#masc barbie

[subpixie420]

29th birthday part 2🥳💎🕯️

[dat2ndaccount97]

So earlier I impulsively decided to cut the hair short on that 80s barbie I thrifted a while ago (it was already chopped on one side anyways), and dressed her in ken clothes to look more masc. Also pictured is her GF, and they both look cute together.

[zombiehearts2007]

I’m giving one of my dolls top surgery and my mum comes in asking what the hell I’m doing to my barbie and I said I’m making him a ken and she says why I don’t just buy a ken doll? I said it more fun to make one and that got me thinking, is this why whatever god up there made me trans. Is the process of creation more fun and rewarding then just getting it?

[isaacthedruid]

(spoilers for the Barbie movie)

As a trans-masc non-binary person, I saw myself in Allan. I’m a boy but not a Ken, I'm Ken-like but not quite.

Allan’s role of being awkward, unsure and a little out of his element but still trying to help the Barbies through the chaos and events caused by the Kens, is how I feel as a trans-masc person who is still trying to advocate for women and discuss the issues they face.

I don't identify as a woman anymore but I still grew up as a girl, I lived as a young woman for 14 years, and people continue to be misogynistic towards me when they think I am one-- customers will talk to my male coworkers instead of me, when I’m the person with the answers

I wasn’t expecting to see myself, in terms of gender, in the character often described as Ken’s boyfriend, though it is said in a more playful, joking way rather than any attempt at representation. I’m gay and this version of Allan is definitely queer as well. Yet, that’s a separate story which has already been written, here’s an excellent article about that. [LINK]

Allan isn’t Ken, and he isn’t Barbie either. Allan is simply Allan, an idea with both masc and femme traits. He doesn’t fit into anything specific, he just is. Allan can wear Ken’s clothes but also Barbie’s pink jumpsuit-- but when he's not doing that undercover mission with the Barbies, we only ever see him wearing his own clothes. A set of clothes worn only by him, that iconic striped outfit that is signature to the real Allan doll.

Additionally, notice the horse patch on the front of his shirt, he never changed his clothes unlike the rest of the Kens when they discovered the patriarchy and a new version of masculinity, a toxic and destructive one. Allan only added something to his clothes to “fit in” or act as if he did, but he hated what the Kens did to Barbieland. He also wasn't brainwashed and never acted upon those destructive abilities that were laid out for him. He could've just joined the Kens and broke stuff and drank copious amounts of "brewskis" but he didn't.

Allan is different and it's constantly stated, "there's only one Allan" in this world of Kens (and Barbies).

I will never be Ken nor will I ever be a Barbie again, I’m not happy in either. I’ve tried both, neither is my style (or title). I wear Ken’s clothes as well as Barbie’s, and sometimes I wear Allan’s.

But, I like Allan’s clothes best, they fit me well.

[prettydaina]

I want to be your warm arms kissing and cuddling 🤤🫦

Don’t forget to reblog and dm 🔄

[emsartwork]

Barbie Girls: Ro(sella)

[hatosaur]

barbie meme, but elliedina

[ex0toxin]

highgarden josuke 🌹

[roarmoreau]

they always 💛

[nicholasribcage]

Allan is for all the FTM trans people, who understood the film, but couldn't connect with it, because they're no longer Barbie and didn't have a toxic masculinity phase like Ken

[freelyfuriouspretzel]

allan reminded me a lot of my trans experience that's all I will not elaborate

[gingermintpepper]

Day 5: Orpheus

Interpretation notes and trivia under the cut!

Orfeu meu amor <333 Honestly this could be my longest ever set of notes or the shortest because unlike literally any of the other Apollonian figures in this, I have never once had to waver from what I wanted with Orpheus and that's an Orpheus without Eurydice. I know that sounds kind of strange, Orpheus and Eurydice have always been completely synonymous with each other but like, Orpheus is kind of completely batshit as a concept and I'm tired of pretending the most interesting thing about him is his love life?? His love life is cool, don't get me wrong, but we, collectively, as a group of people don't pay nearly enough attention to the fact that Orpheus was singer and musician so gifted that he made trees and rocks bow to him and he could stir even the gods to grieve from his songs. This is the guy who's song was so beautiful that not only did he outsing the Sirens, they also killed themselves upon hearing his song?? This is the man that was pulled apart but his head just?? Kept on singing??? So the Muses just???? Added his perpetually singing decapitated head to their choir??? There are depictions of Apollo using said decapitated head to help him teach people???? And we're gonna focus on him trying to get his dead wife back?????? Really?? Miss me with that nonsense, Orpheus is the witchest witch to ever witch and if no one else is gonna make him the disgustingly powerful bard he was in myth then I guess I'll have to do it myself. His femme appearance is mostly inspired by the highly ornamental raiment of kithara players and he consistently has some of the fanciest clothes of the cast apocalyptic hellscape be damned.

