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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AfriqueFest: Pan-African Musical Experience — World Cup Edition is set to take over Noto Houston on Sunday, June 28, bringing together East, South, and West African sounds in one immersive celebration of music, culture, and connection. Presented by Experience Noir and Bolanle Media, the event is designed as a cinematic night for the culture, blending global energy with Houston nightlife in a way that feels elevated, intentional, and deeply rooted in African creativity.
Spotlight on DJ Shinski
At the heart of this year’s experience is DJ Shinski. Born and raised in Nairobi, Kenya and now based in Houston, DJ Shinski has built an international name off high-energy sets that move effortlessly across Afrobeats, Amapiano, hip‑hop, dancehall, reggae, and electronic sounds.
He has also become Africa’s most‑subscribed DJ on YouTube, crossing the 2‑million‑subscriber mark and turning his mixes into a global destination for music lovers.
DJ Shinski’s style is precise but unpredictable: one moment it’s classic Afrobeats, the next it’s East African anthems, then a run of throwback hip‑hop or R&B that still feels fresh. That ability to read a room and connect multiple worlds in a single set is exactly why AfriqueFest is building so much of the night’s energy around him.
At AfriqueFest, DJ Shinski helps drive the Safari Grooves segment, representing East and Central Africa from 4 PM to 6 PM. Expect a journey that moves from Nairobi to Dar es Salaam, Kampala, Addis, and beyond, all filtered through his signature “vibes on vibes” approach behind the decks.
DJ Tunez and the rest of the night
Supporting that energy, DJ Tunez leads the Gold Coast Beats chapter from 8 PM to 10 PM, bringing his own Nigerian‑American Afrobeats pedigree to the stage. Together with the Diamond Rhythms segment (South) and a curated roster of DJs, the night stretches across the continent in three distinct musical chapters, all connected by a single dance floor.
Hosted by @chris_gone_crazy, @kingdrewwskyy, @roselynomaka, and @samsnewleaf, AfriqueFest is positioned as more than a party—it’s a celebration of sound, style, and Pan‑African identity in Houston, with DJ Shinski anchoring the experience from the moment doors open.
Brought to you by Bolanle Media & Experience Noir
Brought to you by Bolanle Media and Experience Noir, this World Cup edition of AfriqueFest is crafted as a night where global DJs, storytellers, and music lovers collide and create a shared cultural memory. With DJ Shinski front and center—and DJ Tunez helping close the night—guests can expect a show that reflects both the future of African nightlife and the power of the diaspora to create unforgettable live moments.
If you want to experience DJ Shinski live at AfriqueFest, now is the time to lock in your spot. Purchase your tickets now at AfriqueFest.com and get ready for a night of music, movement, and culture at Noto Houston.
Laughter Meets Inspiration: Our Ladies Show Lands on The Roku Channel
A bold new sketch comedy series for women premieres June 13 across the U.S., U.K., and Canada — arriving on the back of a festival-winning run that has critics and audiences already paying attention.
It isn’t every day a brand-new comedy arrives already wearing a row of trophies. Our Ladies Show does. The seven-episode inspirational sketch comedy series — created, written by, and starring Christin Jezak — begins streaming on The Roku Channel on Friday, June 13, 2026, available free to viewers in the United States, United Kingdom, and Canada.
Produced in partnership with global media services leader Encompass Digital Media, the series sets out to do something rare in today’s streaming landscape: make women laugh out loud and leave them lifted. In a media moment crowded with noise and cynicism, Our Ladies Show is a deliberate counterweight — comedy with a conscience, built for women of every age and background.
A Show Built Around Real Life — and Real Laughs
Each of the seven episodes opens with a monologue from one of the cast members introducing the theme, then rolls into three or more sketches that hit the subject from every comedic angle. The series tackles the things women actually carry: holding grudges, comparison, beauty, patience, gift giving, the importance of community, and dealing with anxiety.
The comedy comes from a place of warmth rather than mockery — a “laugh at ourselves” spirit that runs through a gallery of unforgettable characters: a nosey neighbor, an overwhelmed mom, relentlessly optimistic flight attendants, beauty pageant winners past their prime, and a crew of unruly campers with a counselor who simply cannot hold it together.
Then the show does something most sketch series don’t. In the final segment of every episode, the cast gathers in a living-room setting and invites the audience in — sharing real inspiration drawn from the theme, the sketches, and their own personal stories. It’s the moment the laughter turns into something that stays with you.
The Women Behind the Show
Our Ladies Show brings together three performers with serious range:
- Christin Jezak — creator, writer, and star (Miracle at Manchester, Raising Hope, Jimmy Kimmel Live!)
