Ty Warner sort of had the original vision for more “posable” stuffed animals, but he was also a manipulative user. At least that is the conclusion his former “partner,” “Robbie” (based on Patricia Roche) comes to. For a while, he manages to replace her with Maya Kumar (transparently modeled on Lina Triveti), who literally joined the company as an intern answering the phones. However, she had an inkling of the potential for internet marketing way before it was a standard thing.
Kumar also has the brilliant idea to play up the limited nature of the mini-sized plushies. Fortuitously, some of Warner’s designs were starting to catch on, especially those he developed with input from the woman he is romancing and her two daughters. In fact, from Sheila’s perspective (sort of Faith McGowan), her girls did most of the work. However, he sufficiently dazzles them with extravagant gifts, so they do not think about things like rights or credits.
Beanie Bubble is much like Matt Johnson’s BlackBerry, in that both persuasively and dramatically show what each company did right and what they did wrong (though BlackBerry is definitely the superior film). On the other hand, Beanie Bubble is a far more entertaining and more up-tempo viewing experience than the HBO doc Beanie Mania. Regardless, it is fascinating to see how the Ty company rode the original internet wave. Yet, it so conspicuously stacks the deck against Warren, it cries out for an epilogue from his perspective, to give some sense of balance.
Gore and Kulash constantly flash backwards and forwards, for the sake of being hip and stylish. They always immediately identify the year, so it is confusing, but it sometimes fractures the flow. However, it is certainly an aptly colorful production, suiting its subject.
