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"content": "\u003cp>Recently, for reasons that remain unclear, that weird Quizno's Subs commercial from 2004 started trending on Twitter. If you were alive and awake that year, you definitely remember this:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aZrks-BPeLQ\u003c/p>\n\u003cp>Some hailed the singing \u003ca href=\"https://slate.com/business/2004/02/the-singing-quiznos-rodents-explained.html\">Spongmonkeys\u003c/a> (I didn't make that up; that's honestly what the floating tooth monsters were called) as trend-setters for future surreal ad campaigns. Others relived the confusion they felt the first time they saw the ad. And a surprisingly high number of people expressed abject fear.\u003c/p>\n\u003cp>https://twitter.com/hoofscout/status/1140466088452349952\u003c/p>\n\u003cp>https://twitter.com/baby_ajumma/status/1140487826359902209\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It's not the only time a commercial has unintentionally scared the bejesus out of kids. When I was a child, Tefal—a British range of household electrical items—insisted on putting men with oversized heads in all of their commercials. Their large craniums were supposed to imply a greater degree of intelligence, but all they achieved in my house was giving me and my sister nightmares for years. Was it the grotesquely long skulls that scared us? The creepy multi-tasking? Or the glaring lack of female egg-heads? It doesn't really matter. This advert will never not be horrifying.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2r7XfhTKRMw\u003c/p>\n\u003cp>Kids in the '90s were subjected to similarly horrific head aberrations via Fruit Gushers commercials. The entire series (and it really feels like there were about fifty) evoked a \u003ca href=\"https://roalddahl.fandom.com/wiki/Violet_Beauregarde\">Violet Beauregardean\u003c/a> nightmare—children eating the wrong kind of candy and paying the price, suffering immediate physical \u003cem>and\u003c/em> vocal transformations. This plays out more like a PSA than an ad. Frankly, the banana alone is more terrifying than the entire \u003ca href=\"https://en.wikipedia.org/wiki/Hostel_(2005_film)\">\u003cem>Hostel\u003c/em> franchise\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gyzt3Q05Ris\u003c/p>\n\u003cp>There is clearly something unfathomably difficult about conveying the taste of fruit that drives advertisers to bizarre lengths. The Sprite commercial below portrays a blindfolded human being subjected to physical experiments, something akin to water torture and, apparently, hallucinogens. Its tagline? \"Don't worry. It will only affect your brain.\" Pity the parents who had to explain every bedtime that actually, no, a sexy tennis player wasn't going to come and immobilize them with saran wrap at 4 am.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xrv8-wsf8qo\u003c/p>\n\u003cp>Remarkably, making fruit freaky has been a staple of American advertising for decades. The California Raisins might have sparked an \u003ca href=\"https://en.wikipedia.org/wiki/The_California_Raisin_Show\">entire TV show\u003c/a> and a giant pile of merch, but when you get down to it, there was always something rather unsettling about them. In the clip below, are they worshipping at the feet of a Sun-Maid overlord? Or harassing a woman who's locked in an attic, her smile frozen into a \u003cem>Stepford Wives\u003c/em> grimace to placate them? It's impossible to tell because everyone involved has hollow dead eyes. I am definitely no closer to wanting to eat grapes of sadness.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9hnLVmgfAZA\u003c/p>\n\u003cp>If you want to find unchecked, definitely occurring harassment in commercial-land though, look no further than Mr. Six. The old man's long-term reign of Six Flags-related terror began back in 2004, when he rolled his child-catcher bus into a quiet neighborhood and danced maniacally until he had successfully stolen multiple kids. The whole thing ends up looking a lot like what would happen if \u003ca href=\"https://www.youtube.com/watch?v=XnxgYYfIooc\">\u003cem>The Shining'\u003c/em>s Delbert Grady\u003c/a> escaped the Overlook Hotel and headed straight for suburbia.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l0bvgpg7yig\u003c/p>\n\u003cp>Sometimes, it's not even the mascot that's scary, it's the physical product. After she stopped being Crystal on \u003cem>Dynasty\u003c/em>, Linda Evans got roped into endorsing a beauty product called \u003ca href=\"https://www.amazon.com/Rejuvenique-RJV10KIT-Facial-Toning-Mask/dp/B00005JHWB\">Rejuvenique\u003c/a>, which sends \u003cspan style=\"text-decoration: line-through\">electric shocks\u003c/span> \"pulses\" into the face of the wearer, in the pursuit of tighter skin. Not only does it sound like a torture device, but aesthetically it also resembles a combination of Jason Voorhees and one of the stabby intruders from \u003ca href=\"https://www.imdb.com/title/tt0482606/\">\u003cem>The Strangers\u003c/em>\u003c/a>. (Sidenote: If your family has angered you recently and you fancy getting back at them, you can still find \u003ca href=\"https://www.ebay.com/i/264150847259?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&itemid=264150847259&targetid=483914779430&device=c&adtype=pla&googleloc=9031945&poi=&campaignid=1497326117&adgroupid=60666402627&rlsatarget=pla-483914779430&abcId=1139446&merchantid=114729115&gclid=EAIaIQobChMIx8CVqeaU4wIVSh6tBh0Z0w3UEAQYAyABEgIjm_D_BwE\">these on eBay\u003c/a>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SXcYVh-W14E\u003c/p>\n\u003cp>On the surface, this all suggests that nightmare-inducing commercials are a relatively recent invention, but sheer terror has been a part of the TV realm since the medium was invented. Take a look at this 1953 ad for Sugar Rice Krinkles, consider the fact that Stephen King was around six when this was in rotation, then wonder no more about where the inspiration for \u003ca href=\"https://en.wikipedia.org/wiki/It_(novel)\">\u003cem>It\u003c/em>\u003c/a> came from. (In case you've forgotten, the character of Georgie Denbrough is also six when he's killed by the evil clown in that novel. Coincidence?)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3094hyz-K9Y\u003c/p>\n\u003cp>Amazingly—and as much as I'm sure we'd all like to give these advertisers the benefit of the doubt—it's possible that the horror influence can also work the other way around. A full two years AFTER \u003cem>The Twilight Zone\u003c/em> aired its legendary \u003ca href=\"https://www.kqed.org/pop/109055/the-10-best-twilight-zone-episodes-to-watch-before-jordan-peeles-reboot\">\"Living Doll\"\u003c/a> episode (in which a doll named Talky Tina exacts murderous revenge), Mattel released Baby Secret—a doll that speaks exclusively in whispers, wants to hang out when everyone else is asleep and sounds like it's saying \"I want to kill you.\" Take it away, \u003ca href=\"https://en.wikipedia.org/wiki/Annabelle_(film)\">Annabelle\u003c/a> the First!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zY1xtnnMr2c\u003c/p>\n\u003cp>In case all of this has left you feeling disturbed and on edge, this last clip is intended to make you feel better. Because, sure, while massive heads and animated fruit and strange old men doing the running man are bad, pray for the children of Japan who had to watch on in horror for years as this dog did strange things with human ears, doll heads, other animals and what appear to be ping pong paddles, in a series of commercials that culminate in the dog becoming a red-eyed flying half-alien.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IU6ax9nhHUE\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See? It could be worse!\u003c/p>\n\n",
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This advert will never not be horrifying.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2r7XfhTKRMw'\n title='//www.youtube.com/embed/2r7XfhTKRMw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kids in the '90s were subjected to similarly horrific head aberrations via Fruit Gushers commercials. The entire series (and it really feels like there were about fifty) evoked a \u003ca href=\"https://roalddahl.fandom.com/wiki/Violet_Beauregarde\">Violet Beauregardean\u003c/a> nightmare—children eating the wrong kind of candy and paying the price, suffering immediate physical \u003cem>and\u003c/em> vocal transformations. This plays out more like a PSA than an ad. Frankly, the banana alone is more terrifying than the entire \u003ca href=\"https://en.wikipedia.org/wiki/Hostel_(2005_film)\">\u003cem>Hostel\u003c/em> franchise\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Gyzt3Q05Ris'\n title='//www.youtube.com/embed/Gyzt3Q05Ris'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is clearly something unfathomably difficult about conveying the taste of fruit that drives advertisers to bizarre lengths. The Sprite commercial below portrays a blindfolded human being subjected to physical experiments, something akin to water torture and, apparently, hallucinogens. Its tagline? \"Don't worry. It will only affect your brain.\" Pity the parents who had to explain every bedtime that actually, no, a sexy tennis player wasn't going to come and immobilize them with saran wrap at 4 am.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xrv8-wsf8qo'\n title='//www.youtube.com/embed/xrv8-wsf8qo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remarkably, making fruit freaky has been a staple of American advertising for decades. The California Raisins might have sparked an \u003ca href=\"https://en.wikipedia.org/wiki/The_California_Raisin_Show\">entire TV show\u003c/a> and a giant pile of merch, but when you get down to it, there was always something rather unsettling about them. In the clip below, are they worshipping at the feet of a Sun-Maid overlord? Or harassing a woman who's locked in an attic, her smile frozen into a \u003cem>Stepford Wives\u003c/em> grimace to placate them? It's impossible to tell because everyone involved has hollow dead eyes. I am definitely no closer to wanting to eat grapes of sadness.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9hnLVmgfAZA'\n title='//www.youtube.com/embed/9hnLVmgfAZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you want to find unchecked, definitely occurring harassment in commercial-land though, look no further than Mr. Six. The old man's long-term reign of Six Flags-related terror began back in 2004, when he rolled his child-catcher bus into a quiet neighborhood and danced maniacally until he had successfully stolen multiple kids. The whole thing ends up looking a lot like what would happen if \u003ca href=\"https://www.youtube.com/watch?v=XnxgYYfIooc\">\u003cem>The Shining'\u003c/em>s Delbert Grady\u003c/a> escaped the Overlook Hotel and headed straight for suburbia.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/l0bvgpg7yig'\n title='//www.youtube.com/embed/l0bvgpg7yig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sometimes, it's not even the mascot that's scary, it's the physical product. After she stopped being Crystal on \u003cem>Dynasty\u003c/em>, Linda Evans got roped into endorsing a beauty product called \u003ca href=\"https://www.amazon.com/Rejuvenique-RJV10KIT-Facial-Toning-Mask/dp/B00005JHWB\">Rejuvenique\u003c/a>, which sends \u003cspan style=\"text-decoration: line-through\">electric shocks\u003c/span> \"pulses\" into the face of the wearer, in the pursuit of tighter skin. Not only does it sound like a torture device, but aesthetically it also resembles a combination of Jason Voorhees and one of the stabby intruders from \u003ca href=\"https://www.imdb.com/title/tt0482606/\">\u003cem>The Strangers\u003c/em>\u003c/a>. (Sidenote: If your family has angered you recently and you fancy getting back at them, you can still find \u003ca href=\"https://www.ebay.com/i/264150847259?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&itemid=264150847259&targetid=483914779430&device=c&adtype=pla&googleloc=9031945&poi=&campaignid=1497326117&adgroupid=60666402627&rlsatarget=pla-483914779430&abcId=1139446&merchantid=114729115&gclid=EAIaIQobChMIx8CVqeaU4wIVSh6tBh0Z0w3UEAQYAyABEgIjm_D_BwE\">these on eBay\u003c/a>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SXcYVh-W14E'\n title='//www.youtube.com/embed/SXcYVh-W14E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the surface, this all suggests that nightmare-inducing commercials are a relatively recent invention, but sheer terror has been a part of the TV realm since the medium was invented. Take a look at this 1953 ad for Sugar Rice Krinkles, consider the fact that Stephen King was around six when this was in rotation, then wonder no more about where the inspiration for \u003ca href=\"https://en.wikipedia.org/wiki/It_(novel)\">\u003cem>It\u003c/em>\u003c/a> came from. (In case you've forgotten, the character of Georgie Denbrough is also six when he's killed by the evil clown in that novel. Coincidence?)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3094hyz-K9Y'\n title='//www.youtube.com/embed/3094hyz-K9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Amazingly—and as much as I'm sure we'd all like to give these advertisers the benefit of the doubt—it's possible that the horror influence can also work the other way around. A full two years AFTER \u003cem>The Twilight Zone\u003c/em> aired its legendary \u003ca href=\"https://www.kqed.org/pop/109055/the-10-best-twilight-zone-episodes-to-watch-before-jordan-peeles-reboot\">\"Living Doll\"\u003c/a> episode (in which a doll named Talky Tina exacts murderous revenge), Mattel released Baby Secret—a doll that speaks exclusively in whispers, wants to hang out when everyone else is asleep and sounds like it's saying \"I want to kill you.\" Take it away, \u003ca href=\"https://en.wikipedia.org/wiki/Annabelle_(film)\">Annabelle\u003c/a> the First!\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zY1xtnnMr2c'\n title='//www.youtube.com/embed/zY1xtnnMr2c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In case all of this has left you feeling disturbed and on edge, this last clip is intended to make you feel better. Because, sure, while massive heads and animated fruit and strange old men doing the running man are bad, pray for the children of Japan who had to watch on in horror for years as this dog did strange things with human ears, doll heads, other animals and what appear to be ping pong paddles, in a series of commercials that culminate in the dog becoming a red-eyed flying half-alien.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IU6ax9nhHUE'\n title='//www.youtube.com/embed/IU6ax9nhHUE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>See? It could be worse!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The 'Stranger Things' Season 3 Trailer Is Here And It Is Totally Tubular",
"title": "The 'Stranger Things' Season 3 Trailer Is Here And It Is Totally Tubular",
