by Alice Carrazza

In the realm of cinema, occasionally a film emerges that stands out for its hidden depth and insight beneath its surface. “Barbie,” the latest blockbuster that has surpassed the billion-dollar mark in global box office earnings, reveals itself to be a masterpiece of critique and parody, a gem for conservative thought that can easily elude a superficial viewing. blockbuster che ha sorpassato il miliardo di dollari di incassi globali, si rivela essere un capolavoro di critica e parodia, un gioiello per il pensiero conservatore che può sfuggire facilmente a una visione superficiale.

Much like a dual return to the past, both “Barbie” and Christopher Nolan’s “Oppenheimer” contribute to a captivating revival of summer cinema. With distinct chromatic nuances, the pink of “Barbie” and the dark elegance of “Oppenheimer” converge in our reality, sparking a heated and polarized debate. On one hand, indeed, conservative commentators like Ben Shapiro express their dissent through lengthy reviews, burning dolls as a form of protest, or, like Claudia Ruvinetti, focusing on female hatred towards men; on the other hand, some delve beyond the seeming triviality of Mattel dolls. In an era where liberal agendas seem to dominate cinematic narratives, “Barbie” indeed surprises with its bold appeal to conservative thought.

"Conservatives should cheer "

Thus, as Katrina Trinko, editor-in-chief of the Daily Signal at the Heritage Foundation, aptly puts it, “Conservatives should cheer that, not despair.” To grasp this point, one must look beyond the rosy surface and read the film as a brilliant satire on our plasticized society. “Barbie” unmasks the folly of gender theory, shifting the focus towards the natural complementarity between man and woman. The film parodies our plastic world, where women are exaggerated Barbies and men dangerously approach becoming Ken copies. This is not merely a film; It is a mirror that reflects a disconcerting reality—a plasticized society lost in its own stereotypes.

This is why the movie goes beyond the apparent banality of Mattel’s dolls and emerges as a critical mirror of the present reality. “Barbie” offers a profound and paradoxically revealing perspective.

The decision to bring Barbie to the big screen wasn’t solely aimed at engaging children; its primary target was adults and a transformation of their imagination. Recognizing that the demographic decline could directly impact the doll market, Mattel undertook this challenge to safeguard future sales, as the projected decline in new generations of buyers would jeopardize the company’s profitability. In a world without little girls, Barbies would lose their meaning, and the film cleverly underscores how the market itself is influenced by far more complex issues than it seems.

Nina Power, senior editor at Compact, writes, “Gerwig’s film is ultimately good-hearted, breaking the fourth wall to posit a feminist fourth wave. If the first wave sought political representation; the second, women’s reality and history; the third—well, whatever that was; the fourth posits a return to sexual difference, and to a heterosocial world in which men and women largely get along.”

Ideologia gender di Stato
Long live diversity

The movie showcases the beauty and strength of human nature, without falling into the absurdity of matriarchy or patriarchy. Being a woman, as it has been understood from the beginning, is beautiful and captivating. The final scene of Barbie visiting the gynecologist is a powerful gesture that re-centers the authenticity of the individual, of the woman.

Gerwig’s work, much like femininity itself, transcends mere superficiality; it is a nuanced human experience that, when reduced to mere labels, risks losing its true essence. Therefore, we are confronted with a crucial question: What legacy do we want to leave for the next generations of women? In a constantly changing world, Barbie invites us to peer beyond the polished appearances and consider the profound nuances of feminine identity as much as masculine.

Thus, Barbie could emerge as a conservative icon, thanks to its ability to challenge the current cultural landscape and bring forth themes deeply rooted in conservative thought. The film prompts critical reflection on modern society, reaffirming the importance of authentic values and sexual difference. Through the portrayal of Barbie and Ken, the film questions excessive cultural homogenization and the tendency to standardize gender roles. A critique of the concept of “gender fluidity” and the representation of Barbie as a female icon should be welcomed by global conservatives who uphold family tradition and the centrality of parental roles. So, why not make Barbie a conservative icon? What better symbol to embody true values with such strength and clarity?

In conclusion

In conclusion, “Barbie” presents an intriguing alternative to the prevailing narrative of progressivism and individualism, while also urging us to reflect on human reality. This masterpiece transcends appearances, inviting us to look beyond the plasticized surface of current society. It stands as an enlightening critique of our contemporary world, spurring us to consider what truly matters in life. In an era dominated by plastic Barbies, this film invites us to rediscover the beauty of human reality. Thus, we can regard “Barbie” as an emerging conservative icon.

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Communication manager of the Centro Studi Machiavelli. A graduate in International Relations, she is currently pursuing a second degree in Political Science, International Security and Public Communication.