Entertainment
Marc Maron Calls Out ‘Insecure Babies’ Who Are Offended by ‘Barbie’ on August 3, 2023 at 6:34 pm Us Weekly

John Salangsang/Shutterstock
Oppenheimer may be about an atomic bomb, but Barbie’s the movie causing a pop culture explosion.
“My hope for the movie is that it’s an invitation for everybody to be part of the party and let go of the things that aren’t necessarily serving us as either women or men,” director Greta Gerwig told The New York Times in an interview published on Tuesday, July 25.
The highly-anticipated film — which was released on July 21 and stars Margot Robbie as the titular character alongside Ryan Gosling as Ken — raked in in $162 million on opening weekend. The satirical comedy bested Oppenheimer nearly twice-over.
The movie centers on Barbie and Ken as they leave the safety of Barbie World following an existential crisis — “Do you ever think about dying?” Barbie asks her fellow dolls on the dance floor — and head into the unknown of the real world. It’s a film about identity, breaking barriers and questioning the boxes society places us in.
While nearly all of Tinseltown has been decked out in pink even prior to the film’s release, not everyone is on board with some of the movie’s progressive themes — and the haters have made their criticism known.
Keep scrolling for the Hollywood discourse on Barbie:
The Stans
Jenna Bush Hager was openly “weeping” while taking daughter Poppy to see the Barbie movie. The Today With Hoda & Jenna cohost praised the film for its humanistic themes, noting on Tuesday, July 25, that the movie showed “what it means to be human, what it means to be a woman, what it means to be a mother, all of those things.”
Eva Mendes, meanwhile, couldn’t wait to gush about Gosling as Ken, whom she called “Mi Hombre, Mi Vida, Mi Amor” in an effusive Instagram post earlier this month praising her longtime partner in the role. Mendes opted to quote Gerwig’s commentary to Rolling Stone, in which she hailed Gosling’s performance as “some combination of Marlon Brando meets Gene Wilder meets John Barrymore meets John Travolta.”
Even Amy Schumer — who was initially cast as Barbie in the project before the film and its production went in a different direction — had nothing but good things to say about the film.
“Really enjoyed Barbie and Oppenheimer but I think I should have played Emily Blunt‘s role [in Oppenheimer],” she quipped via Twitter on Monday, July 24.
The Barbie-Burning Backlash
For all of the worldwide Barbie love, the movie was also met with drama — with some critiques more legitimate than others.
Robbie joked to People on the day of the movie’s release that her friends were horrified that she didn’t lock lips with Gosling at any part in the film.
“All of my girlfriends were like, ‘Well you did a whole movie with him and you don’t kiss? What’s wrong with you?’ I thought you were kind of in charge on this one!’” she quipped.
Robbie’s friends’ lighthearted humor, however, was no match for men in power who derided film’s feminist themes and political undertones. Sen. Ted Cruz called the movie “propaganda,” while controversial political commentator Ben Shapiro lambasted Barbie as a “flaming garbage heap” and criticized its “woke” narrative. He also shared a YouTube video of his thoughts titled, “Ben Shapiro DESTROYS The Barbie Movie for 43 Minutes,” in which he destroyed Barbie and Ken dolls by setting them ablaze.
Jenny Anderson/ABC
The Defenders
Whoopi Goldberg, for her part, was having none of it when discussing Cruz and Shapiro’s commentary on The View.
“It’s a movie! It’s a movie about a doll!” Goldberg, 67, declared. “I thought y’all would be happy. [Barbie] has no genitalia, so there’s no sex involved. Ken has no genitalia, so he can’t — it’s a doll movie!”
Her View cohost Alyssa Farah Griffin, meanwhile, slammed the men for feeling “emasculated” by the movie.
Weeks after the film’s premiere, Marc Maron weighed in on the discourse via TikTok, calling Barbie a “f–king masterpiece.” He continued in August, “I’ve never seen anything like it. … The fact that certain men took offense to the point where they, you know, tried to build a grift around it in terms of their narrative … it’s so embarrassing for them.”
