. Get married. Pop out a few kids.
Because calling her ugly makes her think you hate her or are trying to get her attention somehow. Calling her mid means she doesn't register on your radar, and therefore has no way of being the center of your world.
The only place people can still openly shit on corporate media without being automatically jannied by bots is Cinemaphile and according to the media Cinemaphile is somehow both an omnipotent and deeply influential power but also irrelevant and inconsequential.
>right wing backlash against barbie
never even happened, these yids are just trying to stir up shit.
this movie stars literally me, why would I hate it?
And Charlie's Angels. And Oceans 8. And Hidden Figures. And The Rangs of Power
surely this time it will work. >we're making the evil right-wingers angry! they are evil so it's good that we're making them mad. their boycott is FLOPPING but not our movie, our movie is awesome!!! look at the millions we spent just on the pop-up event!! everything is pink and there's a full-size barbie car.
i'm going to laugh so hard when the box office comes in low.
how many years have they been doing this thing. How come with all of these super powerful and brave movies released and yet they still acting like they are the oppresed one. We are living rent free in their heads and the place stinks.
when did we as a society start using movie as a media to divide and destroy our own people? Even now with the strikes and the age of AI coming somehow all these people care about is worthless internet points.
>Greta Gerwig’s $145 million Barbie movie from Warner Bros. is not for children. Although founded on the Sixties doll made of vinyl compound and marketed by Mattel (whose rainbow-flag logo introduces the film), it only pretends to be fantasy storytelling. Set in pink-motif Barbieland, home of the iconic doll (played by Margot Robbie), it traverses a sci-fi “rip in the continuum between Barbieland and the real world” to allow Gerwig’s jaded-feminist adult social messaging.
>The ideal audience for this movie is not young women who happily grew up playing with Barbies but a later vengeful generation that resents the toy’s suggestion of outdated femininity. Barbie opens with a riff on 2001: A Space Odyssey where sullen little girls smash old-fashioned baby dolls (i.e., the idea of motherhood). Non-maternal Barbie (Robbie) towers over these fitful tykes, shadowing them like Kubrick’s black slab and inspiring violent resistance. Doll babies are tossed in the air, then fall into Barbieland, because the idea of women’s liberation has been weaponized.
>Gerwig is unperturbed by the fact that Mattel’s product evolution, by which Barbie dolls endlessly changed, kept up with commercial trends. The many variations are accounted for in a cynical overview (narrated by Helen Mirren — why not Ketanji Brown Jackson?) that dismisses those transformations, whether a pregnant Midge doll or Allan, a second-banana boy doll, as unhip. That’s because Barbie the movie derives from Nineties indie-movie hipsterism, whose ambassador, Gerwig, indulges self-satisfied smugness in the script co-written with her consort Noah Baumbach.
>The Gerwig-Baumbach duo disingenuously showcase themselves as Barbie and her male doll-mate Ken (played by Ryan Gosling). But they can’t fake any real interest in the Barbie idea, so they shift the entire enterprise into what hipsters know best: their own private, privileged competition. Gerwig has made it to the Hollywood big time in ways Baumbach has not. She’s a media heroine, touted for Oscars every time she directs a movie.
>Barbie/Gerwig and Ken/Baumbach fight for dominance in both Barbieland and the real world — the latter being Hollywood suburb Santa Monica, where Will Ferrell as a Mattel exec evokes the lousy, anti-Christmas movie Elf, a favorite of hipsters and faithless wannabes. Any hope of wonder or enchantment gets lost: Gerwig and Baumbach overdo the pink-playground conceit, visually similar to Olivia Wilde’s rancid Don’t Worry Darling. Yet Gerwig’s artifice defies the special feeling that females might know — the fulfilling, personal escape into free femininity, childbearing, family, homemaking, and romance that should be the essence of a Barbie movie. She ignores the childhood fantasy in which kids dream of being wives, moms, teachers, nurses, etc. — roles essential to the world. As for Baumbach: His usual sour diatribes about gender, class, and ethnic identity erupt in the film’s girl-dolls-vs.-boy-dolls subplot. Where’s the fascinating sexual empowerment found in the proto-feminist Barbarella and Robert Zemeckis’s postfeminist doll movie Welcome to Marwen?
>Instead, Gerwig and Baumbach promote querulous sloganeering. The multiple Barbies and Kens (multiethnic, overweight, disabled) are airhead protesters, spoofing the Frankie and Annette beach movies. This satire of corporate manufacturing is odd considering that Gerwig and Baumbach themselves are industry faves. (The humorless team forsake imagination for a horrific episode featuring SNL’s never funny Kate McKinnon as an abused Barbie.) They spout outdated grievances about women’s ability to “hold logic and feeling at the same time,” adding irrational complaints about women not being credited for the “control of trains or the flow of commerce” — this after certain female politicians broke constitutional norms (another subplot) urging the nation’s division. The Barbies protesting for a new female-written constitution exploit resentment, not playfulness.
