Movie Review: BARBIE

Official film poster

The Barbie movie from director Greta Gerwig and lead actors Margot Robbie and Ryan Gosling, was actually shockingly good. I remember being amused by the trailers, and increasingly excited by the reviews (including the whiny male-tears reviews which made me cackle), but I wanted to go into the movie without too high of an expectation. I’ve been disappointed by hype before. But in fact, it was a bit better than I was even expecting.

Visually, it’s stunning. The set, prop, and costume design were impeccable. I don’t know how they made everything really look like giant life-size versions of plastic toys, but they did. The colors are amazing. And even in the switch from “Barbie Land” to the “Real World” the cinematography remains bright and light, even while giving way to more realistic color palettes and lighting choices.

opening scene of Barbie movie, with 2001: A Space Odyssey homage

It was also, frankly, hilarious. I laughed so much, folks. So much. I want to talk about this without giving too much away (but it has been out for a few weeks now so I feel some spoilers are inevitable). Let me just say, the movie opens with a sequence that references (nearly shot for shot in some places) to 2001: A Space Odyssey, with Barbie as the black monolith. I immediately cracked up. That was all I needed. The movie had me from that point on. But it kept getting funnier. One thing I appreciated was the layering of humor. There were parts that were clearly meant to be funny to kids, and some sequences that even straight (well-adjusted) men could find amusing. And then there were all the bits that felt like they were just for me. For left-leaning, adult women who grew up with Barbies and understood the dozens and dozens of references that would go right over the heads of younger girls and were probably too niche for other adults. I was probably the person in the theatre laughing the loudest (this is a fairly common occurrence for me, to be fair. I was by far the loudest laugher in the theatre when I saw The Emperor’s New Groove, for instance).

I also think the movie was very smart and genuine. Earnest even, underneath all the jokes and slapstick comedy.

I’ve been paying attention to a lot of the criticisms and complaints about the movie. Obviously, there’s all the conservative straight (mostly white) men so entangled in their own toxic masculinity and patriarchal power, and crying their pathetic man tears over the awful man-hating “woke” movie. And I have nothing to say to or about those people. I’m not wasting my energy on that. But there have also been critiques from the other side of the aisle, from leftist feminist women complaining that the movie is too simplistic, or dumbed-down, or doesn’t push far enough, etc. And that actually bugs me a little.

Barbie (Margot Robbie) and Ken (Ryan Gosling)

Is the movie particularly nuanced? Of course not. It’s not an academic article on gender theory by Judith Butler. It’s not out here trying to be the next Feminine Mystique, or break new ground in feminist thought. It’s a big-budget summer blockbuster aimed mostly at kids and young women, about a toy, paid for by Mattel. But looked at from that angle – from the angle of a movie built largely to make money, produced by MATTEL – than you have to admit that it’s shockingly smart, with a genuinely good argument/message, and that Greta Gerwig et. al. got a way with a lot. I mean, A LOT.

I mean! There’s a scene where Barbie is shocked to discover the CEO of Mattel is a man, and that there are no men in positions of power in the company. To which the CEO responds (I’m paraphrasing here): “I love women! I’m the son of a woman! I’m the… nephew of an aunt! Some of my best friends are… Jewish!” Clearly highlighting the way he’s so busy trying to defend himself for doing/saying something offensive that he’s forgotten which (of many, no doubt) offensive thing he’s done this time that needs defending. I died laughing.

I’ll also add that while the focus of the movie and the messaging is clearly (and rightfully) on women, their struggles, their pain, their gaze, the movie also still manages to convey the idea that patriarchy and toxic masculinity are just as damaging for the men. None of the men in this movie (least of all Ken) is happy within this system. And the movie is clearly pointing out that they don’t have to feel that way, or live that way!

Barbie (Margot Robbie) and Gloria (America Ferrara)

But America Ferrara’s speech in the last third of the movie was genuinely powerful, and moving, and absolutely stole the show. I saw this movie with my mother, and she absolutely cried during that speech. And she’s a boomer!

Even my brother, who was by far not the target-audience and only came with me out of boredom, admitted that it was funny and enjoyable. Truly, the only demographic who are really not going to like this movie are the thin-skinned white men who are happy to remain in the chokehold of toxic masculinity and enjoy the unjust power that patriarchy has given them. And, frankly, if that’s you, I’d be shocked you’re reading my blog at all. Otherwise, I feel fairly confident that you’ll find the movie at least amusing, if not outright amazing.

(Side note: also, all the memes have been GLORIOUS online.)

Book Review: The Last Drop of Hemlock

Title: The Last Drop of Hemlock
Author: Katharine Schellman
Release Date: 6 June 2023
How I Got It: Bought print copy
Rating: 4 Stars

Last year I wrote a review for Katharine Schellman’s book Last Call at the Nightingale, which is a Jazz Age-set historical murder mystery. You can find that first review here. The sequel to that book came out in June, so of course I had to get it. I’ve mentioned before (I think) that Schellman became an instant-buy author for me the minute I read her debut novel, a regency-era mystery called The Body in the Garden, which came out in 2020 and which I wrote about here. I am so happy I found this author. I have loved everything she’s published so far, and this newest book, The Last Drop of Hemlock, is no exception.