Maron added: “Any dude that can’t take those hits in that movie, they’ve really got to look in their pants and decide what they’re made of. I mean, Jesus Christ, what a bunch of f–king insecure babies.”
The Fashion, Because Pink Is the New Pink
Forget any of the naysayers — if Barbie managed to get one thing right, it is the fashion. (And not just in the film, though it wouldn’t surprise Us if costume designer Jacqueline Durran was headed for another Oscar.) At every red carpet event promoting the movie Robbie was decked out in variations of actual Barbie outfits through the years — and every movie-goer followed suit.
Kim and Khloé Kardashian rocked the doll’s signature color while taking their daughters and nieces to the World of Barbie Experience in Los Angeles in early July; Kourtney Kardashian opted for hot pink jorts when seeing the film. Bush Hager, 41, sported a pink sweater at the movies while watching Barbie with her 7-year-old daughter, who wore Barbie shorts for the occasion.
Gerwig, for one, was in awe of the reach of the film — and its fashion. “It’s been amazing to walk around and see people in pink,” she told The New York Times. “Never in my wildest dreams did I imagine something like this.”
Greta Gerwig. Anthony Harvey/Shutterstock
The Music
Not only is the Barbie soundtrack so stacked with talent we don’t even know where to begin — see: Nicki Minaj and Ice Spice‘s “Barbie World,” Lizzo‘s “Pink,” Dua Lipa‘s “Dance the Night and many more — Gosling’s “I’m Just Ken” is the powerhouse performance that everyone can’t stop talking about.
“He has a beautiful voice, and he’s a beautiful dancer. We got there organically,” Gerwig told Rolling Stone on Wednesday, July 25, when explaining how she managed to get the former Mickey Mouse Club member to actually show off his singing chops in the film. “I think if I had said, ‘I want you to sing and dance in this movie,’ he would not have necessarily done that for me. But it was kind of that thing of boiling a lobster. I think by the time he was singing and dancing, he didn’t even totally know how we had gotten there. But he’s so fabulous at it.”
Meanwhile, the scene of all of the Kens singing Matchbox 20’s “Push” to the Barbies on the beach? Iconic. Even MB20 frontman Rob Thomas was here for it — even though he thought the band would be the “butt of the joke” at first.
“I want to preface this by saying I thought it was hilarious,” the musician told USA Today, adding that Gerwig is “one of my crushes forever.”
John Salangsang/Shutterstock Oppenheimer may be about an atomic bomb, but Barbie’s the movie causing a pop culture explosion. “My hope for the movie is that it’s an invitation for everybody to be part of the party and let go of the things that aren’t necessarily serving us as either women or men,” director Greta Gerwig
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50 Cent’s new Netflix docuseries about Sean “Diddy” Combs is more than a headline-grabbing exposé; it is a meticulous breakdown of how power, celebrity, and silence can collide in the entertainment industry.
Across its episodes, the series traces Diddy’s rise, the allegations that followed him for years, and the shocking footage and testimonies now forcing a wider cultural reckoning.

1. It Chronicles Diddy’s Rise and Fall – And How Power Warps Reality
The docuseries follows Combs from hitmaker and business icon to a figure facing serious criminal conviction and public disgrace, mapping out decades of influence, branding, and behind-the-scenes behavior. Watching that arc shows how money, fame, and industry relationships can shield someone from scrutiny and delay accountability, even as disturbing accusations accumulate.

2. Never-Before-Seen Footage Shows How Narratives Are Managed
Exclusive footage of Diddy in private settings and in the tense days around his legal troubles reveals how carefully celebrity narratives are shaped, even in crisis.
Viewers can learn to question polished statements and recognize that what looks spontaneous in public is often the result of strategy, damage control, and legal calculation.
3. Survivors’ Stories Highlight Patterns of Abuse and Silence
Interviews with alleged victims, former staff, and industry insiders describe patterns of control, fear, and emotional or physical harm that were long whispered about but rarely aired in this detail. Their stories underline how difficult it is to speak out against a powerful figure, teaching viewers why many survivors delay disclosure and why consistent patterns across multiple accounts matter.