>When Barbie grouses about “sexualized capitalism” and pouts “I’m not pretty,” Mirren interrupts: “Note to filmmakers: Margot Robbie is the wrong actress to cast to make this point.” Fact is, tough-blonde Robbie lacks slim, doll-like fragility. Granted, she achieves one of the film’s only two good moments: pantomiming crestfallen Barbie’s plastic stiffness. But Robbie’s lewd, manic stare (perfect for Suicide Squad) is too scary for Barbie. The film’s other good moment belongs, surprisingly, to Gosling, who lip-synchs Matchbox Twenty’s “Push” in perfect raspy parody of a corporate folk-rock teen idol.
>After that, Barbie goes to plasticine hell. Diversity hires America Ferrera and Issa Rae give abominable speeches about Latino and black feminist sacrifice, and Rhea Perlman appears morphing Barbie inventor Ruth Handler into Ruth Bader Ginsburg. New Lizzo and Billie Eilish songs provide feminist equity. Things get more child-unfriendly when Gerwig tosses in terms such as “irrepressible thoughts of death,” “Proustian flashback,” and “patriarchy anxiety.” Most kids will probably be bored by Barbie, and even the cool kids might frown at Baumbach’s name-dropping hipster in-jokes about The Godfather (“Coppola’s aesthetic, the genius of Robert Evans, and the architecture of ’70s Hollywood”).
>Worst yet: One of the man-hating Barbies sneers, “Like, I was really invested in the Zack Snyder cut of Justice League!” How could any decent industry professional attack another filmmaker this way? It’s the ultimate sign that Gerwig and Baumbach know nothing about making pop entertainment. They left the indie-world of American eccentrics to join Hollywood’s obnoxious elite. Frantic, uncheerful, and graceless, Barbie symbolizes a culture that devalues childhood and goodness.
>Instead, Gerwig and Baumbach promote querulous sloganeering. The multiple Barbies and Kens (multiethnic, overweight, disabled) are airhead protesters, spoofing the Frankie and Annette beach movies. This satire of corporate manufacturing is odd considering that Gerwig and Baumbach themselves are industry faves. (The humorless team forsake imagination for a horrific episode featuring SNL’s never funny Kate McKinnon as an abused Barbie.) They spout outdated grievances about women’s ability to “hold logic and feeling at the same time,” adding irrational complaints about women not being credited for the “control of trains or the flow of commerce” — this after certain female politicians broke constitutional norms (another subplot) urging the nation’s division. The Barbies protesting for a new female-written constitution exploit resentment, not playfulness.
>When Barbie grouses about “sexualized capitalism” and pouts “I’m not pretty,” Mirren interrupts: “Note to filmmakers: Margot Robbie is the wrong actress to cast to make this point.” Fact is, tough-blonde Robbie lacks slim, doll-like fragility. Granted, she achieves one of the film’s only two good moments: pantomiming crestfallen Barbie’s plastic stiffness. But Robbie’s lewd, manic stare (perfect for Suicide Squad) is too scary for Barbie. The film’s other good moment belongs, surprisingly, to Gosling, who lip-synchs Matchbox Twenty’s “Push” in perfect raspy parody of a corporate folk-rock teen idol.
>The Gerwig-Baumbach duo disingenuously showcase themselves as Barbie and her male doll-mate Ken (played by Ryan Gosling). But they can’t fake any real interest in the Barbie idea, so they shift the entire enterprise into what hipsters know best: their own private, privileged competition. Gerwig has made it to the Hollywood big time in ways Baumbach has not. She’s a media heroine, touted for Oscars every time she directs a movie.
>Barbie/Gerwig and Ken/Baumbach fight for dominance in both Barbieland and the real world — the latter being Hollywood suburb Santa Monica, where Will Ferrell as a Mattel exec evokes the lousy, anti-Christmas movie Elf, a favorite of hipsters and faithless wannabes. Any hope of wonder or enchantment gets lost: Gerwig and Baumbach overdo the pink-playground conceit, visually similar to Olivia Wilde’s rancid Don’t Worry Darling. Yet Gerwig’s artifice defies the special feeling that females might know — the fulfilling, personal escape into free femininity, childbearing, family, homemaking, and romance that should be the essence of a Barbie movie. She ignores the childhood fantasy in which kids dream of being wives, moms, teachers, nurses, etc. — roles essential to the world. As for Baumbach: His usual sour diatribes about gender, class, and ethnic identity erupt in the film’s girl-dolls-vs.-boy-dolls subplot. Where’s the fascinating sexual empowerment found in the proto-feminist Barbarella and Robert Zemeckis’s postfeminist doll movie Welcome to Marwen?
