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a different trend covered in the Peltzman paper: the persistent happiness advantage enjoyed by married couples over the unmarried, which has slightly widened since the early 1970s and now sits at around 35 points on a scale running from -100 to 100.

Over that same period, Americans have become much less likely to be married overall. In 1970, just 9 percent of people ages 25 to 50 had never tied the knot; in 2018, it was 35 percent.

the simplest possible explanation for declining happiness: For women maybe first, and for men too, eventually, less wedlock means more woe.

Barbieland itself is a female-first utopia that looks fundamentally dystopian — plastic, denatured, death-denying, cut off from love and procreation. The way that Barbiedom marginalizes images of pregnancy and motherhood, to say nothing of literal baby dolls, is a running preoccupation of the film

Is the Greta Gerwig movie proudly feminist, crypto-conservative or somewhere in between?

The simplest reading is the feminist one. The movie depicts a dolltopia where Barbies occupy every important job and office (with their Kens as arm candy) and tell themselves that their example has solved all of women’s problems in the real world, too — only to discover, when Margot Robbie’s “stereotypical Barbie” goes on a quest into our own contemporary reality, that sexism still exists, the patriarchy is disguised but maybe still resilient, the board of Mattel is proudly “feminist” but all male, and early 21st-century women are being asked to do it all for meager recompense.

Michael Knowles of The Daily Wire claims, “conservative, anti-feminist, pro-family, pro-motherhood” themes

In part, the conservative spin comes from the sheer fun of Gosling’s performance

I want to talk about these findings in the light of the running debate about the true ideological perspective of the billion-dollar box-office juggernaut “Barbie.”

Ken’s plight is treated sympathetically — he’s mostly running his coup to impress Barbie, and what are men for in the post-sexual-revolution landscape, anyway?

Barbie’s own arc is away from the female-dominated dystopia and back toward embodied womanhood, the real world with all its patriarchal holdovers

“Barbie” is a movie with a feminist default, but also complicated and sometimes muddled feelings about what the sexual revolution has done and where feminism ought to go.

It’s against the resilient patriarchy, but wary of the girlboss alternative

It wants womanhood and motherhood, but it doesn’t want the Kens back in charge, and it doesn’t really know what purpose men should serve.

A guy can literally organize a revolution and it still isn’t enough to make Barbie see him as a lover, a romantic partner, an erotic object, a husband or a father.

so the movie ends — again, spoiler — with Barbie out of Barbieland but on her own, seeking out some sort of reproductive destiny at the gynecologist with a mother-daughter cheerleading squad beside her and no Ken in sight.

There’s an interesting parallel to the ending of Lena Dunham’s series “Girls,”

In each narrative, the one way that the current dissatisfactions of women and men can’t be resolved is with the happy ending that even stories about the battle of the sexes used to take for granted — not a rearrangement of political power but a romantic partnership, not one sex’s rule but both sexes’ contentment.

In the movie they made, “Barbie and Ken” is a statement of reverse subordination, female rule and male eclipse. But in reality, nothing may matter as much to male and female happiness, and indeed, to the future of the human race, as whether Barbie and Ken can make that “and” into something reciprocal and fertile — a bridge, a bond, a marriage.

It causes childishness. It results from it too

Another key moment, though, comes from Ken. It’s near the end of the movie, and he’s finally getting the one thing he’s really wanted: Barbie is listening to him. He’s telling her what it’s like to be dimmed so that somebody else might shine. And then he adds the kicker: “It doesn’t feel good, does it?”

Like any teenager, Ken is figuring out who he is, and trying the world’s possibilities on for size. But his immaturity is not contained, and this is its problem. His adolescent approach to the world, instead, inflicts itself on everyone else

Barbie and Ken on a journey that mimics adolescence: Having left the land of protection and play and easy dreams, they are plunged into the realities of the human world—and the hard transactions of adulthood. The dolls must navigate a place that has no shortage of language for its political condition: patriarchy, marginalization, objectification, oppression.

To develop a system that could both understand a child’s comments and say something engaging back, the company built its own platform to process spoken language — one tailored to the pitch of children’s voices, their prosody and vocabulary. Now, for instance, when a child says “totes jelly” to a ToyTalk app, the language processor understands the phrase actually means: “I’m totally jealous.

The company also spent months testing out jokes, songs, rhymes and questions on focus groups of children to develop conversational characters complete with their own biographies and story arcs. Mr. Jacob sees creating conversation trees for these characters as a new art form, neither film nor video game.

the Campaign for a Commercial-Free Childhood, an advocacy group in Boston, asked Mattel to shelve the talking doll. The group said the voice recordings amounted to “eavesdropping” and could be used to exploit the intimate feelings of children. “Whatever the child says will be manipulated and used to insinuate these dolls further into girls’ lives,” said Susan Linn, the group’s director.

Mattel said the company was “committed to safety and security” and that Hello Barbie’s technology included “a number of safeguards to ensure that stored data is secure and can’t be accessed by unauthorized users.”