- Hillary Hawkins — (Primal, Nick Jr.’s Play Along, Gullah Gullah Island)
- Sarah Hernandez — (Nefarious, Unplanned, House of Payne)
“In a world with so much division and depression, I hope women of all ages and backgrounds will watch this show, laugh, be reminded of how beautiful, unique, and loved they are, and remember how much we need each other.”— Christin Jezak, Creator & Star
Already a Festival Favorite
The series’ recurring long-form sketch, Neighborhood Watch, didn’t arrive quietly. Originally released as a web series and revamped for Our Ladies Show with new footage, sound, and music, it has been sweeping the festival circuit:
- 🏆 Best Webseries — 2026 New Media Film Festival (Los Angeles)
- 🏆 Best Web/TV Series — Paris Film Awards
- 🏆 Best Web Series — Dallas Movie Awards
- 🏅 Additional wins at the London Movie Awards, Florence Film Awards, and Hollywood Gold Awards
- 🎬 Official Selection — 2026 Harvard Divinity School Film Fest
- ⭐ Finalist — Houston Comedy Film Festival
- 📣 Three nominations — 2025 Content Christian Media Conference, including Best Actress in a TV and Web Series nods for both Christin Jezak and Sarah Hernandez
Where and When to Watch
Our Ladies Show premieres Friday, June 13, 2026, streaming on The Roku Channel — the home of premium and free entertainment — in the U.S., U.K., and Canada. All seven episodes deliver the series’ signature blend of sharp sketch comedy and genuine encouragement.
Watch the trailer now on your platform of choice:
For more information, visit www.ourladiesshow.com and follow @ourladiesshow on Facebook, Instagram, and TikTok.
About Christin Jezak
Christin Jezak has worked for over 15 years in the entertainment industry. She created and stars in Our Ladies Show and the award-winning web series Neighborhood Watch. She produced the EWTN TV program For the Sake of the Gospel and the all-women web series Ladies Keepin’ It Real, played Dr. Sam in Miracle at Manchester (starring Dean Cain, Daniel Roebuck, and Eddie McClintock), and voices Agnes in the podcast Confessions of a Catholic Single. She held a lead role in a short film for NTT Data directed by Academy Award–winning cinematographer Janusz Kamiński, has co-starred on Raising Hope, and appeared in Jimmy Kimmel sketches and a Grubhub Super Bowl commercial.
About The Roku Channel
Roku pioneered streaming on TV and is the #1 TV streaming platform in the U.S., Canada, and Mexico by hours streamed (Hypothesis Group, Dec. 2025). The Roku Channel is the home of premium and free entertainment, alongside Roku’s Howdy and Frndly TV services. Roku is headquartered in San Jose, California.
About Encompass Digital Media
Encompass Digital Media is a global managed services company — technology-driven, software-defined, and people-powered. Trusted by world-leading broadcasters, networks, sports rights-holders, and OTT platforms, it processes over 25,000 hours of content daily, serves 850 channels to 84 countries, distributes over 243,000 live events annually, and reaches 400 million radio listeners weekly worldwide. Learn more at www.encompass.tv.
Media & Interview Requests: To interview creator Christin Jezak or the cast, contact Christin at cjezak@p2ptheatre.com.
Most of the talk about Euphoria asks one question: was it realistic? That’s the wrong question if you make films. The better one is simpler. How did Sam Levinson get an audience to feel addiction from the inside? And what did it cost him to end the show the way he did?
Strip away the noise and Euphoria is a clinic in three choices: point of view, style, and the ending. Here’s what’s worth taking — and what isn’t.
1. Put the Camera Inside the Character
Most shows about drugs watch from across the room. Euphoria doesn’t. When Rue is high, the camera is high too. Walls breathe. Floors tilt. Time skips. You’re not watching her — you’re stuck inside her head.
That’s the lesson: point of view is a decision you make with the camera and the cut, not a mood you add later in color. Levinson builds it into the lens, the blocking, and the edit.
So before you shoot a scene through a character’s eyes, ask one thing on set: whose eyes is this lens standing in for? Then make every cut respect that.
2. Your Style Has to Mean Something
The glitter. The slow push-ins. The impossible club lighting. Euphoria‘s look got copied everywhere. That’s the trap.
The style worked because it carried weight. The beauty wasn’t decoration — it was the lie addiction tells you, the reason the next high looks worth it. The camera made self-destruction gorgeous on purpose.
The copies missed that. A thousand music videos took the look and left the meaning behind, and you can feel how hollow they are. So here’s the test: if your signature style could be swapped onto any other project and still “work,” it’s not a style. It’s a filter. Every choice should have a reason behind it.
3. The Ending Tells the Audience What It All Meant
When Euphoria ended for good in Season 3, Levinson killed Rue — an accidental, fentanyl-laced overdose. He called it “the honest ending,” saying he wanted to tell a true story about addiction and grief in a time when one mistake can be the last one. Reportedly, that wasn’t the original plan; the death of Angus Cloud, who played Fezco, changed the script.
Forget whether you agree with the choice. Study how it works. An ending is the last instruction you give your audience about how to read everything before it.
By ending on consequence instead of recovery, Levinson reframed seven years of beautiful chaos as a story about cost — not a celebration of it.
It’s also the show’s most debatable move, and that’s worth noticing too. A show that spent years making pain look beautiful had to fight to make that pain land as loss. Did it earn the ending, or enjoy the wreckage too long to stick it? Smart filmmakers will disagree — and that argument is exactly what a good ending is supposed to start.
What Not to Take
The neon grief is the most copied part. It’s also the least useful. Take the surface — the colors, the slow-mo, the trauma-as-texture — and you get the costume without the body.
The real craft is underneath. Commit your camera to a real point of view. Make every stylistic choice earn its place. Treat your ending as the point of the whole thing. Do that, and your work won’t look like Euphoria. It’ll do what Euphoria did.
This piece touches on addiction and substance use. If you or someone you know is struggling, support is available through the SAMHSA National Helpline at 1-800-662-4357.
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