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What Was Cut From ‘Barbie’? Kisses, Cameos, a ‘Fart Opera’ and More on September 23, 2023 at 10:44 pm Us Weekly
It seems like Barbie has everything — girl power, big laughs, more shades of pink than any of Us knew existed — but director Greta Gerwig had to cut a few things from the massive blockbuster.
Allan’s ‘Jaws’-Inspired Scene
Gerwig filmed a scene that paid tribute to Steven Spielberg‘s classic film. “We did this shot on Allan [Michael Cera] that emulated Jaws,” cinematographer Rodrigo Prieto told Variety in September 2023. “He’s terrified [when] Ken hits a wave and then flies in the air. There’s a moment where the police officer sees someone being eaten in the water.”
Prieto explained that Gerwig “could not stop laughing when we shot it” and “kept asking the video assistant to replay it for her just to laugh.”
Unfortunately, it was one of several moments that ended up on the cutting room floor.
All the Fart Jokes
Gerwig admitted that she and film editor Nick Houy wanted to get several flatulence quips in Barbie, but they just couldn’t to squeeze them in.
“We had like a fart opera in the middle [of Barbie]. I thought it was really funny,” Gerwig recalled on a July 2023 episode of IndieWire‘s “Filmmaker Toolkit” podcast. “And that was not the consensus.”
“It was in the wrong place, too,” Houy added. “We need to work it into a more significant narrative moment next time.”
Gerwig added that she wanted to get fart jokes into Lady Bird or Little Women, but they agreed to scrap the gassy quips “about two-thirds through the edit” each time.
From left: Margot Robbie, Ana Cruz Kayne, Greta Gerwig and Hari Nef on the set of ‘Barbie.’ Jaap Buitendijk/Warner Bros.
Saoirse Ronan and Timothée Chalamet’s Cameos
While Margot Robbie and Ryan Gosling starred as the main Barbie and Ken in the film, which hit theaters on Friday, July 21, Gerwig intended to have Saoirse Ronan and Timothée Chalamet play small roles. She previously directed the duo in her solo directorial debut, Lady Bird, in 2017 as well as her 2019 remake of Little Women.
“Well, it was always going to have to be a sort of smaller thing because [Ronan] was actually producing at the time, which I am so proud of her for. And of course, it’s brilliant. But it was going to be a specialty cameo,” Gerwig told CinemaBlend in an interview published earlier this month.
Unfortunately, the scheduling didn’t work out for Ronan, and then similar obstacles prevented Chalamet from appearing. “I was also going to do a specialty cameo with Timmy, and both of them couldn’t do it and I was so annoyed. But I love them so much,” Gerwig shared.
Anthony Harvey/Shutterstock
Barbie and Ken’s Kiss
Barbie is not a very romantic movie. Though Robbie’s Barbie is dating Gosling’s Ken, the doll would rather have every night be girls night, and neither of them have any idea what Ken is supposed to do if he sleeps over at the Dreamhouse.
However, Gosling revealed that he and Robbie did make an attempt to figure out what a smooch would look like between the two characters.
“It was so funny trying to figure out what their idea of kissing might be,” Gosling told People during the joint interview with Robbie earlier this month. “I’m so glad all of that got cut out.”
Emma Mackey and Margot Robbie’s Lookalike Joke
“I’ve been getting told for years that I look like the girl from Sex Education, who is Emma Mackey,” Robbie told BuzzFeed in early July. “She plays one of the Barbies in the movie pretty much because Greta and I thought it would be funny. We were gonna do this whole joke about us looking similar.”
Left: Emma Mackey as Maeve in ‘Sex Education’ season 1. Right: Emma Mackey as a Barbie in ‘Barbie.’ Sam Taylor/Netflix; Jaap Buitendijk/Warner Bros.
Mackey looked much more like Robbie when she had blonde hair in the early episodes of the Netflix hit, which debuted in 2019. However, after Mackey returned to her natural brunette locks and framed her face with bangs, the joke didn’t quite land.
“Once we got all dressed up as our Barbies, we were kind of like, ‘We don’t actually look that similar,’” Robbie recalled with a laugh. “Like, when she’s got her brown hair and I’ve got my blonde hair, we don’t look that similar, so we didn’t put that joke in the movie.”
Still, Robbie accepts compliments for Mackey’s work. “When people come up and say, ‘I loved you in Sex Education,’ I just say, ‘Thank you. Thank you so much,’” Robbie said.
While the lookalike joke was ultimately cut from the Barbie movie, Gerwig and Robbie, who served as an executive producer on the film, made it pretty clear that they big Sex Education fans. Mackey’s Netflix costars Ncuti Gatwa and Connor Swindells appear in Barbie as a Ken and a Mattel intern, respectively.
Weird Barbie and Ken’s Scene
In a behind-the-scenes photo released by Warner Bros., Weird Barbie (Kate McKinnon) is seen lounging in a Dreamhouse pool with Ken happily lays his head in her lap. The photo shows Weird Barbie with a hand on Ken’s bare chest while Gerwig covers her mouth, seemingly holding back laughter. Was Ken going to move on with Weird Barbie? Was Ken going to finally find out what to do at a sleepover? We may never know — but we’d love to find out what was going on in this deleted scene.
Ryan Gosling and Kate McKinnon film ‘Barbie’ with director Greta Gerwig. Jaap Buitendijk/Warner Bros.
While several moments had to end up on the cutting room floor, Gerwig kept the scene that was important to her — a brief moment where Barbie sees an older woman in the real world and tells her she’s beautiful.
“I love that scene so much,” Gerwig told Rolling Stone in an interview published on July 3. “And the older woman on the bench is the costume designer Ann Roth. She’s a legend. It’s a cul-de-sac of a moment, in a way — it doesn’t lead anywhere. And in early cuts, looking at the movie, it was suggested, ‘Well, you could cut it. And actually, the story would move on just the same.’ And I said, ‘If I cut the scene, I don’t know what this movie is about.’”
She added, “That’s how I saw it. To me, this is the heart of the movie. The way Margot plays that moment is so gentle and so unforced. There’s the more outrageous elements in the movie that people say, ‘Oh, my God, I can’t believe Mattel let you do this,’ or, ‘I can’t believe Warner Bros. let you do this.’ But to me, the part that I can’t believe that is still in the movie is this little cul-de-sac that doesn’t lead anywhere — except for, it’s the heart of the movie.”
More Famous Kens (and a Different Allan)
These actors weren’t technically cut from Barbie because they didn’t even make it to set. However, audiences were robbed of seeing Bowen Yang, Dan Levy and Ben Platt‘s Kenergy on the big screen due to logistics (which included filming in London for three months amid strict COVID-19 precautions).
“They were — I’m not kidding — really bummed they couldn’t do it,” casting director Allison Jones told Vanity Fair in an interview published one day before Barbie hit theaters.
In addition to a few different Kens, Allan was almost played by Mindhunter star Jonathan Groff rather than Michael Cera. “Dear, dear Jonathan Groff was like, ‘I can’t believe I’m typing this, but I can’t do Allan,’” Jones shared.
Barbie is in theaters now.
It seems like Barbie has everything — girl power, big laughs, more shades of pink than any of Us knew existed — but director Greta Gerwig had to cut a few things from the massive blockbuster. Allan’s ‘Jaws’-Inspired Scene Gerwig filmed a scene that paid tribute to Steven Spielberg‘s classic film. “We did this shot
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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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