TV host Andrey Malakhov lashes out at Barbie film channel Barbie and its reception
Television presenter Andrey Malakhov criticized the Telegram channel Barbie and the film led by Margot Robbie and Ryan Gosling under the direction of Greta Gerwig. Malakhov described the movie as absolute nonsense, a verdict he shared amid a broader discussion about audience reactions to the blockbuster release. A separate account within the same circle indicated that a viewer, identified as Yildiz, left the screening halfway through the session. Reports also noted that four other attendees exited the cinema before that moment, underscoring a mixed response from certain viewers in the crowd.
Malakhov himself commented with a touch of humor about his own involvement, saying that he would have preferred to contribute his own two cents as a spectator and that his decision to stay or leave was a personal calculation as the film progressed. Those remarks appeared alongside headlines about the film from the opening weekend and its commercial performance on a global scale.
Barbie premiered on July 19 and quickly became a cultural phenomenon. In its opening weekend alone, the movie achieved a remarkable box office take, surpassing hundreds of millions of dollars and earning a place among the top earners of the period. The scale of the release was comparable to other major summer hits and established Barbie as a dominant force in cinematic markets around the world, including North America and beyond.
Despite its worldwide success, the film faced a few regional challenges in certain markets, illustrating how reception can vary across cinemas. In one large market, performance during the weekend of August 4 to 6 reflected a more cautious reception, with ticket sales lower than the peak expectations and a relatively small percentage of pre-ticket sales relative to total weekend box office. Such data points highlight the ongoing complexity of predicting audience engagement, even for a film that dominates in many arenas.
Meanwhile, there were media reports about regional responses outside the cinema sphere, including discussions in the Middle East about regulatory or cultural considerations around the film and its themes. One report from August 10 mentioned conversations in Lebanon and Kuwait over questions related to the film and its promotion of diverse social topics. These discussions illustrate how a global production can generate varied reactions in different cultural contexts and regulatory landscapes.
Earlier in the year, other public moments connected to Barbie kept the conversation lively. A well-known celebrity from a different sphere hosted a Barbie-inspired event at home, underscoring how the film permeated popular culture far beyond the cinema and into everyday celebrations. The ongoing dialogue around Barbie continues to reflect the broader interplay of film, media, and cultural discourse across regions, including North America where audiences and critics alike are weighing entertainment value against broader societal conversations.
In summary, the Barbie release has been characterized by high box office momentum and broad cultural penetration, even as some observers question particular creative choices or audience compatibility in certain markets. The film’s footprint remains unmistakable in discussions about modern blockbusters, marketing strategies, and the evolving relationship between cinema and contemporary social conversations. While opinions vary, Barbie has certainly become a focal point for examining how a major film can ignite dialogue, generate revenue, and influence pop culture across the United States, Canada, and international audiences alike, well into the current era.