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"content": "\u003cp>One of the major appeals of \u003cem>Stranger Things\u003c/em> has always been how darn '80s it is. Stylistically, the Netflix series has been \u003cem>E.T\u003c/em>. meets \u003cem>The Goonies\u003c/em> meets Stephen King from the get-go. Those of us who grew up in that decade know the joy of a Ghostbusters costume, the pain of Barb's oversized eyeglasses and the convenience of the Walkman. While Season 2 upped the fashion ante with Eleven's shoulder-padded New Wave makeover, Season 3 is promising to take things to the next level. Come with us as we enjoy all the most gloriously '80s elements of the new trailer.\u003c/p>\n\u003cp>Mötley Crüe's 1985 hit, \"\u003ca href=\"https://www.youtube.com/watch?v=Gmrh42foUsg\">Home Sweet Home\u003c/a>,\" playing on this beast:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110468\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-800x397.png\" alt=\"\" width=\"800\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-800x397.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-160x79.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-768x381.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM.png 828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Dustin's toys—including an R2-D2, an Ultra Magnus Transformer and a G.I. Joe tank:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110467\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-800x527.png\" alt=\"\" width=\"800\" height=\"527\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-800x527.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-160x105.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-768x506.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM.png 835w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dustin's Farrah Fawcett hairspray (which was a \u003ca href=\"http://americanhistory.si.edu/collections/search/object/nmah_1414216\">real\u003c/a> thing):\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110470\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-800x482.png\" alt=\"\" width=\"800\" height=\"482\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-800x482.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-160x96.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-768x462.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-1020x614.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM.png 1121w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This homemade antenna which is totally reminiscent of E.T. and Elliott phoning home:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110472\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-800x476.png\" alt=\"\" width=\"800\" height=\"476\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-800x476.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-160x95.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-768x457.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-1020x608.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM.png 1135w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This beautifully tousled mullet:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110473\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.03.22-PM.png\" alt=\"\" width=\"655\" height=\"411\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.03.22-PM.png 655w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.03.22-PM-160x100.png 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003c/p>\n\u003cp>Mall culture:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110475\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.06.33-PM.png\" alt=\"\" width=\"668\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.06.33-PM.png 668w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.06.33-PM-160x93.png 160w\" sizes=\"(max-width: 668px) 100vw, 668px\">\u003c/p>\n\u003cp>...and all of the shocking pink neon that came with that:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110474\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.07.45-PM.png\" alt=\"\" width=\"732\" height=\"413\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.07.45-PM.png 732w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.07.45-PM-160x90.png 160w\" sizes=\"(max-width: 732px) 100vw, 732px\">\u003c/p>\n\u003cp>Every single one of these outfits:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110478\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-800x372.png\" alt=\"\" width=\"800\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-800x372.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-160x74.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-768x357.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-1020x474.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-1200x558.png 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM.png 1271w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And these outfits:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110479\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-800x364.png\" alt=\"\" width=\"800\" height=\"364\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-800x364.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-160x73.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-768x349.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM.png 912w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And \u003cem>definitely\u003c/em> these outfits:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110476\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/stranger-things-season-3-trailer-breakdown-700x314.jpg\" alt=\"\" width=\"700\" height=\"314\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/stranger-things-season-3-trailer-breakdown-700x314.jpg 700w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/stranger-things-season-3-trailer-breakdown-700x314-160x72.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/p>\n\u003cp>To revel in all of this nostalgic glory—plus at least one brand new monster—watch the trailer in full:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6Am4v0C_z8c\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Season 3 of \u003cem>Stranger Things\u003c/em> arrives on Netflix, July 4, 2019.\u003c/p>\n\n",
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"excerpt": "A look at the most gloriously '80s elements of the Season 3 trailer of 'Stranger Things.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the major appeals of \u003cem>Stranger Things\u003c/em> has always been how darn '80s it is. Stylistically, the Netflix series has been \u003cem>E.T\u003c/em>. meets \u003cem>The Goonies\u003c/em> meets Stephen King from the get-go. Those of us who grew up in that decade know the joy of a Ghostbusters costume, the pain of Barb's oversized eyeglasses and the convenience of the Walkman. While Season 2 upped the fashion ante with Eleven's shoulder-padded New Wave makeover, Season 3 is promising to take things to the next level. Come with us as we enjoy all the most gloriously '80s elements of the new trailer.\u003c/p>\n\u003cp>Mötley Crüe's 1985 hit, \"\u003ca href=\"https://www.youtube.com/watch?v=Gmrh42foUsg\">Home Sweet Home\u003c/a>,\" playing on this beast:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110468\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-800x397.png\" alt=\"\" width=\"800\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-800x397.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-160x79.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-768x381.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM.png 828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Dustin's toys—including an R2-D2, an Ultra Magnus Transformer and a G.I. Joe tank:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110467\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-800x527.png\" alt=\"\" width=\"800\" height=\"527\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-800x527.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-160x105.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-768x506.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM.png 835w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dustin's Farrah Fawcett hairspray (which was a \u003ca href=\"http://americanhistory.si.edu/collections/search/object/nmah_1414216\">real\u003c/a> thing):\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110470\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-800x482.png\" alt=\"\" width=\"800\" height=\"482\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-800x482.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-160x96.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-768x462.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-1020x614.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM.png 1121w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This homemade antenna which is totally reminiscent of E.T. and Elliott phoning home:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110472\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-800x476.png\" alt=\"\" width=\"800\" height=\"476\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-800x476.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-160x95.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-768x457.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-1020x608.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM.png 1135w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This beautifully tousled mullet:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110473\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.03.22-PM.png\" alt=\"\" width=\"655\" height=\"411\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.03.22-PM.png 655w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.03.22-PM-160x100.png 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003c/p>\n\u003cp>Mall culture:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110475\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.06.33-PM.png\" alt=\"\" width=\"668\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.06.33-PM.png 668w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.06.33-PM-160x93.png 160w\" sizes=\"(max-width: 668px) 100vw, 668px\">\u003c/p>\n\u003cp>...and all of the shocking pink neon that came with that:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110474\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.07.45-PM.png\" alt=\"\" width=\"732\" height=\"413\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.07.45-PM.png 732w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.07.45-PM-160x90.png 160w\" sizes=\"(max-width: 732px) 100vw, 732px\">\u003c/p>\n\u003cp>Every single one of these outfits:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110478\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-800x372.png\" alt=\"\" width=\"800\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-800x372.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-160x74.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-768x357.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-1020x474.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-1200x558.png 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM.png 1271w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And these outfits:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110479\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-800x364.png\" alt=\"\" width=\"800\" height=\"364\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-800x364.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-160x73.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-768x349.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM.png 912w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And \u003cem>definitely\u003c/em> these outfits:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110476\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/stranger-things-season-3-trailer-breakdown-700x314.jpg\" alt=\"\" width=\"700\" height=\"314\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/stranger-things-season-3-trailer-breakdown-700x314.jpg 700w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/stranger-things-season-3-trailer-breakdown-700x314-160x72.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/p>\n\u003cp>To revel in all of this nostalgic glory—plus at least one brand new monster—watch the trailer in full:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6Am4v0C_z8c'\n title='//www.youtube.com/embed/6Am4v0C_z8c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Season 3 of \u003cem>Stranger Things\u003c/em> arrives on Netflix, July 4, 2019.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "How Teen Lit of the '80s and '90s Talked Sex, Love, Friends and More",
"title": "How Teen Lit of the '80s and '90s Talked Sex, Love, Friends and More",
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"content": "\u003cp>A couple years ago, author Gabrielle Moss was feeling \"worn down by the world\" and found herself impulse buying an entire crate of \"Sweet Valley High\" books on eBay for $25.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/672893474/673022671\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>At first, Moss was binging these books—\"Sweet Valley\" and other series—as \"nostalgic stress relief.\" Moss had devoured these pastel-colored paperbacks during her own preteen years—she estimates she read two per week.\u003c/p>\n\u003cp>\"I started wondering ... what was the impact of reading all these books?\" she says. She attempts to answer that question in \u003cem>\u003ca href=\"https://www.amazon.com/Paperback-Crush-Totally-Radical-History/dp/1683690788\">Paperback Crush\u003c/a>, \u003c/em>a deep dive into teen lit of the '80s and '90s.\u003c/p>\n\u003cp>These books were focused on \"heterosexual, white, middle-class, girl experiences,\" she says. The protagonist usually faces a \"small problem that seems very big to her\" that gets wrapped up in about 100 pages. She says many of the books may have been written off as unserious, but they reveal something meaningful about the time in which they were written.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the cyclical nature of trends in teen fiction\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the '40s and '50s and early '60s you had very wholesome books for girls called \"malt shop novels\" ... Jenny had a crush on Tommy, they kissed with closed mouths, the end. In the late '60s, you had the rise of something called \"the problem novel\"—the most famous example of that would be probably S.E. Hinton's \u003ca href=\"https://www.npr.org/books/titles/152040513/the-outsiders\">The Outsiders.\u003c/a> And these books were grittier, more realistic—you had sex and drugs and family trouble. And then, in the late '70s, the cycle just turned over again. A series called \"Wildfire\" was first released in 1979, and these were very, very chaste, very wholesome romance novels and they were such enormous hits that it was like the \"malt shop\" books were back.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-107905\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/12/baby-sitters-club-800x495.jpg\" alt=\"\" width=\"800\" height=\"495\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-800x495.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-768x475.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-1020x631.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-1200x743.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-1920x1188.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-1180x730.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-960x594.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-240x149.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-375x232.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>On female friendships\u003c/strong>\u003c/p>\n\u003cp>When they started, in the mid-'80s, publishing more books for younger girls—books like \"Baby-Sitters Club\"—those girls were too young to be obsessed with boyfriends and so instead they had these girls define themselves by their friendship relationships with other girls. And I think that was one of the biggest impacts these books had on our generation ... kind of planting the seed of the idea that your friendships with other women were as important in your life as a romantic relationship might be down the line.\u003c/p>\n\u003cp>\u003cstrong>On how '80s and '90s books barely talked about sex\u003c/strong>\u003c/p>\n\u003cp>YA books in the '70s were becoming franker about sex with authors like Judy Blume. And then, the return of the \"malt shop\" vibe plus the beginning of the AIDS crisis kind of added up to sex becoming completely absent from these books except in cases where someone would have sex once, come down with a fatal STD, and it would be a learning experience for everyone. ...\u003c/p>\n\u003cp>A lot of these books were set up as a conscious corrective to the more freewheeling sexual attitudes of '70s YA. You know, now that sex was suddenly revealed to be so dangerous and have so many consequences that the previous generation hadn't been aware of, I think there was a conscious decision on the part of YA authors to say ... \"We're not going to depict this as something you can do lightly, or something that you should be doing at all.\"\u003c/p>\n\u003cp>\u003cstrong>On teen books in the '80s and '90s that dealt with difficult subjects, such as suicide or eating disorders\u003c/strong>\u003c/p>\n\u003cp>There was so much news—high-profile kidnappings of children, you know, injuries on playgrounds. People were suddenly very aware of how vulnerable children were, how much there was in the world that could hurt them. And I think that these books were a reaction to that understanding. So the message of all of them was ... Be careful. Don't talk to strangers. If you feel anything bad, you know, if you feel like you want to skip lunch today to be thinner, if you're feeling sad, tell your parents right away. Don't try to deal with it on your own.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-107904\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/12/sweet-valley-high-800x495.jpg\" alt=\"\" width=\"800\" height=\"495\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-800x495.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-768x475.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-1020x631.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-1200x743.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-1920x1188.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-1180x730.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-960x594.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-240x149.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-375x232.