>Greta Gerwig’s $145 million Barbie movie from Warner Bros. is not for children. Although founded on the Sixties doll made of vinyl compound and marketed by Mattel (whose rainbow-flag logo introduces the film), it only pretends to be fantasy storytelling. Set in pink-motif Barbieland, home of the iconic doll (played by Margot Robbie), it traverses a sci-fi “rip in the continuum between Barbieland and the real world” to allow Gerwig’s jaded-feminist adult social messaging.
>The ideal audience for this movie is not young women who happily grew up playing with Barbies but a later vengeful generation that resents the toy’s suggestion of outdated femininity. Barbie opens with a riff on 2001: A Space Odyssey where sullen little girls smash old-fashioned baby dolls (i.e., the idea of motherhood). Non-maternal Barbie (Robbie) towers over these fitful tykes, shadowing them like Kubrick’s black slab and inspiring violent resistance. Doll babies are tossed in the air, then fall into Barbieland, because the idea of women’s liberation has been weaponized.
>Gerwig is unperturbed by the fact that Mattel’s product evolution, by which Barbie dolls endlessly changed, kept up with commercial trends. The many variations are accounted for in a cynical overview (narrated by Helen Mirren — why not Ketanji Brown Jackson?) that dismisses those transformations, whether a pregnant Midge doll or Allan, a second-banana boy doll, as unhip. That’s because Barbie the movie derives from Nineties indie-movie hipsterism, whose ambassador, Gerwig, indulges self-satisfied smugness in the script co-written with her consort Noah Baumbach.
Imagine being to stupid to understand a fricking barbie movie
>The Gerwig-Baumbach duo disingenuously showcase themselves as Barbie and her male doll-mate Ken (played by Ryan Gosling). But they can’t fake any real interest in the Barbie idea, so they shift the entire enterprise into what hipsters know best: their own private, privileged competition. Gerwig has made it to the Hollywood big time in ways Baumbach has not. She’s a media heroine, touted for Oscars every time she directs a movie.
>Barbie/Gerwig and Ken/Baumbach fight for dominance in both Barbieland and the real world — the latter being Hollywood suburb Santa Monica, where Will Ferrell as a Mattel exec evokes the lousy, anti-Christmas movie Elf, a favorite of hipsters and faithless wannabes. Any hope of wonder or enchantment gets lost: Gerwig and Baumbach overdo the pink-playground conceit, visually similar to Olivia Wilde’s rancid Don’t Worry Darling. Yet Gerwig’s artifice defies the special feeling that females might know — the fulfilling, personal escape into free femininity, childbearing, family, homemaking, and romance that should be the essence of a Barbie movie. She ignores the childhood fantasy in which kids dream of being wives, moms, teachers, nurses, etc. — roles essential to the world. As for Baumbach: His usual sour diatribes about gender, class, and ethnic identity erupt in the film’s girl-dolls-vs.-boy-dolls subplot. Where’s the fascinating sexual empowerment found in the proto-feminist Barbarella and Robert Zemeckis’s postfeminist doll movie Welcome to Marwen?
>Instead, Gerwig and Baumbach promote querulous sloganeering. The multiple Barbies and Kens (multiethnic, overweight, disabled) are airhead protesters, spoofing the Frankie and Annette beach movies. This satire of corporate manufacturing is odd considering that Gerwig and Baumbach themselves are industry faves. (The humorless team forsake imagination for a horrific episode featuring SNL’s never funny Kate McKinnon as an abused Barbie.) They spout outdated grievances about women’s ability to “hold logic and feeling at the same time,” adding irrational complaints about women not being credited for the “control of trains or the flow of commerce” — this after certain female politicians broke constitutional norms (another subplot) urging the nation’s division. The Barbies protesting for a new female-written constitution exploit resentment, not playfulness.
>When Barbie grouses about “sexualized capitalism” and pouts “I’m not pretty,” Mirren interrupts: “Note to filmmakers: Margot Robbie is the wrong actress to cast to make this point.” Fact is, tough-blonde Robbie lacks slim, doll-like fragility. Granted, she achieves one of the film’s only two good moments: pantomiming crestfallen Barbie’s plastic stiffness. But Robbie’s lewd, manic stare (perfect for Suicide Squad) is too scary for Barbie. The film’s other good moment belongs, surprisingly, to Gosling, who lip-synchs Matchbox Twenty’s “Push” in perfect raspy parody of a corporate folk-rock teen idol.
