Life in plastic isn't fantastic: Why Mattel is facing flak for its new ‘Women in Film’ Barbie collection

Barbie, formerly disapproved of by the toy industry, is now one of the most reputable brands in the US.

She’s worn numerous personas since her New York Toy Fair debut in 1959.

As part of this year’s Career of the Year collection, Mattel has launched the “Women in Film” line, which represents women working in a variety of film vocations.

However, the Hollywood writers don’t seem to be happy about it.

Here’s why.

Barbie’s ‘Women in Film’ toy line

Four dolls in the ‘Women in Film’ line represent the roles of director, cinematographer, studio executive, and movie star.

The dolls are part of a larger series of over 250 Barbie “profession” dolls that Mattel has released.

Barbie’s 2023 career collection included a general manager, coach, referee, and sports reporter, with a focus on women in sports.

According to Mattel, the success of Greta Gerwig’s big-office hit Barbie, starring Margot Robbie and Ryan Gosling, served as inspiration for the most recent line.

“There couldn’t be a more opportune moment to honour women in film and spotlight the unlimited possibilities that are available to young girls in the entertainment industry,” the company said.

Barbie, which Gerwig helmed from a script she co-wrote with her husband Noah Baumbach, made $1.44 billion in revenue worldwide in 2023.

The movie took home the first-ever Golden Globe for Cinematic and Box Office Achievement last week.

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Hollywood writers feel neglected

It is noteworthy that a doll depicting screenwriters is not part of the line, especially in light of the recent Writers Guild of America strike, during which writers hammered on the pavement to remind the film industry of their role in the filmmaking process.

Several Hollywood scriptwriters pointed out on social media that Barbie is not a good fit for the pivotal professional route.

Fleishman Is in Trouble series creator and book author Taffy Brodesser-Akner took to X and said, “Where is Screenwriter Barbie? Does Mattel not know how to make sweatpants? Does Mattel not know how to get avocado toast on a t-shirt and just kind of leave it there?” In a following tweet, she added, “Filing Quarterly/WGA Dues Barbie would be hit among a certain crowd is what I’m saying.”

Where is Screenwriter Barbie? Does Mattel not know how to make sweatpants? Does Mattel not know how to get avocado toast on a t-shirt and just kind of leave it there? https://t.co/VXmZIjaP7N

— Taffy Brodesser-Akner (@taffyakner) January 10, 2024

Eden Dranger, who has written The Unicorn and Beavis and Butt-Head, responded to Brodesser-Akner’s tweet, “We went on strike and this is what we get?!”

We went on strike and this is what we get?!

— Eden Dranger (@Eden_Eats) January 10, 2024

Carolina Munhoz, a writer for the Portuguese-language Netflix titles Invisible City and The Chosen One, said, “Ok, so there are no lines in that movie? Where is the screenwriter Barbie? Signed by a screenwriter that was Barbie for Halloween.”

Ok, so there are no lines in that movie? Where is the screenwriter Barbie? 😣 Signed by a screenwriter that was Barbie for Halloween. pic.twitter.com/keuvpWhUfE

— Carolina Munhóz (@carolinamunhoz) January 10, 2024

The creator of The Wire, David Simon, was among those pointing out that the new toy line left out a number of other important roles that are involved in making a movie, such as editor and agent.

No writer Barbie. No grip Barbie. No Teamster Barbie. No key set PA Barbie who has to go into Movie Star Barbie's trailer and tell the delicate flower to get the fuck down to set because 120 other pissed-off Barbie's are waiting for her.

That film taught Mattel nothing. https://t.co/dPAZ4O1pOE

— David Simon (@AoDespair) January 10, 2024

According to The Guardian, writer-director Carol Morley recommended that Mattel broaden the line with an array of assorted roles in the film industry, like editing, sound mixing, carpentry, and casting.

She suggests the toy company produces “a very long list of all the roles involved in making a film—all possible for a woman to do, of course (even though they may have historically been excluded)—from directing to accounting to foley artist to VFX, etc.

“Then everyone playing with a Barbie could, if they chose, turn their Barbie into the dream production role of their choice! They could dress them as they wanted and make them work accessories out of cereal boxes … It could be a make-your-own film school,” she told the outlet.

“There could be a little online film that showed some of the range of roles in all areas of filmmaking. And let’s not forget beyond release to projectionists, ushers, publicists, and film critics and writers!”

The debate

Jian Yang, a collector and expert on Barbies, expressed his doubts about the criticism of the toys, claiming that they were seen “through a very adult lens.”

Because that’s what children typically assume people on a movie set are, if Mattel’s designers were faced with creating a line of, say, four dolls that would give girls a representation of the film business, they would choose very obvious, relatable caricatures, as The Guardian quoted him as saying.

“If this was an epic gift set—like a 25-doll movie set special edition—then yes, you can have everyone from the soundman to the gaffer to the writers and interns represented. But it’s not. So the choice was obviously made to give kids a glimpse of the industry, but it is by no means exhaustive. Mattel has taken the doll-as-a-reflection-of-real-life conversation very far, but I can safely say the list will never be complete. Can’t we just applaud them for their effort instead of finding fault?” he said.

Women behind the camera

Despite various kinds of success stories, two surveys released last week indicated that progress in the representation of women in front of the camera was slow.

Inclusion in the Director’s Chair, the most recent report from USC’s Annenberg Inclusion Initiative, called the entertainment industry’s commitments to promoting inclusion “performative acts” and “not real steps towards fostering change.”

At the same time, women made up just 16 per cent of directors and 17 per cent of writers on the 250 highest-grossing films in 2023, down from 18 per cent in 2022, according to a study conducted by San Diego State University’s Centre for the Study of Women in Television and Film.

They calculated that the total number of female crew members on such films constitutes a mere five percentage point rise since 1998 and a fall of two per cent from 24 per cent in 2022. Yet on independent productions, the statistics were rosier: 42 per cent of the writers of indie films were female, up from 40 per cent the previous year and from 35 per cent in 2021–22.

According to a 2023 study by Ormax Media and Film Companion, women occupied a mere 13 per cent of the 780 head of department (HoD) roles examined across key departments of direction, cinematography, editing, writing, and production design in India—a tiny increase from 10 per cent in 2021.

The most male-dominated field is cinematography; only five per cent of HoDs are female in this field.

Although there are fewer female screenwriters in the UK than there are in the US, their share of films written is increasing at a quicker rate. Compared to 23 in 2009, 60 British women’s films were released in 2018.

With inputs from agencies