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>On these books lacking diversity\u003c/strong>\u003c/p>\n\u003cp>These books were incredibly white. ... Even series of like the \"Baby-Sitters Club\" that had some characters of color were usually written by white authors. And I spoke to a few authors of color who had been working during this period ... and they told me they ran into, you know, tremendous institutional racism at publishers—people who told them ... \"We only publish historical novels about African-American teens\" or \"We already published a book this year with an Asian-American protagonist ... we don't have room on our schedule for another one.\"\u003c/p>\n\u003cp>\u003cstrong>On the lessons she learned from the fiction she read as a teen\u003c/strong>\u003c/p>\n\u003cp>Even in a very fluffy book like \"Sweet Valley High\" there's an emphasis on making yourself happy. ... In books like \"Baby-Sitters Club\" or \"Sleepover Friends\" there's an emphasis on thriving and doing things that bring you joy, helping others, creating a community, seeing your ideas through. Those weren't really ideas I was getting at home, just because my parents were from a different generation. But I really got it from those books—I feel like they raised me in a way. ...\u003c/p>\n\u003cp>There's fluffy moments, there's meaningful moments, there's a lot of moments where they're arguing about sweater dresses—it all comes together into a beautiful whole.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Melissa Gray and Jolie Myers produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Love+With+Teen+Lit%3A+Remembering+The+%27Paperback+Crush%27+Of+The+%2780s+And+%2790s&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A couple years ago, author Gabrielle Moss was feeling \"worn down by the world\" and found herself impulse buying an entire crate of \"Sweet Valley High\" books on eBay for $25.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/672893474/673022671\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>At first, Moss was binging these books—\"Sweet Valley\" and other series—as \"nostalgic stress relief.\" Moss had devoured these pastel-colored paperbacks during her own preteen years—she estimates she read two per week.\u003c/p>\n\u003cp>\"I started wondering ... what was the impact of reading all these books?\" she says. She attempts to answer that question in \u003cem>\u003ca href=\"https://www.amazon.com/Paperback-Crush-Totally-Radical-History/dp/1683690788\">Paperback Crush\u003c/a>, \u003c/em>a deep dive into teen lit of the '80s and '90s.\u003c/p>\n\u003cp>These books were focused on \"heterosexual, white, middle-class, girl experiences,\" she says. The protagonist usually faces a \"small problem that seems very big to her\" that gets wrapped up in about 100 pages. She says many of the books may have been written off as unserious, but they reveal something meaningful about the time in which they were written.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the cyclical nature of trends in teen fiction\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the '40s and '50s and early '60s you had very wholesome books for girls called \"malt shop novels\" ... Jenny had a crush on Tommy, they kissed with closed mouths, the end. In the late '60s, you had the rise of something called \"the problem novel\"—the most famous example of that would be probably S.E. Hinton's \u003ca href=\"https://www.npr.org/books/titles/152040513/the-outsiders\">The Outsiders.\u003c/a> And these books were grittier, more realistic—you had sex and drugs and family trouble. And then, in the late '70s, the cycle just turned over again. A series called \"Wildfire\" was first released in 1979, and these were very, very chaste, very wholesome romance novels and they were such enormous hits that it was like the \"malt shop\" books were back.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-107905\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/12/baby-sitters-club-800x495.jpg\" alt=\"\" width=\"800\" height=\"495\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-800x495.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-768x475.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-1020x631.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-1200x743.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-1920x1188.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-1180x730.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-960x594.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-240x149.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-375x232.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/baby-sitters-club-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>On female friendships\u003c/strong>\u003c/p>\n\u003cp>When they started, in the mid-'80s, publishing more books for younger girls—books like \"Baby-Sitters Club\"—those girls were too young to be obsessed with boyfriends and so instead they had these girls define themselves by their friendship relationships with other girls. And I think that was one of the biggest impacts these books had on our generation ... kind of planting the seed of the idea that your friendships with other women were as important in your life as a romantic relationship might be down the line.\u003c/p>\n\u003cp>\u003cstrong>On how '80s and '90s books barely talked about sex\u003c/strong>\u003c/p>\n\u003cp>YA books in the '70s were becoming franker about sex with authors like Judy Blume. And then, the return of the \"malt shop\" vibe plus the beginning of the AIDS crisis kind of added up to sex becoming completely absent from these books except in cases where someone would have sex once, come down with a fatal STD, and it would be a learning experience for everyone. ...\u003c/p>\n\u003cp>A lot of these books were set up as a conscious corrective to the more freewheeling sexual attitudes of '70s YA. You know, now that sex was suddenly revealed to be so dangerous and have so many consequences that the previous generation hadn't been aware of, I think there was a conscious decision on the part of YA authors to say ... \"We're not going to depict this as something you can do lightly, or something that you should be doing at all.\"\u003c/p>\n\u003cp>\u003cstrong>On teen books in the '80s and '90s that dealt with difficult subjects, such as suicide or eating disorders\u003c/strong>\u003c/p>\n\u003cp>There was so much news—high-profile kidnappings of children, you know, injuries on playgrounds. People were suddenly very aware of how vulnerable children were, how much there was in the world that could hurt them. And I think that these books were a reaction to that understanding. So the message of all of them was ... Be careful. Don't talk to strangers. If you feel anything bad, you know, if you feel like you want to skip lunch today to be thinner, if you're feeling sad, tell your parents right away. Don't try to deal with it on your own.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-107904\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/12/sweet-valley-high-800x495.jpg\" alt=\"\" width=\"800\" height=\"495\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-800x495.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-768x475.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-1020x631.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-1200x743.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-1920x1188.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-1180x730.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-960x594.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-240x149.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-375x232.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/sweet-valley-high-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>On these books lacking diversity\u003c/strong>\u003c/p>\n\u003cp>These books were incredibly white. ... Even series of like the \"Baby-Sitters Club\" that had some characters of color were usually written by white authors. And I spoke to a few authors of color who had been working during this period ... and they told me they ran into, you know, tremendous institutional racism at publishers—people who told them ... \"We only publish historical novels about African-American teens\" or \"We already published a book this year with an Asian-American protagonist ... we don't have room on our schedule for another one.\"\u003c/p>\n\u003cp>\u003cstrong>On the lessons she learned from the fiction she read as a teen\u003c/strong>\u003c/p>\n\u003cp>Even in a very fluffy book like \"Sweet Valley High\" there's an emphasis on making yourself happy. ... In books like \"Baby-Sitters Club\" or \"Sleepover Friends\" there's an emphasis on thriving and doing things that bring you joy, helping others, creating a community, seeing your ideas through. Those weren't really ideas I was getting at home, just because my parents were from a different generation. But I really got it from those books—I feel like they raised me in a way. ...\u003c/p>\n\u003cp>There's fluffy moments, there's meaningful moments, there's a lot of moments where they're arguing about sweater dresses—it all comes together into a beautiful whole.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Melissa Gray and Jolie Myers produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Love+With+Teen+Lit%3A+Remembering+The+%27Paperback+Crush%27+Of+The+%2780s+And+%2790s&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Other F-Word: How Homophobic Language Has Ruined '80s Teen Movies",
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"content": "\u003cp>Recently, \u003cem>Saturday Night Live\u003c/em> did a sketch with Larry David that served to shine a light on just how much the national vernacular has changed in the last three decades. Slang that was once widely accepted and commonly used has fallen out of favor in a huge way since political correctness hit the mainstream in the 1990s. The sketch, while very funny, is cringe-worthy for anyone who remembers the bad old days:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a9RGU356Mi0\u003c/p>\n\u003cp>The skit is a reminder of just how acceptable and prevalent homophobic language in mainstream media was in the 1980s, but re-watching almost any teen movie from that decade does exactly the same thing. Recently, I've been revisiting beloved movies from my childhood, only to have every single one of them ruined by gay slurs. (There are a multitude of problems in movies from the period, but this is by far the most consistent one.)\u003c/p>\n\u003cp>Homophobia in the movies didn't begin and end in the 1980s—LGBTQ slurs continue in the movies to this day—but it's astonishing how it's almost impossible to find an '80s teen movie that\u003cem> doesn't\u003c/em> use a homophobic slur at some point.\u003c/p>\n\u003cp>The homophobic F-word pops up all over the place. And one of the most egregious examples is in 1985's \u003ca href=\"http://www.imdb.com/title/tt0090142/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Teen Wolf\u003c/em>\u003c/a>. Yes, beloved, silly, supposed-to-be-innocuous \u003cem>Teen Wolf, \u003c/em>played by national treasure, Michael J. Fox. In one early scene, Scotty tells his best friend Stiles that he needs to talk to him about something. Then, the following exchange takes place:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Stiles:\u003c/strong> “Are you gonna tell me you’re a fag? Because if you’re gonna tell me you’re a fag, I just don’t think I could handle it...”\u003cbr>\n\u003cstrong>Scotty:\u003c/strong> “I’m not a fag… I’m a werewolf.”\u003c/p>\n\u003cp>Within moments, Stiles is relieved and happy about this because, in this film, being gay is worse than being a literal lycanthrope.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d4Ljj8W1hE8\u003c/p>\n\u003cp>In (the obviously already problematic as hell) \u003ca href=\"http://www.imdb.com/title/tt0090305/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Weird Science\u003c/em>\u003c/a>, the newly-empowered Gary hurls the F-word against an intimidating party crasher, as an indication that he is A Man Now. In \u003ca href=\"http://www.imdb.com/title/tt0088402/?ref_=nm_flmg_act_62\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wild Life\u003c/em>\u003c/a>, it is used about a ballplayer specifically because he has moved to San Francisco. In \u003ca href=\"http://www.imdb.com/title/tt0088847/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Breakfast Club\u003c/em>\u003c/a>, Andy hurls the insult at John Bender.\u003c/p>\n\u003cp>1984's\u003ca href=\"http://www.imdb.com/title/tt0088128/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> Sixteen Candles\u003c/em>\u003c/a> has aged terribly in terms of racist, misogynistic and ableist content, and so it comes as no surprise that the script is also littered with other-F-bombs. And yes, even Molly Ringwald's character Samantha uses it. Nobody comes out of this movie looking good.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt0087277/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">Footloose\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0091790/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Pretty in Pink\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0093560/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">The Monster Squad\u003c/a>, \u003c/em>and\u003cem>\u003ca href=\"http://www.imdb.com/title/tt0097493/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\"> Heathers\u003c/a> \u003c/em>all contain the slur as shorthand to demonstrate the character uttering it is a terrible human. However, with the exception of \u003cem>Heathers—\u003c/em>which contains an \u003ca href=\"https://www.youtube.com/watch?v=tk6vqt782H8\" target=\"_blank\" rel=\"noopener noreferrer\">entire storyline\u003c/a> about getting revenge for two jocks' raging homophobia—the slurs could have been replaced by any number of more generic insults.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9NI7nkjxUm0\u003c/p>\n\u003cp>Some filmmakers have since looked back in regret. There is a scene in \u003ca href=\"http://www.imdb.com/title/tt0092513/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Adventures in Babysitting\u003c/em>\u003c/a>, where Brad tells his little sister that her hero, Thor, is \"a homo,\" which upsets her enormously. In a 2016 interview with \u003ca href=\"http://www.laweekly.com/arts/from-et-to-stranger-things-an-oral-history-of-kids-cursing-on-screen-7307619\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>LA Weekly\u003c/em>\u003c/a>, \u003cem>Adventures\u003c/em> screenwriter David Simkins looked back on the line: \"That one hurts me. I cannot tell you how much it hurts.”\u003c/p>\n\u003cp>Watching these movies in my formative years, growing up in the UK, I recall my sisters and I wondering aloud why Americans called each other the F-word so often. To us, \u003ca href=\"https://en.wikipedia.org/wiki/Faggot_(food)\" target=\"_blank\" rel=\"noopener noreferrer\">\"faggots\" were a type of food\u003c/a> and \u003ca href=\"http://www.drinkstuff.com/productimg/2151.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">\"fags\" were slang for cigarettes\u003c/a>. In our naivety, it seemed like a really silly thing to use as an insult. But it is doubtful at this point that there is a teen or tween left in the world that doesn't know the word's true intent. As Wikipedia explains: \"Its use has spread from the United States to varying extents elsewhere in the English-speaking world through mass culture, including film, music, and the internet.\" These globally successful '80s teen movies undoubtedly had a hand in that.\u003c/p>\n\u003cp>[aside postid='pop_95811']Efforts have been made to reclaim the word in more recent years—the 2009 documentary \u003ca href=\"http://www.imdb.com/title/tt1320378/plotsummary?ref_=tt_ov_pl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fagbug\u003c/em>\u003c/a> being a notable example. In 2011, Domenick Scudera wrote for the \u003ca href=\"https://www.huffingtonpost.com/domenick-scudera/reclaiming-the-gay-fword_b_1092157.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Huffington Post\u003c/em>\u003c/a>: \"You have probably heard of other people reclaiming offensive language to remove the sting, and now it is the gays’ turn… I cannot do this alone. I need the help of all the other fags and their supporters.\" Other commentators simply \u003ca href=\"https://www.queerty.com/no-everyone-its-not-okay-to-reclaim-the-word-faggot-20140520\" target=\"_blank\" rel=\"noopener noreferrer\">don't want the word used at all\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Culturally, America has moved so far forward, homophobic terms bandied about in popular culture are impossible to ignore for most people, and utterly intolerable for others. According to the \u003ca href=\"http://www.chicagotribune.com/entertainment/movies/ct-the-breakfast-club-30th-anniversary-20150217-column.