If ToyTalk has any influence, however, Hello Barbie, rather than dooming children’s privacy, could just as well usher in a new era of interactive playthings where children can develop elaborate conversations with toys similar to the way Minecraft players build out entire landscapes.

Of course, society may not be ready for children en masse seeking illusory relationships with intelligent devices — even if they are just mimicking their parents

Until last year, when her creators orchestrated a publicity stunt to reveal her provenance, many of her fans assumed she was a flesh-and-blood 19-year-old. But Lil Miquela is made of pixels, and she was designed to attract follows and likes.

Why hire a celebrity, a supermodel or even a social media influencer to market your product when you can create the ideal brand ambassador from scratch

Xinhua, the Chinese government’s media outlet, introduced a virtual news anchor last year, saying it “can work 24 hours a day.

Soul Machines, a company founded by the Oscar-winning digital animator Mark Sagar, produced computer-generated teachers that respond to human students.

“Social media, to date, has largely been the domain of real humans being fake,” Mr. Ohanian added. “But avatars are a future of storytelling.

Edward Saatchi, who started Fable, predicted that virtual beings would someday supplant digital home assistants and computer operating systems from companies like Amazon and Google.

YouPorn got in on the trend with Jedy Vales, an avatar who promotes the site and interacts with its users.

when a brand ambassador’s very existence is questionable — especially in an environment studded with deceptive deepfakes, bots and fraud — what happens to the old virtue of truth in advertising?

the concerns faced by human influencers — maintaining a camera-ready appearance and dealing with online trolls while keeping sponsors happy — do not apply to beings who never have an off day.

“That’s why brands like working with avatars — they don’t have to do 100 takes,”

Many of the characters advance stereotypes and impossible body-image standards. Shudu, a “digital fabrication” that Mr. Wilson modeled on the Princess of South Africa Barbie, was called “a white man’s digital projection of real-life black womanhood

“It’s an interesting and dangerous time, seeing the potency of A.I. and its ability to fake anything,

Last summer, Lil Miquela’s Instagram account appeared to be hacked by a woman named Bermuda, a Trump supporter who accused Lil Miquela of “running from the truth.” A wild narrative emerged on social media: Lil Miquela was a robot built to serve a “literal genius” named Daniel Cain before Brud reprogrammed her. “My identity was a choice Brud made in order to sell me to brands, to appear ‘woke,’” she wrote in one post. The character vowed never to forgive Brud. A few months later, she forgave.

While virtual influencers are becoming more common, fans have engaged less with them than with the average fashion tastemaker online

“An avatar is basically a mannequin in a shop window,” said Nick Cooke, a co-founder of the Goat Agency, a marketing firm. “A genuine influencer can offer peer-to-peer recommendations.”

They also discovered that the Vatican hid these and other sensitive documents presumably to protect Pius’s image, a finding that will embarrass the Roman Catholic Church, which is still struggling with its coverup of clerical sexual abuse.

“If Pius XII comes out of this study of the sources looking better, that’s wonderful. If he comes out looking worse, we have to accept that, too.”

Pius XII, who headed the Catholic Church from 1939 to 1958 and is now a candidate for canonization, was the most controversial pontiff of the 20th century. His failure to denounce the Holocaust publicly earned him the title of “Hitler’s pope,” and critics have for decades asked for his wartime archives to be opened for scrutiny.

It has long been known that the Catholic Church — possibly with covert U.S. assistance — helped ex-Nazis, like the Holocaust bureaucrat Adolf Eichmann, concentration camp doctor Josef Mengele or Gestapo officer Klaus Barbie, flee to South America. These men were anti-communists, and Rome and Washington considered communism their enemy.

The chain of events goes back to Sept. 27, 1942, when a U.S. diplomat gave the Vatican a secret report on the mass murder of Jews from the Warsaw Ghetto. It said about 100,000 had been massacred in and around Warsaw and added that an additional 50,000 were killed in Lviv in German-occupied Ukraine.

The archive included a note confirming that Pius read the American report. It also had two letters to the Vatican independently corroborating the reports of massacres in Warsaw and Lviv, according to the researchers.

The research team also found three small photographs showing emaciated concentration camp inmates and corpses thrown into a mass grave. A Jewish informer had given them to the Vatican ambassador, or nuncio, in neutral Switzerland to send to the Vatican, and the Holy See confirmed reception of them in a letter two weeks later.

The pope’s defenders have long argued he could not speak out more clearly for fear of a Nazi backlash, and they cite his decision to hide Jews at the Vatican and in churches and monasteries as proof of his good deeds.

Other questions Wolf wants to research are Pius’s relations with U.S. political and intelligence networks during and after the war, his role in promoting European unity, and his thoughts about allying with Muslims in a campaign against communism.

Answers to these and other questions could also influence a drive by conservative Catholics to have Pius declared a saint.