>After that, Barbie goes to plasticine hell. Diversity hires America Ferrera and Issa Rae give abominable speeches about Latino and black feminist sacrifice, and Rhea Perlman appears morphing Barbie inventor Ruth Handler into Ruth Bader Ginsburg. New Lizzo and Billie Eilish songs provide feminist equity. Things get more child-unfriendly when Gerwig tosses in terms such as “irrepressible thoughts of death,” “Proustian flashback,” and “patriarchy anxiety.” Most kids will probably be bored by Barbie, and even the cool kids might frown at Baumbach’s name-dropping hipster in-jokes about The Godfather (“Coppola’s aesthetic, the genius of Robert Evans, and the architecture of ’70s Hollywood”).
>Worst yet: One of the man-hating Barbies sneers, “Like, I was really invested in the Zack Snyder cut of Justice League!” How could any decent industry professional attack another filmmaker this way? It’s the ultimate sign that Gerwig and Baumbach know nothing about making pop entertainment. They left the indie-world of American eccentrics to join Hollywood’s obnoxious elite. Frantic, uncheerful, and graceless, Barbie symbolizes a culture that devalues childhood and goodness.
No amount of shilling can save this movie
Might be one of his best reviews (in terms of accuracy)
The first time I ever pulled my foreskin back was when I was 22 and it smelled so bad while also having crusted up piss and cum on my shaft. I've never smelled anything so bad in my life.
>entire internet hyped about movie >ack-shually chuds wanted it to fail and it wont so democracy wins again ;))
imagine having to constantly stir up drama just to forget about the rotting ax wound you voluntarily opened between your own legs, what a miserable existence.
>almost every movie flopping >every company flailing >but heh a movie based on one of the biggest brands and toys in the world is doing well… that’ll show those gamergaters saying this dead meme phrase a decade ago
The only reason Barbie is doing well is because the misleading marketing and trailers hid the wokeness. It’ll have a huge second weekend drop off once the normies figure out what the movie really is.
You know I follow a bunch of "right wing" people on Twitter and Youtube. Everyone from Geeks and Gamers, Ben Shapiro, Tim Pool, Tucker Carlson, Crowder, a bunch of people from Blaze, etc. None have talked about Barbie even once. Literally no one cares.
>Ej Dickson is a Senior Writer for Rolling Stone covering internet culture. Her work has appeared in the New York Times, New York Magazine, Elle, GQ, and Playboy, among others. She's also been featured on NPR's All Things Considered and This American Life, as well as the Hulu docuseries "Only Fans: Selling Sexy." Ej enjoys musicals, being a Disney adult, and playing with her three-legged, epileptic border collie Ringo Daphne. The New Yorker once called her "ineffably cool."
Somebody humor me, I might be moronic
What exactly is the point of a Barbie movie? When did Barbie have any lore? I mean, I realize this isn't the first "adaptation", but that doesn't change the question. People are saying it's a nostalgia movie. Nostalgia for WHAT? Being a little girl with a Barbie doll? But this isn't a Toy Story type movie? I don't get it. Am I missing something?
How does a movie like this have a budget of $145 million? Adjusting for inflation, that's what it cost to make The Ten Commandments (1956), one of the most grand epic films ever produced. What about this movie could possibly cost that much?
>And then everybody clapped
>SHE’S NOT MID SHE’S NOT MID LALALALALA
The Norwood Reaper truly spares noone jesus christ.
Obsessed
look at that huge troony skull, the wasteful thickness of it.
You still would.
lol why do they always get so defensive when people say celebrity women are ugly?
Because if a Hollywood superstar is mid, imagine what that implies about their own looks
prostitute hit the wall face first
Either way she hit the wall, everything else is a roastie cope
>Moms complaining about vegana and sex jokes being in the Barbie movie now rightwing
homie moms are liberal moms b***hing about the sex jokes in a Barbie movie of all things.
who complains about crap is Right Wing
surprised they're not saying it Qanon
>Subterranean moon Nazis reviewbomb A Goofy Movie 3 over gay Max.
Holy frick total Mattel death
Are people embarrassed to work as journalists nowadays? Seems like they should be, but they're probably not.
>journalist
Kek. Everyone with an internet is a journalist. It's the easiest job you can get without having a GED.
It's all robots
the cope when it crashes for the 2nd week is going to be glorious.
Journalists said the same thing about bud light and Ben and Jerry’s. Both losing millions..
What did Ben and Jerry's do no? I just don't buy it because it's overpriced for a B- ice cream.
