The review here is glowing, but with a caveat. Barbie is brilliant because it weaponizes nostalgia rather than merely servicing it. It is a corporate product that bites the hand that feeds it just hard enough to draw a little blood, but not hard enough to get sued. For popular media, this is a tightrope walk that few will dare to replicate. Conversely, The Super Mario Bros. Movie is the purest distillation of content as comfort food . Directed by Aaron Horvath and Michael Jelenic, the film is a visual encyclopedia of the video game. Every frame contains a power-up, a sound effect, or a secret warp zone from 1985.
It’s derivative. It’s loud. It’s obsessed with the past. But when popular media leans into the absurdity of its own commercialism—as Barbie did with genius and Mario did with sincerity—it creates a communal joy that pure "art" often cannot. We are no longer watching movies; we are watching our childhoods get remastered in 4K. And for now, that is enough to keep the projector rolling. Met-Art.14.06.13.Dido.A.Kalmar.XXX.iMAGESET-P4L
In the landscape of 2020s popular media, the word “original” has become surprisingly terrifying to studio executives. Instead, the reigning champion of entertainment content is the IP (Intellectual Property) reboot. But not the grim, gritty reboots of the 2010s. We have entered the era of the Self-Aware Spectacle —films that function less like traditional narratives and more like two-hour dopamine hits of recognition. The review here is glowing, but with a caveat
Two recent titans define this shift: Barbie (2023) and The Super Mario Bros. Movie (2023). While one is a philosophical treatise painted pink and the other a commercial for plumbing, together they reveal where popular media is headed. Let’s start with the obvious winner. Greta Gerwig’s Barbie faced an impossible task: sell a doll while critiquing the patriarchy. Remarkably, it succeeded by turning its plastic constraint into a surrealist comedy. The film is a masterclass in media literacy . It assumes the audience knows the lore (Skipper, Midge, Weird Barbie) and uses that shared vocabulary to sneak in existential dread about death and cellulite. For popular media, this is a tightrope walk