- One of Mattel’s film projects, “Barbie,” has achieved massive success, but it raises concerns about the trend of creating IP-driven films.
- Mattel is not alone in this shift towards safer, IP-driven content, as it reflects an industry-wide movement.
Greta Gerwig’s “Barbie” has defied expectations and become a vibrant masterpiece in pink. However, the abundance of toy IP-driven films in Mattel’s pipeline raises concerns about the trajectory of this approach.
While news about Mattel’s upcoming film projects has slowly emerged, the success of “Barbie” has catapulted them into the spotlight. According to Variety, there are currently 14 films featuring Mattel IP in active development, and this doesn’t even include potential “Barbie” sequels, despite Gerwig’s apparent lack of interest.
If these forthcoming films are as inventive and distinct as “Barbie,” it would be fantastic. However, in an industry already saturated with franchises and adaptations, audiences may already be experiencing fatigue.
To be fair, many of Mattel’s upcoming projects were in the works long before “Barbie” hit theaters. Some of them possess the same captivating oddness that “Barbie” did during its early stages. For instance, Daniel Kaluuya is producing a Barney movie with an “A24-type” feel, whatever that may entail. Lena Dunham is directing a Polly Pocket film starring Lily Collins, known for her role in “Emily in Paris.” Even JJ Abrams is developing a “grounded and gritty” Hot Wheels movie, which sounds intriguing.
Nevertheless, despite the notable figures involved, the extensive reliance on IP is disconcerting in light of the brand promotion within “Barbie.” According to Time, Robbie Brenner, the producer who leads Mattel Films, advised company executives to brace themselves while watching the film. It’s worth mentioning that the movie includes a character labeling Barbie as a fascist – something that Gerwig herself acknowledged Mattel wasn’t enthusiastic about.
In a comprehensive report on Mattel’s plans after “Barbie,” The New Yorker noted that it is not just Mattel but the entire industry that is extensively embracing IP. Warner Bros. Discovery, for example, is working on a scripted “Harry Potter” TV series, attempting to rejuvenate a brand tainted by its creator’s transphobia and a string of lackluster prequel films. Paramount Pictures CEO Brian Robbins also emphasized focusing on well-known franchises like “Avatar: The Last Airbender” for their upcoming animated films, rather than risky original projects with uncertain audiences.
The growing slate of Mattel films and the industry-wide emphasis on established IP is concerning, and it’s difficult not to view the success of “Barbie” as a lesson learned in the wrong direction. The film’s brilliance stemmed from Gerwig’s ability to subvert the brand rather than relying solely on it. It is hoped that Mattel will adopt a similar approach with future adaptations. However, it’s disheartening to see filmmakers resort to familiar properties to take creative risks.
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