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Chicago Tribune\u003c/em>\u003c/a>: \"A 2014 Pew Research Center survey found 67 percent of millennials (anyone born after 1981) support same-sex marriage. (Gen X, which includes all of the Breakfast Club, is at 53 percent now.)\" As each generation of teenagers becomes more socially progressive than the one before, what were once considered pop culture classics will simply become ever harder to stomach.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recently, \u003cem>Saturday Night Live\u003c/em> did a sketch with Larry David that served to shine a light on just how much the national vernacular has changed in the last three decades. Slang that was once widely accepted and commonly used has fallen out of favor in a huge way since political correctness hit the mainstream in the 1990s. The sketch, while very funny, is cringe-worthy for anyone who remembers the bad old days:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/a9RGU356Mi0'\n title='//www.youtube.com/embed/a9RGU356Mi0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The skit is a reminder of just how acceptable and prevalent homophobic language in mainstream media was in the 1980s, but re-watching almost any teen movie from that decade does exactly the same thing. Recently, I've been revisiting beloved movies from my childhood, only to have every single one of them ruined by gay slurs. (There are a multitude of problems in movies from the period, but this is by far the most consistent one.)\u003c/p>\n\u003cp>Homophobia in the movies didn't begin and end in the 1980s—LGBTQ slurs continue in the movies to this day—but it's astonishing how it's almost impossible to find an '80s teen movie that\u003cem> doesn't\u003c/em> use a homophobic slur at some point.\u003c/p>\n\u003cp>The homophobic F-word pops up all over the place. And one of the most egregious examples is in 1985's \u003ca href=\"http://www.imdb.com/title/tt0090142/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Teen Wolf\u003c/em>\u003c/a>. Yes, beloved, silly, supposed-to-be-innocuous \u003cem>Teen Wolf, \u003c/em>played by national treasure, Michael J. Fox. In one early scene, Scotty tells his best friend Stiles that he needs to talk to him about something. Then, the following exchange takes place:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Stiles:\u003c/strong> “Are you gonna tell me you’re a fag? Because if you’re gonna tell me you’re a fag, I just don’t think I could handle it...”\u003cbr>\n\u003cstrong>Scotty:\u003c/strong> “I’m not a fag… I’m a werewolf.”\u003c/p>\n\u003cp>Within moments, Stiles is relieved and happy about this because, in this film, being gay is worse than being a literal lycanthrope.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d4Ljj8W1hE8'\n title='//www.youtube.com/embed/d4Ljj8W1hE8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In (the obviously already problematic as hell) \u003ca href=\"http://www.imdb.com/title/tt0090305/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Weird Science\u003c/em>\u003c/a>, the newly-empowered Gary hurls the F-word against an intimidating party crasher, as an indication that he is A Man Now. In \u003ca href=\"http://www.imdb.com/title/tt0088402/?ref_=nm_flmg_act_62\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wild Life\u003c/em>\u003c/a>, it is used about a ballplayer specifically because he has moved to San Francisco. In \u003ca href=\"http://www.imdb.com/title/tt0088847/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Breakfast Club\u003c/em>\u003c/a>, Andy hurls the insult at John Bender.\u003c/p>\n\u003cp>1984's\u003ca href=\"http://www.imdb.com/title/tt0088128/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> Sixteen Candles\u003c/em>\u003c/a> has aged terribly in terms of racist, misogynistic and ableist content, and so it comes as no surprise that the script is also littered with other-F-bombs. And yes, even Molly Ringwald's character Samantha uses it. Nobody comes out of this movie looking good.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt0087277/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">Footloose\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0091790/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Pretty in Pink\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0093560/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">The Monster Squad\u003c/a>, \u003c/em>and\u003cem>\u003ca href=\"http://www.imdb.com/title/tt0097493/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\"> Heathers\u003c/a> \u003c/em>all contain the slur as shorthand to demonstrate the character uttering it is a terrible human. However, with the exception of \u003cem>Heathers—\u003c/em>which contains an \u003ca href=\"https://www.youtube.com/watch?v=tk6vqt782H8\" target=\"_blank\" rel=\"noopener noreferrer\">entire storyline\u003c/a> about getting revenge for two jocks' raging homophobia—the slurs could have been replaced by any number of more generic insults.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9NI7nkjxUm0'\n title='//www.youtube.com/embed/9NI7nkjxUm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some filmmakers have since looked back in regret. There is a scene in \u003ca href=\"http://www.imdb.com/title/tt0092513/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Adventures in Babysitting\u003c/em>\u003c/a>, where Brad tells his little sister that her hero, Thor, is \"a homo,\" which upsets her enormously. In a 2016 interview with \u003ca href=\"http://www.laweekly.com/arts/from-et-to-stranger-things-an-oral-history-of-kids-cursing-on-screen-7307619\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>LA Weekly\u003c/em>\u003c/a>, \u003cem>Adventures\u003c/em> screenwriter David Simkins looked back on the line: \"That one hurts me. I cannot tell you how much it hurts.”\u003c/p>\n\u003cp>Watching these movies in my formative years, growing up in the UK, I recall my sisters and I wondering aloud why Americans called each other the F-word so often. To us, \u003ca href=\"https://en.wikipedia.org/wiki/Faggot_(food)\" target=\"_blank\" rel=\"noopener noreferrer\">\"faggots\" were a type of food\u003c/a> and \u003ca href=\"http://www.drinkstuff.com/productimg/2151.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">\"fags\" were slang for cigarettes\u003c/a>. In our naivety, it seemed like a really silly thing to use as an insult. But it is doubtful at this point that there is a teen or tween left in the world that doesn't know the word's true intent. As Wikipedia explains: \"Its use has spread from the United States to varying extents elsewhere in the English-speaking world through mass culture, including film, music, and the internet.\" These globally successful '80s teen movies undoubtedly had a hand in that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Efforts have been made to reclaim the word in more recent years—the 2009 documentary \u003ca href=\"http://www.imdb.com/title/tt1320378/plotsummary?ref_=tt_ov_pl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fagbug\u003c/em>\u003c/a> being a notable example. In 2011, Domenick Scudera wrote for the \u003ca href=\"https://www.huffingtonpost.com/domenick-scudera/reclaiming-the-gay-fword_b_1092157.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Huffington Post\u003c/em>\u003c/a>: \"You have probably heard of other people reclaiming offensive language to remove the sting, and now it is the gays’ turn… I cannot do this alone. I need the help of all the other fags and their supporters.\" Other commentators simply \u003ca href=\"https://www.queerty.com/no-everyone-its-not-okay-to-reclaim-the-word-faggot-20140520\" target=\"_blank\" rel=\"noopener noreferrer\">don't want the word used at all\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Culturally, America has moved so far forward, homophobic terms bandied about in popular culture are impossible to ignore for most people, and utterly intolerable for others. According to the \u003ca href=\"http://www.chicagotribune.com/entertainment/movies/ct-the-breakfast-club-30th-anniversary-20150217-column.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Chicago Tribune\u003c/em>\u003c/a>: \"A 2014 Pew Research Center survey found 67 percent of millennials (anyone born after 1981) support same-sex marriage. (Gen X, which includes all of the Breakfast Club, is at 53 percent now.)\" As each generation of teenagers becomes more socially progressive than the one before, what were once considered pop culture classics will simply become ever harder to stomach.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "She's Not All That: A Brief History of Rags-to-Princess Makeovers in Movies",
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"content": "\u003cp>It's no secret that American women are bombarded daily with mainstream beauty standards—a multitude of industries literally depend on it. But nowhere is that message more sneakily fed than in that old movie trope: the conventional makeover.\u003c/p>\n\u003cp>Probably the most famously upsetting example occurred in 1985's \u003ca href=\"http://www.imdb.com/title/tt0088847/?ref_=nv_sr_3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Breakfast Club\u003c/em>\u003c/a>, when spoiled princess Claire (Molly Ringwald) does what is supposed to be her good deed for the day by de-weirding the eccentric but adorable Allison (Ally Sheedy). Claire transforms Allison's goth bag-lady look with a frilly pink top she has magicked out of nowhere, removes Allison's black eyeliner, puts pink shimmer all over her face and sticks a bow on her head, thereby effectively erasing Allison's entire persona.\u003c/p>\n\u003cp>\"Why are you being so nice to me?\" Allison asks, letting the viewer know that, at the core of every unconventional woman, is a \"normal,\" more aesthetically pleasing one just dying to get out. It's not true, of course: weird kids aren't weird because they don't know how to be pretty—weird kids dress weird to outwardly own the fact that they don't fit in. They have no desire to.\u003c/p>\n\u003cp>John Hughes should have known better. Outside of the makeover scene, \u003cem>The Breakfast Club\u003c/em> is a movie that examines, very pointedly, the inherent value of individuality. It's a film that tells us that nobody has a perfect life; that humans are all complex creatures; and that high school, with all of its stupid pressures to fit in, is basically a waking nightmare. All of the film's good work is undone when Allison is no longer allowed to be herself—in the end, the movie is telling us, pretty is always better.\u003c/p>\n\u003cp>Predictably, after the transformation she never asked for, Allison is immediately desired by the first jock who sees her, and we're supposed to think this is a good thing:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rprB-_jyLjU\u003c/p>\n\u003cp>In a 2015 interview with \u003cem>\u003ca href=\"http://www.craveonline.com/site/836505-sxsw-2015-interview-molly-ringwald-ally-sheedy-regret-the-makeover-scene-in-the-breakfast-club/3\" target=\"_blank\" rel=\"noopener noreferrer\">Crave\u003c/a>\u003c/em>, Ally Sheedy said of the scene:\u003c/p>\n\u003cblockquote>\u003cp>\"Yeah, at first in the script Molly was actually adding a lot of makeup onto this plain faced Allison but then I wanted that black [eyeliner]. So then John [Hughes, writer/ director] said it was okay to have it be taking the black stuff off the eyes. I think the idea was that you reveal this person who’s been behind a mask, but every time I look at it, I wish we hadn’t done that.\"\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='pop_97337']It wasn't the only time John Hughes gave a female character a totally unnecessary movie makeover either. Just one year later, in \u003ca href=\"http://www.imdb.com/title/tt0091790/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pretty in Pink\u003c/em>\u003c/a>, he felt the need to transform the best-dressed woman in the whole film. Viewers spend the entire movie falling in love with Iona (Annie Potts) because of her kooky exuberance, dry sense of humor and consistently amazing wardrobe, only to watch her get turned into a \u003cem>Miami Vice\u003c/em> extra by the end because she's found the right man.\u003c/p>\n\u003cp>Miscast in the role, Potts looks almost the same age as the rest of the supposedly teenage cast. If the script didn't reference it repeatedly, we'd have absolutely no idea that Iona is supposed to be in her mid-late thirties. Post-makeover, the reason for all of the age references becomes abundantly clear: Hughes wants us to know that when older women express themselves through unusual clothing, it is simply a product of acting out. The second they find a relationship, all of that creativity will evaporate because they finally have something worthwhile to put their energy towards—a man.\u003c/p>\n\u003cfigure id=\"attachment_95812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-95812 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/iona-pip-800x371.jpg\" alt=\"\" width=\"800\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-800x371.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-160x74.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-768x356.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-1020x473.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-1920x890.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-1180x547.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-960x445.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-240x111.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-375x174.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-520x241.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iona in 'Pretty in Pink': Rad, Rad, Rad, Sad.\u003c/figcaption>\u003c/figure>\n\u003cp>The '90s weren't immune to the high-school movie makeover either. In hindsight, it's not terribly surprising that \u003cem>She's All That\u003c/em> has one, given the fact that the movie's plot revolves primarily around humiliating young women. The film starts with Zack (Freddie Prinze, Jr.) declaring to a friend that all girls are interchangeable. (Great start, \u003cem>She's All That\u003c/em>!) To prove it, he promises to transform an unwitting nerd into a prom queen within a matter of weeks. The rest of the movie is basically about Zack's ex-girlfriend being publicly humiliated, or the unwitting nerd being manipulated and/or abused. (There's a totally glossed over almost-sexual-assault at the end, on top of everything else).\u003c/p>\n\u003cp>All this aside, what gives \u003cem>She's All That\u003c/em> an extra level of unwatchable-ness is that Laney (Rachael Leigh Cook) is quite obviously drop-dead gorgeous pre-makeover, so it makes zero sense when Zack's jaw drops at the sight of the made-over Laney, just because she's taken off her glasses and shortened her hair.\u003c/p>\n\u003cp>Watch on as newfound beauty magically grants Laney 20/20 vision and the ability to see without the glasses she's needed this entire time:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SPuJkuesiyM\u003c/p>\n\u003cp>At least 2000's \u003cem>Miss Congeniality\u003c/em> had the decency to come up with a flimsy plot device (beyond simply We'll Make You Look Nice Now) to facilitate the makeover of Gracie (Sandra Bullock). That's about the only positive though.\u003c/p>\n\u003cp>The message throughout the comedy is relentless: tough women are perpetually unattractive; tomboys are inherently gross; pageants are so incredibly important people might be driven to revenge-bomb them; and only once they adhere to strict beauty regimens can women truly find wholeness and happiness.\u003c/p>\n\u003cp>The concept that a woman of Gracie's age, living in America, could manage to reach adulthood without ever being pressured into trying out the world of make up and dresses before, is an insult to teenage girls everywhere—as is the idea that a woman who doesn't \"even own a brush\" can instantly walk this far, this flawlessly in heels. (Both \u003cem>Miss Congeniality\u003c/em> and \u003cem>She's All That\u003c/em> are careful to include one post-makeover heel-related stumble. You know. For realism.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M5lW0cZ55co\u003c/p>\n\u003cp>The inherently flawed thing about the conventional makeover in movies is that it sends very clear, potentially damaging messages to audiences. The first is that, if you are a woman, being yourself is much less important than being attractive to men. The second is the idea that if you look a certain way, if you buy the right clothes and preen enough, all of your problems will go away (*cough* \u003ca href=\"https://www.youtube.com/watch?v=1_TZEsUhXRs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pretty Woman\u003c/em>\u003c/a> *cough*). And third: women should both crave and welcome the male gaze. (We'd talk about the rampant cis- and hetero-normativity involved in all of this, but there simply isn't time.