4. 50 Cent’s Approach Shows Storytelling as a Tool for Accountability
As executive producer, 50 Cent uses his reputation and platform to push a project that leans into uncomfortable truths rather than protecting industry relationships. The series demonstrates how documentary storytelling can challenge established power structures, elevate marginalized voices, and pressure institutions to respond when traditional systems have failed.
5. The Cultural Backlash Reveals How Society Handles Celebrity Accountability
Reactions to the doc—ranging from people calling it necessary and brave to others dismissing it as a vendetta or smear campaign—expose how emotionally invested audiences can be in defending or condemning a famous figure. Watching that debate unfold helps viewers see how fandom, nostalgia, and bias influence who is believed, and why conversations about “cancel culture” often mask deeper questions about justice and who is considered too powerful to fall.
Entertainment
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A new Christmas-themed episode of South Park is scheduled to air with a central plot in which Satan is depicted as preparing for the birth of an Antichrist figure. The premise extends a season-long narrative arc that has involved Satan, Donald Trump, and apocalyptic rhetoric, positioning this holiday episode as a culmination of those storylines rather than a stand‑alone concept.
Episode premise and season context
According to published synopses and entertainment coverage, the episode frames the Antichrist as part of a fictional storyline that blends religious symbolism with commentary on politics, media, and cultural fear. This follows earlier Season 28 episodes that introduced ideas about Trump fathering an Antichrist child and tech billionaire Peter Thiel obsessing over prophecy and end‑times narratives. The Christmas setting is presented as a contrast to the darker themes, reflecting the series’ pattern of pairing holiday imagery with controversial subject matter.
Public and political reactions
Coverage notes that some figures connected to Donald Trump’s political orbit have criticized the season’s portrayal of Trump and his allies, describing the show as relying on shock tactics rather than substantive critique. Commentators highlight that these objections are directed more at the depiction of real political figures and the show’s tone than at the specific theology of the Antichrist storyline.
At the time of reporting, there have not been widely reported, detailed statements from major religious leaders focused solely on this Christmas episode, though religion-focused criticism of South Park in general has a long history.
Media and cultural commentary
Entertainment outlets such as The Hollywood Reporter, Entertainment Weekly, Forbes, Slate, and USA Today describe the Antichrist arc as part of South Park’s ongoing use of Trump-era and tech-world politics as material for satire.
Viewer guidance and content advisory
South Park is rated TV‑MA and is intended for adult audiences due to strong language, explicit themes, and frequent use of religious and political satire. Viewers who are sensitive to depictions of Satan, the Antichrist, or parodies involving real political figures may find this episode particularly objectionable, while others may view it as consistent with the show’s long‑running approach to controversial topics. As with previous episodes, individual responses are likely to vary widely, and the episode is best understood as part of an ongoing satirical series rather than a factual or theological statement.
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Growing Up on Camera vs. “Before and After” Culture
Sweeney points out that people are often mistaking normal changes for procedures: she grew up on camera, her roles now come with big‑budget glam teams, and her body has shifted as she has trained, aged, and worked nonstop. Yet every new red‑carpet photo gets folded into a narrative that assumes surgeons, not time, are responsible. Rather than walking through a checklist of what is “real,” she emphasizes how bizarre it is that internet detectives comb through pores, noses, and jawlines as if they are owed an explanation for every contour of a woman’s face.
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By speaking up, Sweeney is redirecting the conversation away from her features and toward the culture that obsesses over them.
She argues that the real issue isn’t whether an actress has had work done, but why audiences feel so entitled to dissect her body as public property in the first place.
For her, the constant speculation is less about curiosity and more about control—another way to tell women what they should look like and punish them when they do not fit. In calling out that dynamic, Sweeney isn’t just defending herself; she is forcing fans and followers to ask why tearing apart someone else’s appearance has become such a popular form of entertainment.
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