Post-Barbie, Margot Robbie is moving onto her Ocean’s 11 prequel, which will be set in the 1960s. But she’s keeping it in the Barbie family, so to speak, as Ryan Gosling is in talks to join her in the film. 


Okay, I KNOW this isn’t what is happening, but how AMAZING would a Barbie heist movie be? Like, take the impression of the Barbie set photos we saw, of Barbie and Ken as a theme-dressing power couple mixing it up in the real world, and translate that into a heist film. Heat, but it’s all hot pink Corvettes and matching outfits. The Sting, but Skipper is on the crew. Just imagine the AESTHETIC of a Barbie heist movie! Heist movies are so much about the aesthetic, would there BE a heist aesthetic better than Barbie? Well, yes, and that’s “1970s-era glam-punk”, but I haven’t yet figured out why a bunch of glam rockers would be heisting. 


Anyway, they’re probably playing the Ocean progenitors or something similarly fitting, but STILL. Let me have this dream! We do know that the film will be set in Europe in the 1960s, and now I’m having To Catch A Thief dreams. Margot Robbie, Ryan Gosling, the Riviera, gowns and little pill box hats and Beatnik turtlenecks. Someone will definitely play the bongos in at least one scene. I would still love to know why Ocean’s 8, a film that made nearly $300 million against a $70 million budget isn’t getting a sequel, but I can definitely work with Margot Robbie and Ryan Gosling in a mod European heist flick. 


Also, I would also like to know what kind of clauses are going into talent contracts now, to ensure Warner Brothers doesn’t just dump their film from streaming/digital if and when it isn’t “productive” enough for the studio, and how the studio is even defining “productive” in the streaming sense. With all the nonsense Warner Bros. Discovery has been pulling lately—dumping episodes of Sesame Street! SESAME STREET!—I cannot imagine talent and the people who represent them are stoked to be in business with them right now. Contracts were already evolving to include language about compensation in case a film release is shuttled from theatrical to digital, now they have to further evolve to make sure films don’t just disappear into the ether forever. The only people happy right now are the lawyers.