Source: The Conversation (Au and NZ) – By Jennifer Stokes, Senior Lecturer in Digital and Information Literacy (Education Futures), University of South Australia

Warner Bros. Pictures
This article contains spoilers.
Finally, the highly anticipated Barbie feature has landed.
Barbie is a fabulous spectacle, offering nostalgic delights to audiences, reflexive nods for film buffs and turning a feminist lens on the world’s most famous doll.
Most excitingly, Barbie is an intersectional and liberal feminist comedy, sitting alongside mainstream successes Legally Blonde (2001) and Mean Girls (2004).
Much like Barbie, the protagonists in both films ultimately embrace their intellect as a source of strength and a voice for change – and pink as a colour of strength.
Read more:
Explainer: what does ‘intersectionality’ mean?
Liberal feminism
In contrast to radical feminism, which throws out existing systems to start afresh, liberal feminism works to effect change within systems. Liberal feminists work towards gender equality through raising awareness and political action.
Barbie sits in this second camp: a meta-commentary of Greta Gerwig and Margot Robbie’s work within the film industry, where both have moved from acting towards production roles. This is an industry where powerful roles are still dominated by men, and women’s and LGBTQI+ voices are often sidelined.
Robbie’s early career was dominated by roles as the blonde starlet in films like Wolf of Wall Street (2013). In Suicide Squad (2016), her broken-doll Harley Quinn engaged audiences and outshone The Joker.
In the sequel, Birds of Prey (2020), Robbie (now working as producer) engaged director Cathy Yan to show Harley’s perspective. Here, Harley was empowered to reject her toxic ex, gather a squad of supportive girlfriends, and even subvert fight scenes through gestures of feminine support by offering a hair-tie.
Strong female characters
Gerwig’s films have often explored how strong female characters overcome challenges on their journey to adulthood.
In Little Women (2019), Gerwig gives her characters greater agency than previous adaptations. Amy analyses marriage as an “economic proposition”. Jo negotiates a strong book contract, while also accepting editorial direction to choose a marketable ending of marriage – or death – for her female protagonist.
Much like Robbie’s Harley Quinn and Gerwig’s March sisters, this Barbie challenges expectations that little girls conform to preset moulds of being a woman. It is a critique of dolls as representations of idealised femininity.
By airing diverse voices, Gerwig conveys the strength and contradictions within female experiences. The film reflects how women might effect change within capitalist structures through political power and actively working to counter patriarchal discourses.
This Barbie doesn’t need to tear everything down and start again, instead she works with a collective to restore Barbieland and commits to individual action in the Real World.
Facing the real world
In Barbieland, life seems perfect. The diverse Barbies believe they have empowered women everywhere through choice (a goal Barbie creator Ruth Handler espoused).
Things go awry when Robbie’s “Stereotypical Barbie” starts having thoughts of death. Her heart-shaped breakfast waffle is burnt, her morning shower cold and her feet fall flat.
Weird Barbie (Kate McKinnon) advises dark thoughts have opened a portal to her owner and offers a Matrix-style choice between a pretty heel (Barbieland) and a brown Birkenstock (the Real World).

Warner Bros. Pictures
In the Real World (Los Angeles), Barbie and Ken experience confronting ideas. Barbie meets her owner, teenaged Sasha (Ariana Greenblatt), who denounces Barbie’s negative impact on women. Ken finds out about the patriarchy – and wants it for himself.
In LA, Barbie visits a construction site for “uplifting female energy”, but she is surprised by the all-male crew. One leers “I wanna see what’s under that”; she truthfully responds “Oh, I don’t have a vagina”.
At Mattel, Barbie accepts a glass of water. Tipping the glass, she splashes herself and laughs “there’s usually nothing in here”.
Witnessing male dominance in the Real World, Ken introduces patriarchy to Barbieland, creating a bro-topia where Barbies are subservient to Kens. Scenes of Kens man-splaining to Barbies highlight the folly of assuming women don’t grasp technology or cinema, offering humourous meta-commentary in a film created by strong women.
Doing the imagining
“I created you, so you wouldn’t have an ending,” Ruth’s ghost (Rhea Perlman) tells Barbie.
Feminist film theory critiques the male gaze, which renders women in film as objects to be gazed upon for the pleasure of male viewers.