They said all land taken from the Indians should be given back. This would include all the land their ice cream is made on but they think indians only lived in flyover country
israeli ice cream.
Overpriced garbage.
Slop, if you will.
>post random ragebait article
>10+ replies in minutes
same as it ever was.
just like sophposting gets all you MDE manchildren to spam epic retorts
Take your meds femcel.
you mean a board where people can easily shitpost gets a lot of posts easily?
HOLY SHIT! YOU MACHIAVELLIAN MADMAN!
>10 replies on 4chin constitutes a real political movement and not a Boogeyman I made up in my head.
Meds, now.
>homosexual crying with a soft dick
same as it ever was INDEED
Just like MDE posting has Hassan cum guzzlers come out of the woodwork to seethe in between gooning sessions.
And you may ask yourself, "Well, how did I get here?"
Like how the left whined constantly about the notion of child trafficking being portrayed negatively in a movie, that sure wasn't cringe and disturbing at all
Child Traffickers are people, my friend.
If you killed all viral marketers (or deleted the bots, I guess) and journalists what loss would there be for the world?
Nah, kill. And it would be a huge positive to the world.
>We have defeated the strawman that exists in our heads
Congratulations on the schizophrenia, ladies.
>DID YOU KNOW THAT CONSUMING CORPORATE PRODUCTS IS A POLITICAL ACT, FELLOW LEFTISTS!?
>OH MY GOD ITS ALMOST LIKE THEY HAVE Cinemaphile INSIDERS
imagine the first time we became aware that people knew we existed, must've been scary way back
>we
cope, you schizophrenic incel
I hope they sink $800MM into Barbie II, and it flops. Then we'll get the last laugh. Oh yes! Then we will have our day in the sun.
remember when the little mermaid flopp-
oh wait kek
it flopped, overseas revenue is just a third of the ticket. It was supposed to be a tentpole, not a "barely recovering production cost" scenario.
I thought Margot Robbie was mid since Pan Am and Greta Gerwig sucked since she prevented Saoirse Ronan from making kino for years.
Saoirse can smell slop like no other, she only makes kino.
>caring about a fake political fight orchestrated by marketing agencies
I know. why ARE you here doing that?
I'm not, you blithering idiot.
>>Sure, I'm posting in this thread too but that doesn't mean I care also. I came to point out how I'm smarter than everyone else who is doing exactly what I am.
>Sure, I'm posting in this thread too but that doesn't mean I care also
correct
the fact that you're posting this much shows you do care moron.
The only way to show you don't care is to no longer post
Lets see what he does.
Turbo cancer thread
>productions costing hundreds of millions of dollars and months if not years of the lives of hundreds if not thousands of workers are just a proxy for twitter slapfighting
kill all amerimutts honestly. garbage homosexual dumpster civilization. no, pedro, your 40% manlet ass is not aryan, stop typing about how ackshully it's the euros or the israelites or the immigrants or whatever.
>Oy vey, it’s not the israelites, goy!
It’s the israelites. America, the Great Satan, is a mere satellite state of the ~~*small rootless international clique*~~, at home both everywhere and nowhere.
While you are participating in the clickbait industrial culture war, commercial real estate is quietly crashing and about to start the next great financial collapse
im sorry mr cohen i'll get back to replying sir right away sir
sneed.today
Go say hi to Null
meanwhile at disney...
meanwhile at bud light...
meanwhile at arkane...
meanwhile at gillette...
meanwhile at bioware...
meanwhile at square enix...
i could go on
You have absolutely no life if you think any of the culture war bullshit you consume matters
Kek which of those companies did you work for troon?
One of the strangest astroturfing campaigns i've ever seen
It's a film made for people who shouldn't give a shit about barbie
I'm tired of hysterical schizophrenic femcels who live vicariously through shitty cultural moments. Lose weight. Stop popping pills. Get a real job. Get married. Pop out a few kids.
>Stop popping pills. Get a real job. Get married. Pop out a few kids.
why do you hate kids?
>right-wing backslash
fake
Why is it that calling a woman mid hurts their feelings more than calling them ugly?
Because it rings truer. No woman really thinks that she could be ugly. But mid? That's always lurking in the back of their minds.
Because men and women know mid is what everyone becomes some day, but mid men > mid women
Because calling her ugly makes her think you hate her or are trying to get her attention somehow. Calling her mid means she doesn't register on your radar, and therefore has no way of being the center of your world.
The only place people can still openly shit on corporate media without being automatically jannied by bots is Cinemaphile and according to the media Cinemaphile is somehow both an omnipotent and deeply influential power but also irrelevant and inconsequential.
