ABSTRACT
This paper takes on the dilemmas inherent in white feminism, arguing that recognizing Barbie as an embodiment of white feminism is key to revealing what is politically brilliant in the film. Khader notes that the film ultimately does not follow through on the critique of white feminism it begins to introduce. She then argues that while Barbie points out the hollowness of a certain form of white feminism, it does not follow through on this critique—ending as it does on a message of self-acceptance without social change.
