How Does One Become "Kenough"? - Revised

The Barbie Movie satirizes masculinity by flipping traditional gender roles and exaggerating Ken's character to highlight how restrictive and performative masculinity can be. Ken, portrayed as a "dumb blonde," exists solely to complement Barbie, mirroring how women in traditional narratives have historically been depicted as accessories to men. This dynamic echoes the constraints placed on women in Henrik Ibsen's A Doll’s House, where Nora is confined to the role of a perfect housewife. Ken’s journey in the movie reflects an exaggerated, almost comedic version of the struggle for male identity within a system that pressures men into predefined roles.

In Barbie Land, the ideology of Barbie’s dominance is naturalized--Ken exists in the background, only validated through Barbie’s attention. Upon entering the real world, Ken discovers patriarchy and assumes it as a natural state, illustrating how masculine dominance has been institutionalized over time. His attempt to enforce patriarchy in Barbie Land reflects the way gender roles become universalized, as he blindly adopts societal structures without truly understanding them.

Though significant changes regarding gender roles have occurred since 1879, The Barbie Movie shows that certain ideological structures persist. Women have gained greater autonomy and legal rights, moving beyond the rigid domestic roles like those exemplified by Nora’s character. However, as the film suggests, masculinity remains defined by dominance, the humor in the film arises from how easily Ken absorbs patriarchal ideals, sh0owing how such beliefs are still deeply ingrained and passed down through cultural institutions. 

Ken’s failure to secure a job in the real world despite confidently believing he should be qualified further exposes the film’s commentary on male entitlement. His rejection parallels Torvald's attitude in A Doll’s House, where men like him benefit from systemic advantages regardless of true competence. Torvald's belief in his superiority is reinforced by society rather than merit. When he scolds Nora, "Before all else, you are a wife and mother" (Ibsen, Act 3), he assumes authority without deeper insight, mirroring how unqualified men have historically been granted positions of power based solely on gender.

In A Doll’s House Torvald’s possessiveness is revealed when he refers to Nora as “my little squirrel” (Ibsen, Act 1), infantilizing her and asserting control. Ken’s arc mirrors this transformation, as he realizes his worth is not solely derived from Barbie’s validation, just as Nora understands she is more than just Torvald’s "little skylark." Similarly, Ken’s desperate attempts to assert dominance in Barbie Land are seen when he declares, "I am Kenough," a humorous yet revealing attempt to claim self-worth independent of Barbie’s approval.

Ultimately, both The Barbie Movie and A Doll’s House underscore how gender roles are socially constructed and enforced through ideology. While progress has been made, the fundamental struggle against prescribed identities—whether for men or women—continues. The film’s satirical lens exposes the absurdity of these rigid roles, suggesting that true self-worth must come from within, rather than societal validation.