Some assorted trivia:

Son of Apollo and Calliope - was accidentally conceived during the period when Artemis had forbid Apollo from fraternising with mortal creatures in penance for him orchestrating Orion's death and so Calliope and the other Muses hid him away in the court of King Oeagrus. Didn't know Apollo was actually his father until quite a bit later.

Not a demigod as that would imply he's half human. Orpheus isn't exactly mortal either but he certainly cannot be harmed by most normal methods. There's no formal name for something half god, half muse and not deathless so Orpheus prefers to identify as the Son of a Muse rather identifying strongly as something strictly divine.

Older than Heracles! One of Apollo's oldest children still kicking about, actually, but he's treated like the youngest due to how fragile he'd been after Eurydice's death. Is generally better now than he used to be, but still tends to have depressive episodes every now and again.

Horrifyingly powerful. Orpheus' words are so potent that he does his best to not speak at all for fear of influencing the people around him accidentally. Has the uncanny ability to transmit his own feelings through his songs which can be both fantastic and awful. The Twelve had Apollo put a seal on his tongue when he was grieving so his song would stop completely disrupting the world. The seal's since been removed as Orpheus has had a lot of help working through his feelings. Now he paints whenever he thinks about Eurydice which is much more productive for everyone involved.

Argonaut, storied traveller, speaker of many languages, healer, teacher and storyteller. Teaches occasionally at the Parnassus Institute for Gifted Children and tends to be a favoured teacher whenever he drops by. Is responsible for a lot of very important people knowing some form signed or gestured language.

Has no set 'home' and wanders from temple to temple, sanctuary to sanctuary. His worldly belongings like his clothes and old paintings are currently with Asclepius and his family. Apollo has some of his stuff as well, but they're mostly special instruments like the holy lyre he used on his journey on the Argo.

Never keeps any money on him and is usually fed and clothed by the townspeople wherever he goes. Hasn't had to actually pay for something in decades. Has absolutely no concept of money because he'd forgotten it's a thing people need day to day.

Had a brief fling with Heracles while he was still mortal and the two remain on good terms even now. Heracles tends to visit him every now and again for a stint in some springs and good music.

Favourite colour is maple orange, favourite food is roasted pheasant with rosemary and thyme. Allergic to specifically pale yellow mead but is fine with raw honey and honeycomb. Aristaeus has been trying to figure out what causes his reactions for years now.

[librarygoth]

to preface I did enjoy Barbie, and I feel like I need to make that really obvious bc it’s the internet and some feminine presenting cis woman will call me a misogynist bc I’m butch lmfao, but I think the movie’s core messages are weakened by the way it handles manhood, masculinity, and queerness. Forgive the typos—I’m probably not gonna read this back:

In Barbie world, there is no room for meaningful gender variance. All gendering is idealized gender, with only feminine presenting women and masculine presenting men fitting into the paradigm—queerly gendered figures like Allen, Weird Barbie, Earring Magic Ken, and Sugar’s Daddy Ken are largely excluded from Barbie world society, both under the Barbies’ matriarchy and the Kens’ patriarchy, are regulated to the fringes and are either ridiculed or ignored. Allen, arguably the closest of these queerly gendered figures to the Ken’s idealized masculinity because his queerness is quieter but ultimately present, finds that under the Barbies’ supposedly utopian matriarchy, he is tolerated but not accepted, and that in the Kens’ patriarchy, he is fully terrified for his life.

