Christopher Sprigman
"Orly Lobel takes the legal campaign that Mattel, the producer of the iconic Barbie, waged against MGA, maker of the upstart Bratz, and spins it into a tale that manages both to fascinate and to illuminate how over-reliance on intellectual property law can damage, rather than aid, innovation."
Booklist (starred review)
"It’s a big, complicated story . . . [but] Lobel doesn’t dumb the story down; she explains its complexities clearly and even elegantly. An outstanding business book."
Jonah Berger
"A thrill ride through backstabbing competition, business strategies, and the marketing of the American icon Barbie. Who knew intellectual property law could be such a page turner? An amazing story and a great read."
Adam Grant
"This book is a courtroom drama, a corporate expose, and a case study of cutthroat creativity. Orly Lobel deftly explains why ownership of ideas should belong to people, not companies."
Tal Ben-Shahar
"A fascinating, insightful, and accessible book with relevance for entrepreneurship and business in general, for copyright law and the legal profession as a whole, for individual success and the success of our economy. It is both pleasure reading and mandatory reading."
Adam Alter
"Orly Lobel’s gripping You Don’t Own Me has all the ingredients of a great story: an upstart hero, an underdog that takes on a powerful top dog, and a string of unpredictable twists and turns that reveal how corporations and the courts determine who owns creative ideas. This is an important and insightful book that’s sure to inspire a heated debate."
Kirkus Reviews
2017-09-24
Exploring the little-known battle for the Barbie doll empire.Lobel (Law/Univ. of San Diego; Talent Wants to Be Free: Why We Should Learn to Love Leaks, Raids, and Free Riding, 2013) bases much of her exposé on the arduous, decadelong copyright infringement litigation in which toy giant Mattel became embroiled in 2000. In 1998, creative artist Carter Bryant, who, after years of employment with Mattel, a company he believed to be "political, risk averse, and stuck in the past," took time off hoping to reignite his inspiration. After seven months in his rural Missouri hometown, the idea for four sassy, edgy, urban dolls was born and then shelved in favor of the steady income Mattel provided. Bryant's motivation returned, and using discarded doll parts and clothing scraps, he created rough doll mock-ups and pitched them to Mattel rival MGA Corporation and its competitive CEO and founder Isaac Larian, who immediately greenlighted the project. The massive success of the brazen Bratz line was enough to eventually dethrone the milquetoast Barbie doll. In her crisp narrative, the author pauses to ponder Mattel's notorious litigiousness and Barbie's iconic history, which is illuminating and contains some eyebrow-raising factoids—e.g., 1965's Slumber Party Barbie came equipped with a diet book (first rule: "Don't eat!") and immovable scale set at 110 pounds. The epic trial between these two toy titans spanned a decade and became a dizzying, ego-driven melodrama. Lobel's research is representative of how cutthroat the toy industry can be, a fact that may surprise readers unfamiliar with Mattel's long struggle to recoup Barbie's image ("ice queen doll") as it became replaced by customer fascination with the "modern, voluptuous, multiethnic" Bratz dolls. The author, whose mother is a renowned psychology professor, recognizes the "toy world's grip on society," and she bolsters her investigation with interviews and testimonials from attorneys, jurors, esteemed Judge Alex Kozinski, executives at both Mattel and MGA, and a barrage of financial reports and court documents.An aggressively researched toy story on the "doll-eat-doll world of litigation over inspiration."
