“She’s Black. She’s beautiful. She’s dynamite,” served as the tagline of the first Black Barbie, “Christie.” Her bold colors and jewelry, inspired by Perkins’ own style, embody the fullness of Black womanhood, which is eye-opening to see on the big screen.
The mental and psychological impacts of the lack of Black toys in the toy industry are diligently expressed in the film. A comparable social experiment to the “Clark Doll Test” is displayed in the documentary, and the reactions of the new-age children are some of the most memorable scenes.
Davis’ use of interpersonal connectedness, high production value, and moments of Barbie-play evoke emotions of happiness, sadness, and celebration for Black Barbie. She is glorified, dignified, and all-around fabulous, and as an audience member, I wish I had known of her before 2023.
Unknowingly I attended the premiere in a pink wrap dress, and a wrap dress served as the original outfit of Black Barbie. Like Davis, I did not grow up enjoying playing with Barbies. In fact, I sold all of my Barbie dolls to my cousin. But after watching the film from Davis’ perspective, I grew a love for her that I never had. Davis’ film is so powerful it forces growth.
“Gaining Ground: The Fight for Black Land” is a documentary that follows different Black landowners and farmers, expressing the highs and lows of Black land stewardship. This is not a film on the ills of industrial farming and capitalism but an invitation for Black people to gain capital and land sustainability. The film focuses on the implications around “Heir’s Law,” which, according to Cornell Law, is “a person who inherits, or has a right of inheritance in, the property of a person who has died intestate.” The law varies from state to state, but the general idea is applicable nationwide.
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