Fake article.
Wasn't it zoomers who like Zendaya saying that?
>everyone who doesn't like something is right wing
ah right I forgot
nah it was some rw accounts on twitter that started this. it was just bait but the media ate it up.
>right wing backlash against barbie
never even happened, these yids are just trying to stir up shit.
this movie stars literally me, why would I hate it?
So what’s going to be the damage control for this one when it bombs?
isn't this the same marketing campaign as for Girlbusters?
And Charlie's Angels. And Oceans 8. And Hidden Figures. And The Rangs of Power
>the 355
>terminator dark fate
oh boy
surely this time it will work.
>we're making the evil right-wingers angry! they are evil so it's good that we're making them mad. their boycott is FLOPPING but not our movie, our movie is awesome!!! look at the millions we spent just on the pop-up event!! everything is pink and there's a full-size barbie car.
i'm going to laugh so hard when the box office comes in low.
The only one not having balls is that hideous troony who will never pass as a woman
what backlash
I'm not paying and that's all that matters.
>According to Barbie shills, Barbie shills are doing a good job
how many years have they been doing this thing. How come with all of these super powerful and brave movies released and yet they still acting like they are the oppresed one. We are living rent free in their heads and the place stinks.
Why would this film have backlash? One of the characters is literally me
I am ultra right wing, I went to the barbie premier and stood up when the Kens took over to yell "SIEG HEIL"
Keyed
chuds always lose
True. Just like they did when it came to bud light, target, ben & jerry's, disney, and hollywood. They NEVER win
when did we as a society start using movie as a media to divide and destroy our own people? Even now with the strikes and the age of AI coming somehow all these people care about is worthless internet points.
>when did we as a society start using movie as a media to divide and destroy our own people?
ad agencies decided it was a good way to get free press
With ____, you lose.
>Greta Gerwig’s $145 million Barbie movie from Warner Bros. is not for children. Although founded on the Sixties doll made of vinyl compound and marketed by Mattel (whose rainbow-flag logo introduces the film), it only pretends to be fantasy storytelling. Set in pink-motif Barbieland, home of the iconic doll (played by Margot Robbie), it traverses a sci-fi “rip in the continuum between Barbieland and the real world” to allow Gerwig’s jaded-feminist adult social messaging.
>The ideal audience for this movie is not young women who happily grew up playing with Barbies but a later vengeful generation that resents the toy’s suggestion of outdated femininity. Barbie opens with a riff on 2001: A Space Odyssey where sullen little girls smash old-fashioned baby dolls (i.e., the idea of motherhood). Non-maternal Barbie (Robbie) towers over these fitful tykes, shadowing them like Kubrick’s black slab and inspiring violent resistance. Doll babies are tossed in the air, then fall into Barbieland, because the idea of women’s liberation has been weaponized.
>Gerwig is unperturbed by the fact that Mattel’s product evolution, by which Barbie dolls endlessly changed, kept up with commercial trends. The many variations are accounted for in a cynical overview (narrated by Helen Mirren — why not Ketanji Brown Jackson?) that dismisses those transformations, whether a pregnant Midge doll or Allan, a second-banana boy doll, as unhip. That’s because Barbie the movie derives from Nineties indie-movie hipsterism, whose ambassador, Gerwig, indulges self-satisfied smugness in the script co-written with her consort Noah Baumbach.
>The Gerwig-Baumbach duo disingenuously showcase themselves as Barbie and her male doll-mate Ken (played by Ryan Gosling). But they can’t fake any real interest in the Barbie idea, so they shift the entire enterprise into what hipsters know best: their own private, privileged competition. Gerwig has made it to the Hollywood big time in ways Baumbach has not. She’s a media heroine, touted for Oscars every time she directs a movie.
>Barbie/Gerwig and Ken/Baumbach fight for dominance in both Barbieland and the real world — the latter being Hollywood suburb Santa Monica, where Will Ferrell as a Mattel exec evokes the lousy, anti-Christmas movie Elf, a favorite of hipsters and faithless wannabes. Any hope of wonder or enchantment gets lost: Gerwig and Baumbach overdo the pink-playground conceit, visually similar to Olivia Wilde’s rancid Don’t Worry Darling. Yet Gerwig’s artifice defies the special feeling that females might know — the fulfilling, personal escape into free femininity, childbearing, family, homemaking, and romance that should be the essence of a Barbie movie. She ignores the childhood fantasy in which kids dream of being wives, moms, teachers, nurses, etc. — roles essential to the world. As for Baumbach: His usual sour diatribes about gender, class, and ethnic identity erupt in the film’s girl-dolls-vs.-boy-dolls subplot. Where’s the fascinating sexual empowerment found in the proto-feminist Barbarella and Robert Zemeckis’s postfeminist doll movie Welcome to Marwen?
