The morning after the Golden Globes.

The New York Post collects 93 looks from The Golden Globes — all displayed on one page.

My general impression is that women are hiding within great rolls and flows of fabric and armoring their breasts inside stiff structures.

My specific impression is that Karen Gillan (#28) is wearing the dress of the future. I don't know how that was made, but I'm thinking: A.I.

I actually started watching the Golden Globes. We signed up for a free trial of Fubo so we could watch the Packers game, and with old-time-y "live" TV again, we rediscovered the lost art of channel surfing and ended up on the GGs. It was the opening monologue, some comedian I didn't know, and he was terrible. He absolutely did not belong there, taking shots at the stars, as if he were Ricky Gervais. Who turned down this work before they got to him? He referred to Barbie's "boobies" and we, the home audience, saw Greta Gerwig giving him the stinkeye, like Who the hell are you? You're nobody and now you've ensured that you will never be anybody. 

So I guess you don't need to learn the poor guy's name, but, for reference, it's Jo Koy. Here's the whole disaster:

Anyway, we had to turn it off, but I'll just say I'm glad Kieran Culkin won. And glad the Packers won.

"In both films, the [Barbie] doll ultimately decides she must leave her home."

"For [Karen] Carpenter, this precedes an attempt at healing, away from well-meaning if destructive family dynamics. For Margot Robbie’s Barbie, her journey leads her to discovering true power in the real world, outside Barbieland’s colourful confines. Both films imagine the home as a place of repression, and dolls as a vessel for often contradictory ideas about domesticity, femininity and self-realisation."

I'm reading "The banned Barbie film: her anguished first role as Karen Carpenter/Todd Haynes animated the impossibly slender doll to show what drove the singer to her early death. The film has more in common than you might expect with Greta Gerwig’s blockbuster" (The Guardian).

The Todd Haynes film using Barbie as Karen is "Superstar: The Karen Carpenter Story." It's existed since 1987, but litigation made it unavailable until recently. You can watch the whole thing at that link. From the Guardian article:

"The mandate for audience recognition has pushed artists to take increasingly desperate measures—including scrounging up plotlines from popular snacks."

"Eva Longoria recently directed the Cheetos dramedy 'Flamin’ Hot'; Jerry Seinfeld is at work on 'Unfrosted: The Pop-Tart Story.' I.P.-based filmmaking has become so commonplace that [Greta] Gerwig—who made her name acting in tiny mumblecore projects—was caught off guard by complaints that she’d sold out. (One viral tweet: 'i know this is an unpopular opinion but i feel like . . . completely repelled by the barbie movie. branded content with a wink and movie stars is still branded content!') Gerwig told me that adapting Barbie felt as natural as adapting 'Little Women,' though she did use a toy metaphor to describe the process: creating 'a story where there hadn’t been a story' felt like solving 'an intellectual Rubik’s Cube.'... 'Barbie' is somehow simultaneously a critique of corporate feminism, a love letter to a doll that has been a lightning rod for more than half a century, and a sendup of the company that actively participated in the adaptation...."

From "After 'Barbie,' Mattel Is Raiding Its Entire Toy Box/In an era when 'pre-awareness' rules Hollywood, the company is ginning up plots for everything from Hot Wheels to UNO" (The New Yorker).

I learned the word "toyetic." Here's the Wikipedia article, "Toyetic":