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Thankfully, post-Millennium movie makeovers—like those in \u003ca href=\"http://www.imdb.com/title/tt0458352/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Devil Wears Prada\u003c/em>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt1282140/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Easy A\u003c/em>\u003c/a>—have done a better job of making on-screen transformations about something other than the inner desire to conform. Let's hope the erasure of characters' strong identities in favor of a pretty face stays trapped in the last Century.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's no secret that American women are bombarded daily with mainstream beauty standards—a multitude of industries literally depend on it. But nowhere is that message more sneakily fed than in that old movie trope: the conventional makeover.\u003c/p>\n\u003cp>Probably the most famously upsetting example occurred in 1985's \u003ca href=\"http://www.imdb.com/title/tt0088847/?ref_=nv_sr_3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Breakfast Club\u003c/em>\u003c/a>, when spoiled princess Claire (Molly Ringwald) does what is supposed to be her good deed for the day by de-weirding the eccentric but adorable Allison (Ally Sheedy). Claire transforms Allison's goth bag-lady look with a frilly pink top she has magicked out of nowhere, removes Allison's black eyeliner, puts pink shimmer all over her face and sticks a bow on her head, thereby effectively erasing Allison's entire persona.\u003c/p>\n\u003cp>\"Why are you being so nice to me?\" Allison asks, letting the viewer know that, at the core of every unconventional woman, is a \"normal,\" more aesthetically pleasing one just dying to get out. It's not true, of course: weird kids aren't weird because they don't know how to be pretty—weird kids dress weird to outwardly own the fact that they don't fit in. They have no desire to.\u003c/p>\n\u003cp>John Hughes should have known better. Outside of the makeover scene, \u003cem>The Breakfast Club\u003c/em> is a movie that examines, very pointedly, the inherent value of individuality. It's a film that tells us that nobody has a perfect life; that humans are all complex creatures; and that high school, with all of its stupid pressures to fit in, is basically a waking nightmare. All of the film's good work is undone when Allison is no longer allowed to be herself—in the end, the movie is telling us, pretty is always better.\u003c/p>\n\u003cp>Predictably, after the transformation she never asked for, Allison is immediately desired by the first jock who sees her, and we're supposed to think this is a good thing:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rprB-_jyLjU'\n title='//www.youtube.com/embed/rprB-_jyLjU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a 2015 interview with \u003cem>\u003ca href=\"http://www.craveonline.com/site/836505-sxsw-2015-interview-molly-ringwald-ally-sheedy-regret-the-makeover-scene-in-the-breakfast-club/3\" target=\"_blank\" rel=\"noopener noreferrer\">Crave\u003c/a>\u003c/em>, Ally Sheedy said of the scene:\u003c/p>\n\u003cblockquote>\u003cp>\"Yeah, at first in the script Molly was actually adding a lot of makeup onto this plain faced Allison but then I wanted that black [eyeliner]. So then John [Hughes, writer/ director] said it was okay to have it be taking the black stuff off the eyes. I think the idea was that you reveal this person who’s been behind a mask, but every time I look at it, I wish we hadn’t done that.\"\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It wasn't the only time John Hughes gave a female character a totally unnecessary movie makeover either. Just one year later, in \u003ca href=\"http://www.imdb.com/title/tt0091790/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pretty in Pink\u003c/em>\u003c/a>, he felt the need to transform the best-dressed woman in the whole film. Viewers spend the entire movie falling in love with Iona (Annie Potts) because of her kooky exuberance, dry sense of humor and consistently amazing wardrobe, only to watch her get turned into a \u003cem>Miami Vice\u003c/em> extra by the end because she's found the right man.\u003c/p>\n\u003cp>Miscast in the role, Potts looks almost the same age as the rest of the supposedly teenage cast. If the script didn't reference it repeatedly, we'd have absolutely no idea that Iona is supposed to be in her mid-late thirties. Post-makeover, the reason for all of the age references becomes abundantly clear: Hughes wants us to know that when older women express themselves through unusual clothing, it is simply a product of acting out. The second they find a relationship, all of that creativity will evaporate because they finally have something worthwhile to put their energy towards—a man.\u003c/p>\n\u003cfigure id=\"attachment_95812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-95812 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/iona-pip-800x371.jpg\" alt=\"\" width=\"800\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-800x371.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-160x74.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-768x356.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-1020x473.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-1920x890.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-1180x547.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-960x445.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-240x111.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-375x174.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/iona-pip-520x241.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iona in 'Pretty in Pink': Rad, Rad, Rad, Sad.\u003c/figcaption>\u003c/figure>\n\u003cp>The '90s weren't immune to the high-school movie makeover either. In hindsight, it's not terribly surprising that \u003cem>She's All That\u003c/em> has one, given the fact that the movie's plot revolves primarily around humiliating young women. The film starts with Zack (Freddie Prinze, Jr.) declaring to a friend that all girls are interchangeable. (Great start, \u003cem>She's All That\u003c/em>!) To prove it, he promises to transform an unwitting nerd into a prom queen within a matter of weeks. The rest of the movie is basically about Zack's ex-girlfriend being publicly humiliated, or the unwitting nerd being manipulated and/or abused. (There's a totally glossed over almost-sexual-assault at the end, on top of everything else).\u003c/p>\n\u003cp>All this aside, what gives \u003cem>She's All That\u003c/em> an extra level of unwatchable-ness is that Laney (Rachael Leigh Cook) is quite obviously drop-dead gorgeous pre-makeover, so it makes zero sense when Zack's jaw drops at the sight of the made-over Laney, just because she's taken off her glasses and shortened her hair.\u003c/p>\n\u003cp>Watch on as newfound beauty magically grants Laney 20/20 vision and the ability to see without the glasses she's needed this entire time:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SPuJkuesiyM'\n title='//www.youtube.com/embed/SPuJkuesiyM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At least 2000's \u003cem>Miss Congeniality\u003c/em> had the decency to come up with a flimsy plot device (beyond simply We'll Make You Look Nice Now) to facilitate the makeover of Gracie (Sandra Bullock). That's about the only positive though.\u003c/p>\n\u003cp>The message throughout the comedy is relentless: tough women are perpetually unattractive; tomboys are inherently gross; pageants are so incredibly important people might be driven to revenge-bomb them; and only once they adhere to strict beauty regimens can women truly find wholeness and happiness.\u003c/p>\n\u003cp>The concept that a woman of Gracie's age, living in America, could manage to reach adulthood without ever being pressured into trying out the world of make up and dresses before, is an insult to teenage girls everywhere—as is the idea that a woman who doesn't \"even own a brush\" can instantly walk this far, this flawlessly in heels. (Both \u003cem>Miss Congeniality\u003c/em> and \u003cem>She's All That\u003c/em> are careful to include one post-makeover heel-related stumble. You know. For realism.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/M5lW0cZ55co'\n title='//www.youtube.com/embed/M5lW0cZ55co'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The inherently flawed thing about the conventional makeover in movies is that it sends very clear, potentially damaging messages to audiences. The first is that, if you are a woman, being yourself is much less important than being attractive to men. The second is the idea that if you look a certain way, if you buy the right clothes and preen enough, all of your problems will go away (*cough* \u003ca href=\"https://www.youtube.com/watch?v=1_TZEsUhXRs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pretty Woman\u003c/em>\u003c/a> *cough*). And third: women should both crave and welcome the male gaze. (We'd talk about the rampant cis- and hetero-normativity involved in all of this, but there simply isn't time.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thankfully, post-Millennium movie makeovers—like those in \u003ca href=\"http://www.imdb.com/title/tt0458352/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Devil Wears Prada\u003c/em>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt1282140/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Easy A\u003c/em>\u003c/a>—have done a better job of making on-screen transformations about something other than the inner desire to conform. Let's hope the erasure of characters' strong identities in favor of a pretty face stays trapped in the last Century.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "You're An Idiot, Steve Harrington: 'Stranger Things' and a Field Guide To Classic '80s Jerkwads",
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"content": "\u003cp>\u003cem>\u003cstrong>[Warning: Spoilers ahead!]\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I assume that like most streaming TV fiends, you’ve devoured the entire season of\u003cem> Stranger Things\u003c/em>, Netflix’s addictive new Winona Ryder-starring thriller that craftily references the big sci-fi, horror, teen romance, and paranormal movies of the ‘80s.\u003c/p>\n\u003cp>I’m also going to assume that, like \u003ca href=\"https://twitter.com/search?q=%20%23strangerthings%20steve&src=typd\" target=\"_blank\">most of Twitter\u003c/a> and all of my heart, you hate the Steve Harrington character. Because we’ve always hated ‘80s Steve-holes.\u003c/p>\n\u003cp>As the souffle-haired, BMW 733i-driving, Nancy-charming asshole who possesses a Trump-sized empathy streak for sensitive weirdos, Steve was supposed to follow the ‘80s arc of dying a miserable death — or at least not getting the girl in the end while cuddled up next to her in a f*cking reindeer sweater at Christmastime. Earning the heart of the smart female protagonist is a resolution that for years has been reserved for the sensitive guy bullied by the high school elite, not the smug preppy dude with a backyard pool. (Not to mention a guy who, \u003ca href=\"https://twitter.com/eastwes/status/756616898461179904\" target=\"_blank\">as one astute Twitter commenter noted\u003c/a>, is coiffed to look like “all of Crowded House combined in one face.”)\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-31674\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/giphy.gif\" alt=\"steve\" width=\"480\" height=\"239\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We wanted the phlegm-flower monster to serve Steve a bloody eel sandwich so Nancy could cuddle with Jonathan. Steve’s demise is our expected reward after watching him heartily pressure Nancy to appease so many early-in-the-\u003cem>Stranger Things\u003c/em>-season boners and then go on to break Jonathan’s camera.\u003c/p>\n\u003cp>So why does Steve escape death while the \u003ca href=\"https://theringer.com/everyone-needs-a-friend-like-barb-a91b9937ba64?gi=dd2cf1e989bf\" target=\"_blank\">internet-beloved Barb \u003c/a>gets stuffed into an Upside Down coffin? The simple answer is the actor who plays Steve helped the character get a pass.\u003c/p>\n\u003cp>In an \u003ca href=\"http://variety.com/2016/tv/news/stranger-things-finale-duffer-brothers-interview-season-2-1201816664/\" target=\"_blank\">interview with \u003cem>Variety\u003c/em>\u003c/a>, \u003cem>Stranger Things\u003c/em> showrunners the Duffer Brothers said Steve, who in the original pilot is “the biggest douchebag on the planet,” wasn’t supposed to be Nancy’s snuggle buddy in the end.\u003c/p>\n\u003cp>“A lot of credit goes to Joe Keery [who plays Steve], because he was much more likable and charming than we originally had envisioned,” said Ross Duffer. “Joe was so good we started to fall in love with the idea that he has an arc himself.” Nancy helped make Steve a slightly better person by the end. Dammit.\u003c/p>\n\u003cp>Matt Duffer added that in the typical movie world trajectory, Nancy (Natalia Dyer) would end up with the “nicer kinder gentler” guy Jonathan (Charlie Heaton). “But it felt almost more real to us that she would wind up back with Steve,” he said, “this heartthrob who she’s had a crush on for a long time. It’s surprising, but it felt more honest.”\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-31676\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/stranger-things.1.1.2566000.65.gif\" alt=\"stranger-things.1.1.2566000.65\" width=\"500\" height=\"250\">\u003c/p>\n\u003cp>If you run the \u003cem>Stranger Things\u003c/em> tape backwards you can — almost — see how Steve could come out on top. After all, he erases the Nancy slut-shaming graffiti (that he helped write!) and he fights the bad monster. He worked hard to change, and Jonathan \u003cem>was\u003c/em> being a creeper by taking those photos of Nancy stripping in the first place, so maybe Jonathan deserved to lose those photo privileges. But ‘80s movie history has hardwired \u003cem>Stranger Things\u003c/em> fans to loathe Steve nonetheless.\u003c/p>\n\u003cp>Why can’t we forgive Steve just because he hit the monster with a nail bat? Because there’ve been too many Steve-holes before him. Our movie history —and an election cycle with another bratty, souffle-haired bully — has taught us that elitist dickwads rarely become good guys by the end.\u003c/p>\n\u003cp>As proof of this bias, I hereby give you a brief history of the ‘80s high school jerks who paved the way for our hatred of \u003cem>Stranger Things\u003c/em>’ Steve.\u003c/p>\n\u003cp>\u003cstrong>Steff in \u003cem>Pretty in Pink\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=35tfXSINbCQ\u003c/p>\n\u003cp>In the ‘80s, James Spader was the classic affluent douchebag fans loved to hate (and perhaps secretly crush out on). It all started with his breakout role as Steff in \u003cem>Pretty in Pink\u003c/em> — a movie where he calls Molly Ringwald’s artsy Andie a bitch, a mutant, trash, and “low-grade ass.” Steff is the perfect foil to blinky-eyed Blane (Andrew McCarthy), whose dick is caught in the typical ‘80s class divide (see also: Spader in \u003cem>Tuff Turf\u003c/em>) between what’s expected of him and what he really wants. Unlike Steve in \u003cem>Stranger Things\u003c/em>, Steff never redeems himself — he gets tackled by Andie’s BFF Duckie in the end.\u003c/p>\n\u003cp>Steff paved the way for Spader to graduate from high school prick to college-aged (but definitely not in college) drug dealer prick, Rip, in \u003cem>Less Than Zero\u003c/em>. Side note: Is it just me or did Spader seem to spend the ‘80s only acting in movies with either\u003ca href=\"https://www.youtube.com/watch?v=N6gpndlepiM\" target=\"_blank\"> McCarthy or with Robert Downey Jr.\u003c/a>?)\u003c/p>\n\u003cp>\u003cstrong>All of William Zabka’s characters in the ‘80s asshole trilogy\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qco4RGHhJGo\u003c/p>\n\u003cp>Along with James Spader, William Zabka was the other recognizable blonde ‘80s asshole. He’s perhaps best remembered for playing Johnny in the \u003cem>Karate Kid\u003c/em> series (\u003cem>Karate Kid II\u003c/em> was brilliantly parodied, starring Zabka and most of the original cast, in \u003ca href=\"https://www.youtube.com/watch?v=olQ3vaiv47I\" target=\"_blank\">this music video\u003c/a> by the band No More Kings). But Zabka was a dick in \u003ca href=\"https://www.youtube.com/watch?v=o1egnKKkm54\" target=\"_blank\">\u003cem>Just One of the Guys\u003c/em> too\u003c/a>. He was righteously ridiculed in that one for being a table-tipper with a “small weenie,” among other things, before he aged into playing a college frat boy in \u003cem>Back to School\u003c/em>. In real life? Good dude! Last year \u003ca href=\"http://screencrush.com/billy-zabka-karate-kid-bully/\" target=\"_blank\">he came out against being an actual high school jerk during a talk he gave for Anti-Bullying Day\u003c/a>, in which he pointed to the fact that mean kids often come from broken homes.