>Instead, Gerwig and Baumbach promote querulous sloganeering. The multiple Barbies and Kens (multiethnic, overweight, disabled) are airhead protesters, spoofing the Frankie and Annette beach movies. This satire of corporate manufacturing is odd considering that Gerwig and Baumbach themselves are industry faves. (The humorless team forsake imagination for a horrific episode featuring SNL’s never funny Kate McKinnon as an abused Barbie.) They spout outdated grievances about women’s ability to “hold logic and feeling at the same time,” adding irrational complaints about women not being credited for the “control of trains or the flow of commerce” — this after certain female politicians broke constitutional norms (another subplot) urging the nation’s division. The Barbies protesting for a new female-written constitution exploit resentment, not playfulness.
>When Barbie grouses about “sexualized capitalism” and pouts “I’m not pretty,” Mirren interrupts: “Note to filmmakers: Margot Robbie is the wrong actress to cast to make this point.” Fact is, tough-blonde Robbie lacks slim, doll-like fragility. Granted, she achieves one of the film’s only two good moments: pantomiming crestfallen Barbie’s plastic stiffness. But Robbie’s lewd, manic stare (perfect for Suicide Squad) is too scary for Barbie. The film’s other good moment belongs, surprisingly, to Gosling, who lip-synchs Matchbox Twenty’s “Push” in perfect raspy parody of a corporate folk-rock teen idol.
>After that, Barbie goes to plasticine hell. Diversity hires America Ferrera and Issa Rae give abominable speeches about Latino and black feminist sacrifice, and Rhea Perlman appears morphing Barbie inventor Ruth Handler into Ruth Bader Ginsburg. New Lizzo and Billie Eilish songs provide feminist equity. Things get more child-unfriendly when Gerwig tosses in terms such as “irrepressible thoughts of death,” “Proustian flashback,” and “patriarchy anxiety.” Most kids will probably be bored by Barbie, and even the cool kids might frown at Baumbach’s name-dropping hipster in-jokes about The Godfather (“Coppola’s aesthetic, the genius of Robert Evans, and the architecture of ’70s Hollywood”).
>Worst yet: One of the man-hating Barbies sneers, “Like, I was really invested in the Zack Snyder cut of Justice League!” How could any decent industry professional attack another filmmaker this way? It’s the ultimate sign that Gerwig and Baumbach know nothing about making pop entertainment. They left the indie-world of American eccentrics to join Hollywood’s obnoxious elite. Frantic, uncheerful, and graceless, Barbie symbolizes a culture that devalues childhood and goodness.
No amount of shilling can save this movie
Imagine being to stupid to understand a fricking barbie movie
No imagination required, we have your post.
>Worst yet: One of the man-hating Barbies sneers, “Like, I was really invested in the Zack Snyder cut of Justice League!”
Literally the worst possible thing a movie could make fun of to Armond
Might be one of his best reviews (in terms of accuracy)
>why not Ketanji Brown Jackson?
checked, kek'd, wrecked and based in real life
>YAAASSS CORPORATE ELITES SLAYYYY
>another low effort bait thread
>anons feast
/pol/'s right about Cinemaphile once again.
*Curb theme*
>heh you did a heckin discussion on a website about discussing stuff
Almost like that backlash is self-manufactured marketing and no right-winger gives a shit about that gay shit (maybe once they show Ken transitioning)
Nice shill thread
>not greeting out of disrespect/irrational, racially-adjured fear
Deserves it tbh
this but unironically. i hate when people act like they are too busy for the most basic decorum
>they only beat you because you were afraid they would beat you!
Whoa, the chuds took an L? No way! That NEVER happens!
*smirks at camera*
>aryan couple
>an L
>after an endless sea of mutt propaganda
maybe an l for lol, moron
Still trying to make it a real thing? I hope they pay you at least
The first time I ever pulled my foreskin back was when I was 22 and it smelled so bad while also having crusted up piss and cum on my shaft. I've never smelled anything so bad in my life.
Why did you never wash it?
The Leftwing backlash against anti-pedophile movie is hilariously eye-opening.
Why does everything need to be an ideological fight these days?
You're trying way too hard, samegay shill
>t.
Keep defending the narrative, you soulless homosexual. No one's falling for your bullshit
>Keep defending the narrat-ACK
Very original. Once again proving the left cannot and will not ever be able to meme
>Very origin-ACK
Okay, now you're just making me laugh. Keep it up
Why can't israelites draw swastikas?