Warner Bros. Pictures
Robbie’s Barbie works to escape the role of object, both literally and through the cinematography. She is beautiful, but not sexualised. She controls her narrative.
When Barbie finds her friends brainwashed, she falls into despair. Lost, she cries out she doesn’t even feel pretty. The narrator (Helen Mirren) drily notes the filmmakers needed to cast someone other than Robbie to make this point.
Gerwig’s Barbie recognises identity and gender are complex and messy. Sasha’s mother Gloria (America Ferrara) brings the Barbies back by voicing the contradictions women experience everyday. Even Ruth’s ghost fends off comments about perfection, noting her own double mastectomy and tax evasion.
These Barbies have agency, yet Barbie ultimately recognises the agency of a doll is limited.
Supported by Ruth’s ghost, Barbie expresses the desire to be not “just the idea”, but the one “doing the imagining”.
Much like Gerwig and Robbie, Barbie opts for the role of active changemaker, working to shift the system from within.
In bringing Barbie to life, Gerwig, Robbie and their team created a smart, enjoyable, feminist film. Barbie’s story doesn’t end with marriage or death; she steps into her future in pink Birkenstocks.
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Jennifer Stokes does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
– ref. Life in plastic, it’s fantastic? How Barbie reimagines a childhood icon through a feminist lens – https://theconversation.com/life-in-plastic-its-fantastic-how-barbie-reimagines-a-childhood-icon-through-a-feminist-lens-208945



































































Fiji judge dismisses lawyer Richard Naidu’s guilty conviction over ‘scandalising court’ case
By Rashika Kumar in Suva
Suva lawyer Richard Naidu is a free man after the Suva High Court ruled this week that no conviction be recorded against him.
High Court judge Justice Daniel Goundar ruled on Tuesday that the charge of contempt scandalising the court against Naidu be dismissed.
He said summons to set aside the judgment that had found Naidu guilty in November last year was by consent and was dismissed as he did not have jurisdiction.
Justice Gounder ordered the parties to bear their own costs.
While delivering his judgment, Justice Gounder said while mitigation and sentencing were pending, a new government had come into power and a new Attorney-General had been appointed.
He said that after the change of government [FijiFirst lost the general election last December], Justice Jude Nanayakkara, who had been previously presiding over the case, had resigned as a Fiji judge and left the jurisdiction without concluding proceedings.
Justice Gounder said the new Attorney-General, Siromi Turaga had taken a different position regarding the proceedings, which he had expressed in an affidavit filed in support of the summons to dismiss the proceedings.
Ruling set aside
Turaga stated that his view was that the proceedings should never have been instituted against Naidu in the first place.
In the affidavit, Turaga said he had conveyed to Naidu that his view was that the ruling of 22 November 2022 ought to be set aside and the proceedings dismissed.
He added that Naidu had confirmed he would not seek to recover any costs he had incurred in defending the proceedings.
Justice Gounder said the Attorney-General played an important function as the guardian of public interest in contempt proceedings which alleged conduct scandalising the court.
Lawyer Richard Naidu’s conviction ruled not to be recorded and the charge of contempt dismissed. Video: Fijivillage.com
He said the position of the Attorney-General had shifted and he was not seeking an order of committal against Naidu.
The judge said Turaga dkid not support the findings that Naidu was guilty of contempt scandalising the court.
He said it had not been suggested that the present Attorney-General was acting unfairly as the representative of public interest in consenting to an order setting aside the judgement.
Facebook posting
Naidu was found guilty in November last year by High Court judge Justice Jude Nanayakkara for contempt scandalising the court.
Naidu posted on his Facebook page a picture of a judgment in a case represented by his associate that had the word “injunction” misspelt [as “injection”], and then made some comments that he was pretty sure the applicant wanted an injunction.
The committal proceeding was brought against Naidu by the then Attorney-General, Aiyaz Sayed-Khaiyum.
Naidu was represented by Jon Apted while Feizal Haniff represented the Attorney-General.
Rashika Kumar is a Fijivillage reporter. Republished with permission.
Article by AsiaPacificReport.nz