\u003c/p>\n\u003cp>\u003cstrong>Chet in \u003cem>Weird Science\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mcUWG23hqvw\u003c/p>\n\u003cp>As the real “buttwad” in \u003cem>Weird Science\u003c/em>, older brother Chet (Bill Paxton) acted like the ultimate bro towards his younger brother Wyatt (IIan Michael-Smith) and his nerd pal Gary (Anthony Michael Hall). So it was very rewarding to watch the boys’ covergirl science experiment Lisa (Kelly LeBrock) turn Chet into a farting turd monster and hear Chet beg to get his human form (and dignity) back. (In comparison, \u003cem>Stranger Things'\u003c/em> Steve never had to beg for anything in his life — except sex!)\u003c/p>\n\u003cp>\u003cstrong>Roy Stalin in \u003cem>Better Off Dead\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gfyjFmJ6KVs\u003c/p>\n\u003cp>Given the choice between the captain of the high school ski team and a regular dude who sticks Q-tips up his nose, who’s gonna be the ‘80s villain? The leader of a rich person’s sport, of course — a dichotomy that played out in real life for the director of this movie. \u003cem>Better Off Dead\u003c/em> writer and \u003ca href=\"http://www.thesneeze.com/mt-archives/000134.php\" target=\"_blank\">director Savage Steve Holland\u003c/a> said his film, which starred John Cusack, was based on his own heartbreak. Holland’s old girlfriend apparently also left him for the ski team captain. Holland recreated his romantic rival in Roy Stalin, a classic prick who, it turns out, was also a classic prick in real life during the casting process! \u003ca href=\"http://mentalfloss.com/article/75810/13-better-facts-about-better-dead\" target=\"_blank\">\u003cem>Mental Floss\u003c/em> reported\u003c/a> that actor Aaron Dozier insulted Holland on the set, sealing the deal that he’d be the perfect asshole for the part.\u003c/p>\n\u003cp>\u003cstrong>Biff in \u003cem>Back to the Future\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=95_DB6GgLQs\u003c/p>\n\u003cp>Eighties antagonists often got monosyllabic names that you could spit out in a single breath: Steff. Chet. Roy. (Steve!). Add to this list Biff, a name that sounds like something a jock would grunt out while lifting weights. Biff is the beefy bro from the \u003cem>Back to the Future\u003c/em> series who makes Marty McFly feel like a “butthead” no matter which decade the two are contained within. If Thomas F. Wilson’s character seemed constructed after a certain Republican presidential candidate by \u003cem>Back to the Future II\u003c/em>, well, the man who wrote the movie, Bob Gale, \u003ca href=\"http://www.thedailybeast.com/articles/2015/10/21/how-back-to-the-future-predicted-trump.html\" target=\"_blank\">told the \u003cem>Daily Beast\u003c/em> last fall that Biff was indeed modeled after Donald Trump\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Archie in \u003cem>The Chocolate War\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ihXcPZ09_l4\u003c/p>\n\u003cp>Boxes of chocolates may seem like a silly instigator for a class war, but in this great 1988 drama, they’re the symbol of the intense pressure a small group of assholes can put on teen introverts to toe the status quo. Archie leads the secret society dick clique at a Catholic school where hawking chocolate boxes for a fundraiser is serious business. New kid Jerry’s disinterest in showing school spirit lands him in a world of hurt. Side note: Like \u003cem>Stranger Things\u003c/em>, \u003cem>The Chocolate War\u003c/em> gets bonus points for a killer ‘80s soundtrack, one that here includes Yaz, Kate Bush, and Peter Gabriel.\u003c/p>\n\u003cp>\u003cstrong> Hardy Jenns in\u003cem> Some Kind of Wonderful\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YTds2jCQHKA\u003c/p>\n\u003cp>Although Keith Nelson (Eric Stoltz) and Hardy Jenns (Craig Sheffer) share a Steve-hole ‘do in \u003cem>Some Kind of Wonderful\u003c/em>, don’t be fooled by the feathering when discerning who’s the good guy here. Hardy is the rich one, so he’s obviously also gonna be the jerk. When Keith falls for Hardy’s ex Amanda, Hardy’s revenge plot involves kicking Keith’s butt at a house party — until some cool punk dudes help put a stop to that one. This love triangle starring Lea Thompson as Amanda and Mary Stuart Masterson as the teenage rocker Watts was less about overcoming bullies, though, and more about loving the drummer girl over the fluff chick.\u003c/p>\n\u003cp>\u003cem> Some Kind of Wonderful\u003c/em> was one of many ‘80s movies setting the tone that the coveted guy/girl would fall for the underdog girl/guy in the end — which is why we totally expected \u003cem>Stranger Things\u003c/em>’ Nancy to get with Jonathan at the end. But then, \u003cem>Stranger Things\u003c/em> is about both cleverly riffing on ‘80s cliches and subverting them at unexpected moments. We’ll also hopefully have \u003ca href=\"http://www.indiewire.com/2016/07/stranger-things-season-2-netflix-david-lynch-winona-ryder-1201710567/\" target=\"_blank\">a whole new season of the show \u003c/a>ahead of us -- during which time we can all root for Steve to finally meet the dismal fate the earlier Spader-Zapka generation of golden assholes would have him deserve.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "The Netflix hit 'Stranger Things' plays on -- then upends -- many cliches of the '80s. But when it comes to rich, popular and awful boyfriends, Steve can't escape his lineage. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>[Warning: Spoilers ahead!]\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I assume that like most streaming TV fiends, you’ve devoured the entire season of\u003cem> Stranger Things\u003c/em>, Netflix’s addictive new Winona Ryder-starring thriller that craftily references the big sci-fi, horror, teen romance, and paranormal movies of the ‘80s.\u003c/p>\n\u003cp>I’m also going to assume that, like \u003ca href=\"https://twitter.com/search?q=%20%23strangerthings%20steve&src=typd\" target=\"_blank\">most of Twitter\u003c/a> and all of my heart, you hate the Steve Harrington character. Because we’ve always hated ‘80s Steve-holes.\u003c/p>\n\u003cp>As the souffle-haired, BMW 733i-driving, Nancy-charming asshole who possesses a Trump-sized empathy streak for sensitive weirdos, Steve was supposed to follow the ‘80s arc of dying a miserable death — or at least not getting the girl in the end while cuddled up next to her in a f*cking reindeer sweater at Christmastime. Earning the heart of the smart female protagonist is a resolution that for years has been reserved for the sensitive guy bullied by the high school elite, not the smug preppy dude with a backyard pool. (Not to mention a guy who, \u003ca href=\"https://twitter.com/eastwes/status/756616898461179904\" target=\"_blank\">as one astute Twitter commenter noted\u003c/a>, is coiffed to look like “all of Crowded House combined in one face.”)\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-31674\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/giphy.gif\" alt=\"steve\" width=\"480\" height=\"239\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We wanted the phlegm-flower monster to serve Steve a bloody eel sandwich so Nancy could cuddle with Jonathan. Steve’s demise is our expected reward after watching him heartily pressure Nancy to appease so many early-in-the-\u003cem>Stranger Things\u003c/em>-season boners and then go on to break Jonathan’s camera.\u003c/p>\n\u003cp>So why does Steve escape death while the \u003ca href=\"https://theringer.com/everyone-needs-a-friend-like-barb-a91b9937ba64?gi=dd2cf1e989bf\" target=\"_blank\">internet-beloved Barb \u003c/a>gets stuffed into an Upside Down coffin? The simple answer is the actor who plays Steve helped the character get a pass.\u003c/p>\n\u003cp>In an \u003ca href=\"http://variety.com/2016/tv/news/stranger-things-finale-duffer-brothers-interview-season-2-1201816664/\" target=\"_blank\">interview with \u003cem>Variety\u003c/em>\u003c/a>, \u003cem>Stranger Things\u003c/em> showrunners the Duffer Brothers said Steve, who in the original pilot is “the biggest douchebag on the planet,” wasn’t supposed to be Nancy’s snuggle buddy in the end.\u003c/p>\n\u003cp>“A lot of credit goes to Joe Keery [who plays Steve], because he was much more likable and charming than we originally had envisioned,” said Ross Duffer. “Joe was so good we started to fall in love with the idea that he has an arc himself.” Nancy helped make Steve a slightly better person by the end. Dammit.\u003c/p>\n\u003cp>Matt Duffer added that in the typical movie world trajectory, Nancy (Natalia Dyer) would end up with the “nicer kinder gentler” guy Jonathan (Charlie Heaton). “But it felt almost more real to us that she would wind up back with Steve,” he said, “this heartthrob who she’s had a crush on for a long time. It’s surprising, but it felt more honest.”\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-31676\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/stranger-things.1.1.2566000.65.gif\" alt=\"stranger-things.1.1.2566000.65\" width=\"500\" height=\"250\">\u003c/p>\n\u003cp>If you run the \u003cem>Stranger Things\u003c/em> tape backwards you can — almost — see how Steve could come out on top. After all, he erases the Nancy slut-shaming graffiti (that he helped write!) and he fights the bad monster. He worked hard to change, and Jonathan \u003cem>was\u003c/em> being a creeper by taking those photos of Nancy stripping in the first place, so maybe Jonathan deserved to lose those photo privileges. But ‘80s movie history has hardwired \u003cem>Stranger Things\u003c/em> fans to loathe Steve nonetheless.\u003c/p>\n\u003cp>Why can’t we forgive Steve just because he hit the monster with a nail bat? Because there’ve been too many Steve-holes before him. Our movie history —and an election cycle with another bratty, souffle-haired bully — has taught us that elitist dickwads rarely become good guys by the end.\u003c/p>\n\u003cp>As proof of this bias, I hereby give you a brief history of the ‘80s high school jerks who paved the way for our hatred of \u003cem>Stranger Things\u003c/em>’ Steve.\u003c/p>\n\u003cp>\u003cstrong>Steff in \u003cem>Pretty in Pink\u003c/em>\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/35tfXSINbCQ'\n title='//www.youtube.com/embed/35tfXSINbCQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the ‘80s, James Spader was the classic affluent douchebag fans loved to hate (and perhaps secretly crush out on). It all started with his breakout role as Steff in \u003cem>Pretty in Pink\u003c/em> — a movie where he calls Molly Ringwald’s artsy Andie a bitch, a mutant, trash, and “low-grade ass.” Steff is the perfect foil to blinky-eyed Blane (Andrew McCarthy), whose dick is caught in the typical ‘80s class divide (see also: Spader in \u003cem>Tuff Turf\u003c/em>) between what’s expected of him and what he really wants. Unlike Steve in \u003cem>Stranger Things\u003c/em>, Steff never redeems himself — he gets tackled by Andie’s BFF Duckie in the end.\u003c/p>\n\u003cp>Steff paved the way for Spader to graduate from high school prick to college-aged (but definitely not in college) drug dealer prick, Rip, in \u003cem>Less Than Zero\u003c/em>. Side note: Is it just me or did Spader seem to spend the ‘80s only acting in movies with either\u003ca href=\"https://www.youtube.com/watch?v=N6gpndlepiM\" target=\"_blank\"> McCarthy or with Robert Downey Jr.\u003c/a>?)\u003c/p>\n\u003cp>\u003cstrong>All of William Zabka’s characters in the ‘80s asshole trilogy\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Qco4RGHhJGo'\n title='//www.youtube.com/embed/Qco4RGHhJGo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Along with James Spader, William Zabka was the other recognizable blonde ‘80s asshole. He’s perhaps best remembered for playing Johnny in the \u003cem>Karate Kid\u003c/em> series (\u003cem>Karate Kid II\u003c/em> was brilliantly parodied, starring Zabka and most of the original cast, in \u003ca href=\"https://www.youtube.com/watch?v=olQ3vaiv47I\" target=\"_blank\">this music video\u003c/a> by the band No More Kings). But Zabka was a dick in \u003ca href=\"https://www.youtube.com/watch?v=o1egnKKkm54\" target=\"_blank\">\u003cem>Just One of the Guys\u003c/em> too\u003c/a>. He was righteously ridiculed in that one for being a table-tipper with a “small weenie,” among other things, before he aged into playing a college frat boy in \u003cem>Back to School\u003c/em>. In real life? Good dude! Last year \u003ca href=\"http://screencrush.com/billy-zabka-karate-kid-bully/\" target=\"_blank\">he came out against being an actual high school jerk during a talk he gave for Anti-Bullying Day\u003c/a>, in which he pointed to the fact that mean kids often come from broken homes.\u003c/p>\n\u003cp>\u003cstrong>Chet in \u003cem>Weird Science\u003c/em>\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mcUWG23hqvw'\n title='//www.youtube.com/embed/mcUWG23hqvw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the real “buttwad” in \u003cem>Weird Science\u003c/em>, older brother Chet (Bill Paxton) acted like the ultimate bro towards his younger brother Wyatt (IIan Michael-Smith) and his nerd pal Gary (Anthony Michael Hall). So it was very rewarding to watch the boys’ covergirl science experiment Lisa (Kelly LeBrock) turn Chet into a farting turd monster and hear Chet beg to get his human form (and dignity) back. (In comparison, \u003cem>Stranger Things'\u003c/em> Steve never had to beg for anything in his life — except sex!)\u003c/p>\n\u003cp>\u003cstrong>Roy Stalin in \u003cem>Better Off Dead\u003c/em>\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gfyjFmJ6KVs'\n title='//www.youtube.com/embed/gfyjFmJ6KVs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Given the choice between the captain of the high school ski team and a regular dude who sticks Q-tips up his nose, who’s gonna be the ‘80s villain? The leader of a rich person’s sport, of course — a dichotomy that played out in real life for the director of this movie. \u003cem>Better Off Dead\u003c/em> writer and \u003ca href=\"http://www.thesneeze.com/mt-archives/000134.php\" target=\"_blank\">director Savage Steve Holland\u003c/a> said his film, which starred John Cusack, was based on his own heartbreak. Holland’s old girlfriend apparently also left him for the ski team captain. Holland recreated his romantic rival in Roy Stalin, a classic prick who, it turns out, was also a classic prick in real life during the casting process! \u003ca href=\"http://mentalfloss.com/article/75810/13-better-facts-about-better-dead\" target=\"_blank\">\u003cem>Mental Floss\u003c/em> reported\u003c/a> that actor Aaron Dozier insulted Holland on the set, sealing the deal that he’d be the perfect asshole for the part.\u003c/p>\n\u003cp>\u003cstrong>Biff in \u003cem>Back to the Future\u003c/em>\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/95_DB6GgLQs'\n title='//www.youtube.com/embed/95_DB6GgLQs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eighties antagonists often got monosyllabic names that you could spit out in a single breath: Steff. Chet. Roy. (Steve!). Add to this list Biff, a name that sounds like something a jock would grunt out while lifting weights. Biff is the beefy bro from the \u003cem>Back to the Future\u003c/em> series who makes Marty McFly feel like a “butthead” no matter which decade the two are contained within. If Thomas F. Wilson’s character seemed constructed after a certain Republican presidential candidate by \u003cem>Back to the Future II\u003c/em>, well, the man who wrote the movie, Bob Gale, \u003ca href=\"http://www.thedailybeast.com/articles/2015/10/21/how-back-to-the-future-predicted-trump.html\" target=\"_blank\">told the \u003cem>Daily Beast\u003c/em> last fall that Biff was indeed modeled after Donald Trump\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Archie in \u003cem>The Chocolate War\u003c/em>\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ihXcPZ09_l4'\n title='//www.youtube.com/embed/ihXcPZ09_l4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Boxes of chocolates may seem like a silly instigator for a class war, but in this great 1988 drama, they’re the symbol of the intense pressure a small group of assholes can put on teen introverts to toe the status quo. Archie leads the secret society dick clique at a Catholic school where hawking chocolate boxes for a fundraiser is serious business. New kid Jerry’s disinterest in showing school spirit lands him in a world of hurt. Side note: Like \u003cem>Stranger Things\u003c/em>, \u003cem>The Chocolate War\u003c/em> gets bonus points for a killer ‘80s soundtrack, one that here includes Yaz, Kate Bush, and Peter Gabriel.\u003c/p>\n\u003cp>\u003cstrong> Hardy Jenns in\u003cem> Some Kind of Wonderful\u003c/em>\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YTds2jCQHKA'\n title='//www.youtube.com/embed/YTds2jCQHKA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although Keith Nelson (Eric Stoltz) and Hardy Jenns (Craig Sheffer) share a Steve-hole ‘do in \u003cem>Some Kind of Wonderful\u003c/em>, don’t be fooled by the feathering when discerning who’s the good guy here. Hardy is the rich one, so he’s obviously also gonna be the jerk. When Keith falls for Hardy’s ex Amanda, Hardy’s revenge plot involves kicking Keith’s butt at a house party — until some cool punk dudes help put a stop to that one. This love triangle starring Lea Thompson as Amanda and Mary Stuart Masterson as the teenage rocker Watts was less about overcoming bullies, though, and more about loving the drummer girl over the fluff chick.\u003c/p>\n\u003cp>\u003cem> Some Kind of Wonderful\u003c/em> was one of many ‘80s movies setting the tone that the coveted guy/girl would fall for the underdog girl/guy in the end — which is why we totally expected \u003cem>Stranger Things\u003c/em>’ Nancy to get with Jonathan at the end. But then, \u003cem>Stranger Things\u003c/em> is about both cleverly riffing on ‘80s cliches and subverting them at unexpected moments. We’ll also hopefully have \u003ca href=\"http://www.indiewire.com/2016/07/stranger-things-season-2-netflix-david-lynch-winona-ryder-1201710567/\" target=\"_blank\">a whole new season of the show \u003c/a>ahead of us -- during which time we can all root for Steve to finally meet the dismal fate the earlier Spader-Zapka generation of golden assholes would have him deserve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "1984: The Year We Unwittingly Stopped Watching Movies and Started Watching Franchises",