>"Anatotmy of a CHUD"
>drawing of John Oliver
what the absolute, unironic, frick did anon mean by this?
She doesn't look that good in the video btw.
Speaking of throwing everything at the wall to see what sticks, here comes gay (OP).
Sneed
chudsters there has to be a way to win! we need a W so bad
Anyone that read the article lost braincells.
Slop in slop out.
I don't know who the real shills are anymore.
play the both sides, so you generate buzz about movie, even if you dont go you fuel the marketing campaign in one way or another.
>entire internet hyped about movie
>ack-shually chuds wanted it to fail and it wont so democracy wins again ;))
imagine having to constantly stir up drama just to forget about the rotting ax wound you voluntarily opened between your own legs, what a miserable existence.
Why are you hyped for a gay doll movie?
looks like a funny romcom, I like those
lol so you are gay
takes one to know one gay
I was going to go see the Barbie movie with all my Neo Nazi friends, and then we realized it was some woke crap.
How do I make some cool Neo Nazi friends?
>Right-Wing backlash against children's toys
No one gives a frick, pathologizing the center = communism. Move this shit to
Chudsisters...how the FRICK did we lose
...again!?
>Just post some dumb shit on Cinemaphile and keep antagonizing them so they keep talking about it.
I guess any publicity is good publicity
Very obvious discord troon raid ITT
It feels more like a single shill attempting to stealthily advertise the film and doing a awful job
GO WOKE GO... Oh.
>almost every movie flopping
>every company flailing
>but heh a movie based on one of the biggest brands and toys in the world is doing well… that’ll show those gamergaters saying this dead meme phrase a decade ago
The only reason Barbie is doing well is because the misleading marketing and trailers hid the wokeness. It’ll have a huge second weekend drop off once the normies figure out what the movie really is.
It's so sad that the countries that banned Barbie will never get to experience consumerism nostalgia and transgender ideology.
that cg YouTube series Barbie Life in the Dreamhouse circa 2012 was actually far better than this slop.
You know I follow a bunch of "right wing" people on Twitter and Youtube. Everyone from Geeks and Gamers, Ben Shapiro, Tim Pool, Tucker Carlson, Crowder, a bunch of people from Blaze, etc. None have talked about Barbie even once. Literally no one cares.
It’s starting. The reason it hadn’t started earlier was because the unlike most woke movies, the marketing hid the wokeness.
>right wing
That mid shit was CLEARLY disneyshill smear campaign though
These morons don't realize that the right wing loves Barbie
>barbie comes out
>flops
Can't wait
>Solution to the Kens taking over was a Latino woman complaining/ranting at the Barbie until she got mindbroken
Kek
Omg now that I read this, I need to consume this product to epic own the other team. The more we spend the more we win sisters!
>Ej Dickson is a Senior Writer for Rolling Stone covering internet culture. Her work has appeared in the New York Times, New York Magazine, Elle, GQ, and Playboy, among others. She's also been featured on NPR's All Things Considered and This American Life, as well as the Hulu docuseries "Only Fans: Selling Sexy." Ej enjoys musicals, being a Disney adult, and playing with her three-legged, epileptic border collie Ringo Daphne. The New Yorker once called her "ineffably cool."
All the context I need. Thank you
I wouldn't frick that with YOUR dick, anon.
Davidduke.com
Learn more about the israeli takeover of our institutions and media. Check out the radio show.
Somebody humor me, I might be moronic
What exactly is the point of a Barbie movie? When did Barbie have any lore? I mean, I realize this isn't the first "adaptation", but that doesn't change the question. People are saying it's a nostalgia movie. Nostalgia for WHAT? Being a little girl with a Barbie doll? But this isn't a Toy Story type movie? I don't get it. Am I missing something?
>what is the point of a barbie movie
MONEY. Barbie is a recognized brand, so has a built-in audience.
What's next? A Lacoste movie?
if satan wills it, it shall be done.
We had a fricking emoji movie. The sky's the limit.
Fast Food brand cinematic universes are the future.
Please look forward to Grimace vs Hamburglar: Dawn of The Happy Meal
>Grimace vs Hamburglar: Dawn of The Happy Meal
never did I dare to dream of kino of these proportions. never.
How does a movie like this have a budget of $145 million? Adjusting for inflation, that's what it cost to make The Ten Commandments (1956), one of the most grand epic films ever produced. What about this movie could possibly cost that much?
FLOP FLOP FLOP FLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOPFLOP FLOP FLOP
LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE LOSE REVENUE
>right wing backlash
what?
haven't seen any
It's over. The culture is lost..
>backlash
Huh?
Movie looks stupid. Not sure where politics comes into play here.