Stereotypical Barbie’s narrative arc is a queerly gendered one, hinted at by everything from the Indigo Girls to her inability to fit in with the other Barbies. Ultimately, the movie wants us to understand that idealized expectations of gender are harmful, but simultaneously doesn’t provide any real source of liberation for its queerly gendered characters other than escaping their society for another one. The only reason the queerly gendered Weird Barbie is offered a cabinet position at the end is because she is a woman in a matriarchal society, and because the other Barbies feel guilt at not accepting her—but their feelings about her don’t change. They still think she’s not like them.

On the front of manhood and masculinity, something the movie glosses over is that before the Kens are introduced to the concept of patriarchy, they are marginalized people in the Barbie World society. They have no political, social, or economic power, and during the course of the movie it’s even revealed that they not only don’t have homes, but that the Barbies don’t even care enough to know that they don’t have homes. When the Kens discover patriarchy, their enthusiasm isn’t because they inherently think men deserve to rule the world, but because they were exposed, for the first time, to a system where they had power, and they decided they were sick of being subjected. But this point is undermined by a subtle through line of biological essentialism; early on, we see two Kens ready to fight over Stereotypical Barbie’s affections, suggesting that even here, men are inherently more prone to violence. And the society built in Barbie world is a society in which women are naturally intelligent and capable leaders, and where men are vapid and stupid. Interests and activities viewed as classically masculine are dismissed as frivolous and goofy—even ones without any moral or ethical association.

The only men who are exempt are those with queer genders, and even then, this ignores the well-documented misogyny many cis gay men express, and still positions them outside of society without any greener grass in sight. And in Barbie world, queerness for men equates femininity (just as Weird Barbie’s queerness is something more masculine than the other Barbies, even if not masculinity proper), which implied that masculinity, not manhood, is actually the crime, and that manhood and masculinity are inextricably linked (again, Weird Barbie isn’t masculine, per se. She just isn’t feminine).

So while the movie’s message seems to be rooted in the idea that idealized femininity and idealized masculinity are harmful, it seems to also believe that masculinity and manhood are bad, and femininity and womanhood are good, but only if performed in the right way. We are supposed to understand that even if Stereotypical Barbie needs to leave to truly understand herself, the other Barbies have concrete senses of self and purpose, and that even if idealized gender expectations are harmful, Barbie world is better when ruled by the femininity—even that under feminine rule, it’s a utopia. But it’s still a world where queer expressions of gender and sexuality don’t have the opportunity to exist (Barbies only date Kens after all, no matter how many young sapphics made their Barbies scissor). Weird Barbie is specifically an interesting representation of queerness—it is only masculine girls (masculine in this context just means sapphic; sapphicness is a divergence from femininity in any society that values idealized femininity above all other forms), who are believed to have destroyed their Barbies as children. It’s often a point of pride among women who “aren’t like the other girls,” or those who like to feel different. Of course the reality is different—I’m a butch who never destroyed my Barbies; I just made them help my Power Rangers save the day. But the discrepancy between Weird Barbie (who is queer coded in a way straight audiences will likely understand) and Stereotypical Barbie (who is queercoded in a way likely only more accessible to queers, but specifically lesbians, who isn’t attracted to any of the Kens who want her but can’t figure out why), is stark. Stereotypical Barbie isn’t cast out of society because she is still performing a degree of acceptable femininity, and has the privilege choosing to leave. Weird Barbie, on the other hand, is forced to the fringes of society because she is visibly queer.

It’s fascinating to me that feminine presenting cis women (or those like AFAB she/theys who may not be cis but essentially move through the world as if they are feminine presenting cis women), have universally labeled the Barbie movie “for the girls,” when in reality, it feels to me more of a movie for those who fail to perform gender correctly. But I understand why, because the movie still, loudly and clearly, sends the message that femininity is good, and masculinity is bad—and of course the people most harmed by this message, which is oh so prevalent in leftist spaces, queer spaces, feminist spaces, are trans fems (bc transmisogyny), trans mascs, butches, studs, people whose masculinity is racialized, and people who experience marginalized masculinities.

[ch4liz4rd-jpeg]

allan is the trans masc experience

[bittersweetyrn]

something something the trans allegory in princess and the pauper with the cat that lives as a dog

[tellytoys]

Barbara Marvadene (Ms. Steal Your Girl) is serving 35 to life, with your help you can make it seven consecutive life sent-