"title": "1984: The Year We Unwittingly Stopped Watching Movies and Started Watching Franchises",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Even if you are a serious person with adult responsibilities, you are likely aware that a new incarnation of \u003cem>Ghostbusters \u003c/em>arrives in theaters this week. It stars four funny women and was co-written by a fifth, and at least some proportion of its intended audience has found these staffing decisions alarming. While I haven't seen it yet, \u003cem>Ghostbusters\u003c/em> '16 is by most accounts neither a feminist battle cry nor a cynically made disaster, but a light midsummer amusement. \"Too risk-averse,\" \u003ca href=\"http://www.villagevoice.com/film/busted-flat-all-too-normal-activity-dominates-the-ghostbusters-remake-8841463\">wrote the \u003cem>Village Voice's\u003c/em> Melissa Anderson\u003c/a>. \"It never strays far from the anodyne, generic humor that pervades the Ivan Reitman-directed 1984 original.\"\u003c/p>\n\u003cp>Those words — \u003cem>anodyne, generic\u003c/em> — are comedy anti-matter. But they perfectly capture how weird it is that \u003cem>Ghostbusters\u003c/em> has become a subject of controversy. If you were at all cognizant of pop culture in 1984, as I was just starting to be, the idea that 32 years later Prince — the artist formerly known as the guy who almost single-handedly prompted Tipper Gore to found the Parents Music Resource Counsel — would find himself near-universally beloved, while \u003cem>Ghostbusters\u003c/em> has become a divisive topic, is a tough thing to get your head around.\u003c/p>\n\u003cp>There was something going on that year, 1984. More than three decades before it arrived, George Orwell had pegged it as a year in which fresh ideas would be violently suppressed. No one knew it at the time, but 1984's box-office charts foretold the originality-averse multiplex dystopia that awaited us on the other side of the millennium. In \u003cem>The Terminator\u003c/em>, the year's 21st(!)-highest grossing film we learned that the early 21st century would find the shivering, starving, war-thinned human herd hunted to extinction by machines. Emotionless. Data-driven. They do not feel pity, or remorse, or fear. In that respect they'er a lot like the beings who decide, in this nightmare year of Two Thousand Sixteen, which movies get greenlit.\u003c/p>\n\u003cp>Okay, that's an overstatement. This isn't: In box office terms, 1984 resembled 2014 a lot more closely than it did 1983 or 1985. Because, for the first time in history, \u003cem>every single one\u003c/em> of its Top Ten grossing films spawned a sequel or a remake or both ... except for the Daryl Hannah-Tom Hanks mermaid romance \u003cem>Splash.\u003c/em>\u003c/p>\n\u003cp>(Wait, no, sorry, I'm getting something in my earpiece. It's seems there was a made-for-TV \u003cem>Splash Too,\u003c/em> featuring none of \u003cem>Splash\u003c/em>'s principal players, in 1988.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(Movies are only real if they're released in theaters, agreed?)\u003c/p>\n\u003cp>Anyway: producer Brian Grazer announced last month that he's working on a big-screen \u003cem>Splash\u003c/em> remake.\u003c/p>\n\u003cp>Of course he is.\u003c/p>\n\u003cp>\u003cstrong>1984: The Year We Made Contact\u003c/strong>\u003c/p>\n\u003cp>The Top 10 Films of 1984, as reported by Box Office Mojo.\u003c/p>\n\u003col>\n\u003cli>\u003cem>Beverly Hills Cop\u003c/em> (Sequels in '87, '94, unsuccessful TV pilot in 2014)\u003c/li>\n\u003cli>\u003cem>Ghostbusters\u003c/em> (Sequeled in '89, rebooted 2016)\u003c/li>\n\u003cli>\u003cem>Indiana Jones and the Temple of Doom\u003c/em> (Sequels in '89 & '08; reboot threatened)\u003c/li>\n\u003cli>\u003cem>Gremlins\u003c/em>* (Sequeled in 1990)\u003c/li>\n\u003cli>\u003cem>The Karate Kid\u003c/em> (Sequels '86, '89, '94, remade 2010)\u003c/li>\n\u003cli>\u003cem>Police Academy\u003c/em> (Sequels '85, '86, '87, '88, '89, '94)\u003c/li>\n\u003cli>\u003cem>Footloose\u003c/em> (remade 2011)\u003c/li>\n\u003cli>\u003cem>Romancing the Stone\u003c/em> (Sequeled 1985)\u003c/li>\n\u003cli>\u003cem>Star Trek III: The Search for Spock\u003c/em> (Sequels '86, '89, '91, '94, rebooted 2009)\u003c/li>\n\u003cli>\u003cem>Splash\u003c/em>*\u003c/li>\n\u003c/ol>\n\u003cp>\u003cem>*\u003c/em>Numbers 11 and 12 were \u003cem>Purple Rain\u003c/em> and \u003cem>Amadeus\u003c/em>, respectively. Their principal creators, Prince and the playwright Peter Shaffer, both died just this year. Number 15 was \u003cem>Greystoke: The Legend of Tarzan\u003c/em>, \u003cem>Lord of the Apes\u003c/em>, another property we're \u003ca href=\"http://www.npr.org/2016/07/01/483702536/can-you-really-rebuild-tarzan-out-of-whole-loin-cloth\">still monkeying around with\u003c/a>.\u003c/p>\n\u003cp>While nine of these films would spawn theatrically-released sequels — hell, \u003cem>Police Academy\u003c/em> and \u003cem>Romancing the Stone\u003c/em> had quickie follow-ups out the following year — only two of them \u003cem>were\u003c/em> sequels. (\u003cem>Temple of Doom\u003c/em> was technically a \u003cem>prequel\u003c/em> to 1981's \u003cem>Raiders of the Lost Ark, \u003c/em>but whatever.) Four of the top five were original concepts.\u003c/p>\n\u003cp>That wasn't unusual at the time. 1983's Top 10 contained four sequels/franchise installments: \u003cem>The Return of the Jedi\u003c/em> at Number 1; the Roger-Moore-in-clown-makeup James Bond flick \u003cem>Octopussy\u003c/em> at Number 6; \u003cem>Sudden Impact,\u003c/em> the third sequel to \u003cem>Dirty Harry, \u003c/em>at Number 7; and \u003cem>Staying Alive,\u003c/em> a follow-up to \u003cem>Saturday Night Fever\u003c/em> written and directed by Sylvester Stallone because \u003cem>sure,\u003c/em> at Number 8.\u003c/p>\n\u003cp>The remainder of the lushly exploitable IP in 1983's Top Ten has been left alone, mostly. 1983's No. 2 movie, the Best Picture-winning \u003cem>Terms of Endearment, \u003c/em>got an unlikely sequel. It was called \u003cem>The Evening Star,\u003c/em> and it was one of the most bruising belly-flops of 1996, failing to crack that year's Top 100. Like \u003cem>Terms of Endearment, The Evening Star \u003c/em>was adapted from a Larry McMurty novel.\u003c/p>\n\u003cp>But there was no follow-up to 1983's far likelier candidates for the Electric Boogalo treatment: not \u003cem>Flashdance, \u003c/em>the year's Number 3 hit, nor \u003cem>Trading Places\u003c/em> (Number 4) nor \u003cem>WarGames\u003c/em> (Number 5) nor \u003cem>Risky Business \u003c/em>(Number 10). Compared to '83, 1984's biggest hits were simply easier to franchise.\u003c/p>\n\u003cp>(Wait, sorry, I'm receiving new information that a direct-to-DVD sequel entitled \u003cem>WarGames: The Dead Code, \u003c/em>directed by and starring no one you've ever heard of, sought to capitalize on \u003cem>WarGames' \u003c/em>massive Reagan-era cache in... 2008. What did we say about DTV releases? They don't count. Moving on.)\u003c/p>\n\u003cp>\u003cstrong>Johnny '85 Is Alive\u003c/strong>\u003c/p>\n\u003cp>But enough of 1984's past, let's get back... to the future! 1985's box office champ, \u003cem>Back to the Future,\u003c/em> towered over its closest competition by a cool $60 million. In the Number 2 and 3 positions we get \u003cem>Rambo: First Blood Part II\u003c/em> and \u003cem>Rocky IV, \u003c/em>respectively. Clearly, Sly did not let the poor reviews of \u003cem>Staying Alive\u003c/em> get him down — \"It's not even as good as \u003cem>Flashdance,\" \u003c/em>Roger Ebert \u003ca href=\"http://www.rogerebert.com/reviews/staying-alive-1983\">wrote\u003c/a> — because '85 was indisputably \u003cem>his year.\u003c/em>\u003c/p>\n\u003cp>Well, his and Phil Collins'.\u003c/p>\n\u003cp>But after those three, 1985's Top Ten opened up to accommodate plenty of serious, and as yet, un-remade, fare: \u003cem>The Color Purple \u003c/em>(adapted from Alice Walker's novel, and now the basis for a Broadway musical that could well become a movie); \u003cem>Out of Africa \u003c/em>(adapted from Karen Blixen's memoir); and \u003cem>Witness, \u003c/em>which actually won the Academy Award for Best Original Screenplay.\u003c/p>\n\u003cp>It also included\u003cem> The Goonies \u003c/em>and\u003cem> Spies Like Us, \u003c/em>both of which seem eminently remakeable, but for whatever reason have not been.\u003c/p>\n\u003cp>The 80s ran themselves out in similar fashion. In each year, sequels or adaptations of preexisting material were the exceptions in the Top Ten rather than the rule. Until, that is, 1989, when the top earners included the long-in-development \u003cem>Batman, Indiana Jones and the Last Crusade, Lethal Weapon 2, \u003c/em>and\u003cem> Back to the Future Part II. \u003c/em>Oh, and one other sequel, less inspired than any of those: \u003cem>Ghostbusters II.\u003c/em>\u003c/p>\n\u003cp>But 1989 was an anomaly. Five years later, the ratio of new material to old in the Top Ten was far smaller than it had been a decade earlier, but still healthier than today. The biggest hit of 1994's was a Best Picture-winning adaptation of Winston Groom's novel \u003cem>Forrest Gump. \u003c/em>Number 2 was \u003cem>The Lion King — Hamlet\u003c/em> for kids, but we'll still count it as an original. Number 3, the action comedy \u003cem>True Lies, \u003c/em>was in fact a pumped-up remake of a French farce called \u003cem>La Totale!,\u003c/em> but this was probably not one of the key factors that persuaded millions of patriotic Americans to buy a ticket for a James Cameron-directed Arnold Schwarzenegger movie.\u003c/p>\n\u003cp>Also in the Top 10: \u003cem>Clear and Present Danger\u003c/em> (based on a Tom Clancy novel,), \u003cem>The Flintstones\u003c/em> (based on a Hanna-Barbera cartoon), and \u003cem>The Mask\u003c/em> (based on a comic book). Squeaking in at Number 10 was a wildly energetic and unpredictable crime picture, one that exuded originality from every pore --despite taking its title from a genre where formulaic plots and stock characters are celebrated. It was called \u003cem>Pulp Fiction.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Millennium Approaches: Sequels, Adaptations, Passion Plays\u003c/strong>\u003c/p>\n\u003cp>On the other side of the millennium, innovation waned. The biggest hits of 2004 were \u003cem>Shrek 2 \u003c/em>and \u003cem>Spider-Man 2, \u003c/em>followed by Mel Gibson's \u003cem>The Passion of the Christ, \u003c/em>which was, you know, based on preexisting material, if not exactly in the same way that \u003cem>Meet the Fockers \u003c/em>was.\u003c/p>\n\u003cp>There were still a few \"originals,\" however derivative, in the Top Ten: The Roland Emmerich bad-weather thriller \u003cem>The Day After Tomorrow\u003c/em>. \u003cem>National Treasure.\u003c/em> Brad Bird's wonderful Pixar superhero movie \u003cem>The Incredibles. \u003c/em>And when the franchise entries were as strong as \u003cem>Spider-Man 2\u003c/em> (Number 2), \u003cem>Harry Potter and the Prisoner of Azkaban \u003c/em>(Number 4), and \u003cem>The Bourne Supremacy\u003c/em> (Number 8), who was going to complain?\u003c/p>\n\u003cp>By 2014, there was \u003cem>nothing\u003c/em> not extrapolated from a preexisting movie or comic book or Navy SEAL's memoir in the Top Ten.\u003cem> (American Sniper \u003c/em>became the first R-rated movie to win its year since\u003cem> Saving Private Ryan \u003c/em>16 years earlier.) Unless of course you want to count \u003cem>Maleficent, \u003c/em>a reframing of \u003cem>Sleeping Beauty,\u003c/em> or \u003cem>The Lego Movie\u003c/em>, which was of course adapted from a set of molded plastic blocks that hurt when you step on them barefoot.\u003c/p>\n\u003cp>We got our first glimpse of this state of affairs 32 years ago now, in that year Orwell warned us about. We weren't afraid of no ghosts, but maybe we should have been. These days, they're pretty much all all we get.\u003c/p>\n\u003cp>And yet: when our franchise entries are as strong as \u003ca href=\"http://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a> and \u003ca href=\"http://www.npr.org/2015/11/25/457130828/vital-and-tear-jerking-creed-is-the-best-rocky-movie-since-rocky\">\u003cem>Creed\u003c/em>\u003c/a> and \u003ca href=\"http://www.npr.org/sections/monkeysee/2015/12/18/460001132/pop-culture-happy-hour-star-wars-the-force-awakens-and-toys\">\u003cem>Star Wars: The Force Awakens\u003c/em>\u003c/a> and \u003ca href=\"http://www.npr.org/2016/05/06/476490464/captain-america-civil-war-is-the-mightiest-marvel-movie\">\u003cem>Captain America: Civil War\u003c/em>\u003c/a>\u003cem>, \u003c/em>who's going to complain? Not me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But... maybe go see \u003cem>The Lobster,\u003c/em> too, would you?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=1984%3A+The+Year+We+Unwittingly+Stopped+Watching+Movies+And+Started+Watching+Franchises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you are a serious person with adult responsibilities, you are likely aware that a new incarnation of \u003cem>Ghostbusters \u003c/em>arrives in theaters this week. It stars four funny women and was co-written by a fifth, and at least some proportion of its intended audience has found these staffing decisions alarming. While I haven't seen it yet, \u003cem>Ghostbusters\u003c/em> '16 is by most accounts neither a feminist battle cry nor a cynically made disaster, but a light midsummer amusement. \"Too risk-averse,\" \u003ca href=\"http://www.villagevoice.com/film/busted-flat-all-too-normal-activity-dominates-the-ghostbusters-remake-8841463\">wrote the \u003cem>Village Voice's\u003c/em> Melissa Anderson\u003c/a>. \"It never strays far from the anodyne, generic humor that pervades the Ivan Reitman-directed 1984 original.\"\u003c/p>\n\u003cp>Those words — \u003cem>anodyne, generic\u003c/em> — are comedy anti-matter. But they perfectly capture how weird it is that \u003cem>Ghostbusters\u003c/em> has become a subject of controversy. If you were at all cognizant of pop culture in 1984, as I was just starting to be, the idea that 32 years later Prince — the artist formerly known as the guy who almost single-handedly prompted Tipper Gore to found the Parents Music Resource Counsel — would find himself near-universally beloved, while \u003cem>Ghostbusters\u003c/em> has become a divisive topic, is a tough thing to get your head around.\u003c/p>\n\u003cp>There was something going on that year, 1984. More than three decades before it arrived, George Orwell had pegged it as a year in which fresh ideas would be violently suppressed. No one knew it at the time, but 1984's box-office charts foretold the originality-averse multiplex dystopia that awaited us on the other side of the millennium. In \u003cem>The Terminator\u003c/em>, the year's 21st(!)-highest grossing film we learned that the early 21st century would find the shivering, starving, war-thinned human herd hunted to extinction by machines. Emotionless. Data-driven. They do not feel pity, or remorse, or fear. In that respect they'er a lot like the beings who decide, in this nightmare year of Two Thousand Sixteen, which movies get greenlit.