Likewise, the film sees Ken go from Barbie’s voluntary sub and a second-class citizen in Barbie Land, along with the rest of the Kens, to her oppressor. His arc is much more than being his significant other’s accessory.) (Don’t be fooled by Barbie’s anti-Ken marketing. By the time he sings the number in the third act of Barbie, however, it feels like he’s already pushed the doleful character to his comedic limits. If there wasn’t already plenty of awards buzz for Gosling, “I’m Just Ken” gives viewers a singular moment from his performance to walk away with. (This is very much the energy of a man who was the only boy in his childhood dance crew and performed in an Elvis Presley cover band as a kid.) Listening to him sing through auto-tune, it’s also hard not to envision an alternate universe where Gosling was the Mouseketeer selected as a member of *NSYNC. Throughout Barbie and specifically during “I’m Just Ken,” which Gosling apparently requested to perform, it’s hard not to see that exuberant inner-child that’s been suppressed by his preference for weighty dramatic projects in recent years. So I had to go back and make peace with him and ask for his help.” “And I needed his help to make this movie. “At a certain point, I thought I left that kid behind,” Gosling said.

In an interview with Entertainment Weekly, he admitted that he needed to tap into his former Disney Mouseketeer self to embody the role. Therefore, the film’s musical moments require Gosling to belt his heart out in an equally earnest and comic fashion as opposed to playing it cool. Thankfully, Barbie is a lot bigger, flashier, and campier than La La Land.

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