The Last Drop of Hemlock picks up a couple months after the end of Nightingale (you will need to read the first book to get some reference and know who all the main players are). Our resident disaster bi (and my personal mascot) Vivian Kelly (Viv) is getting used to her new job working at the Nightingale, the speakeasy owned by the dangerous woman she is dangerously attracted to, Honor. As she did in the first book, Viv quickly finds herself entangled in a murder: this time she has promised to help her best friend Bea find out who murdered her uncle with poisoned whiskey. This investigation leads her to asking for favors from Leo, whom she has indecisively kept at a distance since learning of his deception at the end of the first book. She also has to make deals with mobsters, gets attacked, uncovers a bizarre plot of threats and blackmail, and steals a priceless dress covered in gems.

In the midst of this, she finally convinces her straight-laced sister, Florence, to come to the Nightingale where Honor’s right-hand man, Danny, takes an immediate liking to her and the two begin a (truly sweet and adorable) flirtation. For reasons Viv can hardly explain even to herself this budding relationship makes her strangely jealous. It’s not that she has any designs on Danny for herself. It’s more that she is lonely, stuck and confused by her attractions to both Honor and Leo, and hurt by Honor’s decision to push her away despite acknowledging that the attraction is mutual. So, even though she is happy that her serious sister is having fun, becoming more joyful, she is also afraid of losing her place in Florence’s affections, and she’s jealous that she has not likewise found someone who makes her happy the way Danny seems to make Florence happy.

I would say this installment is not quite as good as the first, which I absolutely adored. But it’s still a ton of fun. The murder mystery in this book doesn’t shock me the way the first one did. The way all the pieces fall together in the end is still very satisfying, but I did actually figure it out ahead of the characters this time, which I did not quite manage in the first book.

As with the first book, the research and attention to historical detail is impeccable. As someone who is trying (and mostly failing) to write a 1920s set historical fiction novel, I know how much work that takes, and I am duly impressed. Schellman really does a great job building the setting with rich detail. This version of Jazz Age New York feels real and lived in. The Nightingale in particular comes to life with technicolor and Dolby surround sound. And even the streets and shops and Chinatown and the various incidental characters that live there all feel real and alive.

There are many things I love about the series in general. First, of course, is Viv. As a disaster bi myself, I have a lot of fellow-feeling for Viv. For her chaotic tendencies, her attractions to two very different but both wildly appealing people, her confusion, her need to get lost in the smoke and the sweat and the music at the speakeasy. This is a character I know and understand. One of the things about this installment was getting to see/learn more of the other supporting characters, especially Bea, Florence, and Danny.

I also really liked some of the small bits of social commentary threaded throughout the plot. As Danny shows Viv and Florence his home in Chinatown, they (and we as the readers) learn more about the way the Chinese immigrant community lived in the 20s, and the kinds of racism and obstacles they had to face when they arrived in New York. These books (both of them, but especially this one) also do not shy away from examining the huge gaps between the wealthy and the working class during this time period. So often, Jazz Age stories focus on the wild lives of the rich, but this book stays with the working class and the poor. The ones living in cheap, rundown tenements, who are struggling to scrape by. And in these spaces we see the ways these working class communities supported each other and helped each other in times of crisis. This is one of the biggest strengths of the book in my opinion.

Was this book on quite the same level as the previous one? No. But that is a common issue with the follow-up to a strong opener. That said, I did still really enjoy it and recommend it. And I am looking forward to the next installment. The ending of the Last Drop of Hemlock does, of course, wrap up the big mystery plot of the novel. But it opens up new possibilities for Viv’s personal/romantic life that I am very excited to return to. I am also interested in seeing how the budding romance between Florence and Danny shakes out. Obviously, I don’t know for certain that there will be a next book, but mystery novels like this tend to be popular in long-series form, and provided this one does well enough it seems a safe bet to assume there will be a follow up.

In the meantime, Murder at Midnight – the next book in Katharine Schellman’s other series, the Lily Adler Mysteries, is due out in September. As I said at the top of this post, the first Lily Adler book was Schellman’s debut and I loved it so much that she became an instant-buy for me based on that single book. The third book in the series came out last year, and while I absolutely enjoyed it, I felt strongly that it suffered from missing Lily Adler’s staunch supporter, Captain Jack Hartley. It seems like he should be back in the next book and I am SO excited for it. Yes, I swoon over this character. So sue me. (Don’t actually sue me, I have no money.) If you read these books you will probably understand. And in all fairness, I’m also swooning over Lily the entire time too. And in the grand tradition of many murder mystery series, this one appears to be a Christmas installment!

So, you will no doubt be getting another Katharine Schellman-centered book review in September.