\u003c/p>\n\u003cp>Okay, that's an overstatement. This isn't: In box office terms, 1984 resembled 2014 a lot more closely than it did 1983 or 1985. Because, for the first time in history, \u003cem>every single one\u003c/em> of its Top Ten grossing films spawned a sequel or a remake or both ... except for the Daryl Hannah-Tom Hanks mermaid romance \u003cem>Splash.\u003c/em>\u003c/p>\n\u003cp>(Wait, no, sorry, I'm getting something in my earpiece. It's seems there was a made-for-TV \u003cem>Splash Too,\u003c/em> featuring none of \u003cem>Splash\u003c/em>'s principal players, in 1988.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(Movies are only real if they're released in theaters, agreed?)\u003c/p>\n\u003cp>Anyway: producer Brian Grazer announced last month that he's working on a big-screen \u003cem>Splash\u003c/em> remake.\u003c/p>\n\u003cp>Of course he is.\u003c/p>\n\u003cp>\u003cstrong>1984: The Year We Made Contact\u003c/strong>\u003c/p>\n\u003cp>The Top 10 Films of 1984, as reported by Box Office Mojo.\u003c/p>\n\u003col>\n\u003cli>\u003cem>Beverly Hills Cop\u003c/em> (Sequels in '87, '94, unsuccessful TV pilot in 2014)\u003c/li>\n\u003cli>\u003cem>Ghostbusters\u003c/em> (Sequeled in '89, rebooted 2016)\u003c/li>\n\u003cli>\u003cem>Indiana Jones and the Temple of Doom\u003c/em> (Sequels in '89 & '08; reboot threatened)\u003c/li>\n\u003cli>\u003cem>Gremlins\u003c/em>* (Sequeled in 1990)\u003c/li>\n\u003cli>\u003cem>The Karate Kid\u003c/em> (Sequels '86, '89, '94, remade 2010)\u003c/li>\n\u003cli>\u003cem>Police Academy\u003c/em> (Sequels '85, '86, '87, '88, '89, '94)\u003c/li>\n\u003cli>\u003cem>Footloose\u003c/em> (remade 2011)\u003c/li>\n\u003cli>\u003cem>Romancing the Stone\u003c/em> (Sequeled 1985)\u003c/li>\n\u003cli>\u003cem>Star Trek III: The Search for Spock\u003c/em> (Sequels '86, '89, '91, '94, rebooted 2009)\u003c/li>\n\u003cli>\u003cem>Splash\u003c/em>*\u003c/li>\n\u003c/ol>\n\u003cp>\u003cem>*\u003c/em>Numbers 11 and 12 were \u003cem>Purple Rain\u003c/em> and \u003cem>Amadeus\u003c/em>, respectively. Their principal creators, Prince and the playwright Peter Shaffer, both died just this year. Number 15 was \u003cem>Greystoke: The Legend of Tarzan\u003c/em>, \u003cem>Lord of the Apes\u003c/em>, another property we're \u003ca href=\"http://www.npr.org/2016/07/01/483702536/can-you-really-rebuild-tarzan-out-of-whole-loin-cloth\">still monkeying around with\u003c/a>.\u003c/p>\n\u003cp>While nine of these films would spawn theatrically-released sequels — hell, \u003cem>Police Academy\u003c/em> and \u003cem>Romancing the Stone\u003c/em> had quickie follow-ups out the following year — only two of them \u003cem>were\u003c/em> sequels. (\u003cem>Temple of Doom\u003c/em> was technically a \u003cem>prequel\u003c/em> to 1981's \u003cem>Raiders of the Lost Ark, \u003c/em>but whatever.) Four of the top five were original concepts.\u003c/p>\n\u003cp>That wasn't unusual at the time. 1983's Top 10 contained four sequels/franchise installments: \u003cem>The Return of the Jedi\u003c/em> at Number 1; the Roger-Moore-in-clown-makeup James Bond flick \u003cem>Octopussy\u003c/em> at Number 6; \u003cem>Sudden Impact,\u003c/em> the third sequel to \u003cem>Dirty Harry, \u003c/em>at Number 7; and \u003cem>Staying Alive,\u003c/em> a follow-up to \u003cem>Saturday Night Fever\u003c/em> written and directed by Sylvester Stallone because \u003cem>sure,\u003c/em> at Number 8.\u003c/p>\n\u003cp>The remainder of the lushly exploitable IP in 1983's Top Ten has been left alone, mostly. 1983's No. 2 movie, the Best Picture-winning \u003cem>Terms of Endearment, \u003c/em>got an unlikely sequel. It was called \u003cem>The Evening Star,\u003c/em> and it was one of the most bruising belly-flops of 1996, failing to crack that year's Top 100. Like \u003cem>Terms of Endearment, The Evening Star \u003c/em>was adapted from a Larry McMurty novel.\u003c/p>\n\u003cp>But there was no follow-up to 1983's far likelier candidates for the Electric Boogalo treatment: not \u003cem>Flashdance, \u003c/em>the year's Number 3 hit, nor \u003cem>Trading Places\u003c/em> (Number 4) nor \u003cem>WarGames\u003c/em> (Number 5) nor \u003cem>Risky Business \u003c/em>(Number 10). Compared to '83, 1984's biggest hits were simply easier to franchise.\u003c/p>\n\u003cp>(Wait, sorry, I'm receiving new information that a direct-to-DVD sequel entitled \u003cem>WarGames: The Dead Code, \u003c/em>directed by and starring no one you've ever heard of, sought to capitalize on \u003cem>WarGames' \u003c/em>massive Reagan-era cache in... 2008. What did we say about DTV releases? They don't count. Moving on.)\u003c/p>\n\u003cp>\u003cstrong>Johnny '85 Is Alive\u003c/strong>\u003c/p>\n\u003cp>But enough of 1984's past, let's get back... to the future! 1985's box office champ, \u003cem>Back to the Future,\u003c/em> towered over its closest competition by a cool $60 million. In the Number 2 and 3 positions we get \u003cem>Rambo: First Blood Part II\u003c/em> and \u003cem>Rocky IV, \u003c/em>respectively. Clearly, Sly did not let the poor reviews of \u003cem>Staying Alive\u003c/em> get him down — \"It's not even as good as \u003cem>Flashdance,\" \u003c/em>Roger Ebert \u003ca href=\"http://www.rogerebert.com/reviews/staying-alive-1983\">wrote\u003c/a> — because '85 was indisputably \u003cem>his year.\u003c/em>\u003c/p>\n\u003cp>Well, his and Phil Collins'.\u003c/p>\n\u003cp>But after those three, 1985's Top Ten opened up to accommodate plenty of serious, and as yet, un-remade, fare: \u003cem>The Color Purple \u003c/em>(adapted from Alice Walker's novel, and now the basis for a Broadway musical that could well become a movie); \u003cem>Out of Africa \u003c/em>(adapted from Karen Blixen's memoir); and \u003cem>Witness, \u003c/em>which actually won the Academy Award for Best Original Screenplay.\u003c/p>\n\u003cp>It also included\u003cem> The Goonies \u003c/em>and\u003cem> Spies Like Us, \u003c/em>both of which seem eminently remakeable, but for whatever reason have not been.\u003c/p>\n\u003cp>The 80s ran themselves out in similar fashion. In each year, sequels or adaptations of preexisting material were the exceptions in the Top Ten rather than the rule. Until, that is, 1989, when the top earners included the long-in-development \u003cem>Batman, Indiana Jones and the Last Crusade, Lethal Weapon 2, \u003c/em>and\u003cem> Back to the Future Part II. \u003c/em>Oh, and one other sequel, less inspired than any of those: \u003cem>Ghostbusters II.\u003c/em>\u003c/p>\n\u003cp>But 1989 was an anomaly. Five years later, the ratio of new material to old in the Top Ten was far smaller than it had been a decade earlier, but still healthier than today. The biggest hit of 1994's was a Best Picture-winning adaptation of Winston Groom's novel \u003cem>Forrest Gump. \u003c/em>Number 2 was \u003cem>The Lion King — Hamlet\u003c/em> for kids, but we'll still count it as an original. Number 3, the action comedy \u003cem>True Lies, \u003c/em>was in fact a pumped-up remake of a French farce called \u003cem>La Totale!,\u003c/em> but this was probably not one of the key factors that persuaded millions of patriotic Americans to buy a ticket for a James Cameron-directed Arnold Schwarzenegger movie.\u003c/p>\n\u003cp>Also in the Top 10: \u003cem>Clear and Present Danger\u003c/em> (based on a Tom Clancy novel,), \u003cem>The Flintstones\u003c/em> (based on a Hanna-Barbera cartoon), and \u003cem>The Mask\u003c/em> (based on a comic book). Squeaking in at Number 10 was a wildly energetic and unpredictable crime picture, one that exuded originality from every pore --despite taking its title from a genre where formulaic plots and stock characters are celebrated. It was called \u003cem>Pulp Fiction.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Millennium Approaches: Sequels, Adaptations, Passion Plays\u003c/strong>\u003c/p>\n\u003cp>On the other side of the millennium, innovation waned. The biggest hits of 2004 were \u003cem>Shrek 2 \u003c/em>and \u003cem>Spider-Man 2, \u003c/em>followed by Mel Gibson's \u003cem>The Passion of the Christ, \u003c/em>which was, you know, based on preexisting material, if not exactly in the same way that \u003cem>Meet the Fockers \u003c/em>was.\u003c/p>\n\u003cp>There were still a few \"originals,\" however derivative, in the Top Ten: The Roland Emmerich bad-weather thriller \u003cem>The Day After Tomorrow\u003c/em>. \u003cem>National Treasure.\u003c/em> Brad Bird's wonderful Pixar superhero movie \u003cem>The Incredibles. \u003c/em>And when the franchise entries were as strong as \u003cem>Spider-Man 2\u003c/em> (Number 2), \u003cem>Harry Potter and the Prisoner of Azkaban \u003c/em>(Number 4), and \u003cem>The Bourne Supremacy\u003c/em> (Number 8), who was going to complain?\u003c/p>\n\u003cp>By 2014, there was \u003cem>nothing\u003c/em> not extrapolated from a preexisting movie or comic book or Navy SEAL's memoir in the Top Ten.\u003cem> (American Sniper \u003c/em>became the first R-rated movie to win its year since\u003cem> Saving Private Ryan \u003c/em>16 years earlier.) Unless of course you want to count \u003cem>Maleficent, \u003c/em>a reframing of \u003cem>Sleeping Beauty,\u003c/em> or \u003cem>The Lego Movie\u003c/em>, which was of course adapted from a set of molded plastic blocks that hurt when you step on them barefoot.\u003c/p>\n\u003cp>We got our first glimpse of this state of affairs 32 years ago now, in that year Orwell warned us about. We weren't afraid of no ghosts, but maybe we should have been. These days, they're pretty much all all we get.\u003c/p>\n\u003cp>And yet: when our franchise entries are as strong as \u003ca href=\"http://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a> and \u003ca href=\"http://www.npr.org/2015/11/25/457130828/vital-and-tear-jerking-creed-is-the-best-rocky-movie-since-rocky\">\u003cem>Creed\u003c/em>\u003c/a> and \u003ca href=\"http://www.npr.org/sections/monkeysee/2015/12/18/460001132/pop-culture-happy-hour-star-wars-the-force-awakens-and-toys\">\u003cem>Star Wars: The Force Awakens\u003c/em>\u003c/a> and \u003ca href=\"http://www.npr.org/2016/05/06/476490464/captain-america-civil-war-is-the-mightiest-marvel-movie\">\u003cem>Captain America: Civil War\u003c/em>\u003c/a>\u003cem>, \u003c/em>who's going to complain? Not me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But... maybe go see \u003cem>The Lobster,\u003c/em> too, would you?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=1984%3A+The+Year+We+Unwittingly+Stopped+Watching+Movies+And+Started+Watching+Franchises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Look Away, '80s Kids: \u003cem>Jem and the Holograms\u003c/em> Trailer Is So Bad, Even William Shatner Is Pissed",
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"content": "\u003cp>https://www.youtube.com/watch?v=yaPgK073xEg\u003c/p>\n\u003cp>The trailer for \u003cem>Jem and the Holograms\u003c/em> has landed. And it'll leave you wishing air control hadn't given it permission. The only time I wasn't cringing, while watching my childhood being ravaged, was when Molly Ringwald unexpectedly showed up and I briefly thought \u003cem>Oh, hey, Molly!\u003c/em> before going back to \u003ca href=\"http://mrwgifs.com/wp-content/uploads/2014/07/Furrowed-Brow-Britney-Spears-Is-Unsure-What-To-Think-About-The-Performance-On-X-Factor.gif\" target=\"_blank\">making this face\u003c/a>.\u003c/p>\n\u003cp>I get that this is a reboot and that films of this nature often deviate from the source material to stay current, but there's something about this that feels hollow and uninspired. The storyline is so generic that it could have been about anyone. Why get Jem and all the nostalgia that comes along with her involved? Why rankle everyone born in the late '70s/early '80s?\u003c/p>\n\u003cp>Perhaps the reason this movie doesn't seem to have the same feminist spark as the cartoon is that everyone working on it is a dude. \u003cem>Jem and the Holograms\u003c/em> creator Christy Marx wasn't asked to consult on the film, let alone write for it, despite the majority of Jem's world being a product of her brain. Here's what she had to say about this whole thing on \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=10152262186282559&id=200249107558\" target=\"_blank\">her Facebook page\u003c/a>:\u003c/p>\n\u003cp>\u003cem>\"I don’t think I can hide that I’m deeply unhappy about being shut out of the project. That no one in the entertainment arm of Hasbro wanted to talk to me, have me write for it, or at the very least consult on it. I wouldn’t be human if that failed to bother me.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>My other unhappy observation is that I see two male producers, a male director and a male writer. Where is the female voice? Where is the female perspective? Where are the women?\u003c/em>\u003c/p>\n\u003cp>\u003cem>Now, as far as not bringing me on-board, that’s the reality of franchise IPs. It’s their property, they can do whatever they want with it, and they have no obligations whatsoever to me. Was it a smart decision? You decide.\"\u003c/em>\u003c/p>\n\u003cp>People (a.k.a. Twitter) \u003cem>have\u003c/em> decided...that this movie is a piece of *insert smiling poop swirl emoji here*. Take it away, William Shatner!\u003c/p>\n\u003cp>https://twitter.com/WilliamShatner/status/598349386913972224\u003c/p>\n\u003cp>https://twitter.com/samkalidi/status/598415786034724864\u003c/p>\n\u003cp>https://twitter.com/rembert/status/598512681071554561\u003c/p>\n\u003cp>https://twitter.com/keithcalder/status/598294822621818880\u003c/p>\n\u003cp>https://twitter.com/Darkartsy/status/598528251129040897\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yeah. What they said.\u003c/p>\n\n",
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"content": "\u003cfigure id=\"attachment_11946\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/04/28/ducktales-theme-song-now-the-sexy-slow-jam-you-didnt-know-you-needed/ducktales/\" rel=\"attachment wp-att-11946\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/ducktales.jpg\" alt=\"Photo: Buena Vista Television\" width=\"640\" height=\"360\" class=\"size-full wp-image-11946\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/ducktales.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/ducktales-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Buena Vista Television\u003c/figcaption>\u003c/figure>\n\u003cp>Like many other '90s kids, I was essentially raised by the television. So rewatching certain shows can feel like reuniting with long lost friends. Growing up, I was on a steady diet of \u003cem>Alvin and the Chipmunks\u003c/em>, Pee Wee, and \u003cem>DuckTales\u003c/em>. (You can find \u003ca href=\"http://instagram.com/p/ZYUvdaqL2E/\">proof of the latter all over my lunch box on my first day of school\u003c/a>.) \u003c/p>\n\u003cp>I don't think of Scrooge McDuck and his grand-nephews that much these days, but when I do it's a deluge of childhood tastes, smells and feels smashing past poorly built flood gates. So imagine the emotions inspired by \u003ca href=\"https://www.youtube.com/user/ScottBradleeLovesYa\">Postmodern Jukebox\u003c/a>'s cover and slow jam-ification of the \u003cem>DuckTales\u003c/em> theme song. Let's just say the first-day-of-school five-year-old inside me is pretty psyched.\u003c/p>\n\u003cp>http://youtu.be/t8X_DPy9KSU\u003c/p>\n\u003cp>And the original for old times' sake:\u003c/p>\n\u003cp>http://youtu.be/woJrjb91pW4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What theme song from your childhood do you think deserves a slow jam?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_11946\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/04/28/ducktales-theme-song-now-the-sexy-slow-jam-you-didnt-know-you-needed/ducktales/\" rel=\"attachment wp-att-11946\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/ducktales.jpg\" alt=\"Photo: Buena Vista Television\" width=\"640\" height=\"360\" class=\"size-full wp-image-11946\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/ducktales.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/ducktales-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Buena Vista Television\u003c/figcaption>\u003c/figure>\n\u003cp>Like many other '90s kids, I was essentially raised by the television. So rewatching certain shows can feel like reuniting with long lost friends. Growing up, I was on a steady diet of \u003cem>Alvin and the Chipmunks\u003c/em>, Pee Wee, and \u003cem>DuckTales\u003c/em>. (You can find \u003ca href=\"http://instagram.com/p/ZYUvdaqL2E/\">proof of the latter all over my lunch box on my first day of school\u003c/a>.) \u003c/p>\n\u003cp>I don't think of Scrooge McDuck and his grand-nephews that much these days, but when I do it's a deluge of childhood tastes, smells and feels smashing past poorly built flood gates. So imagine the emotions inspired by \u003ca href=\"https://www.youtube.com/user/ScottBradleeLovesYa\">Postmodern Jukebox\u003c/a>'s cover and slow jam-ification of the \u003cem>DuckTales\u003c/em> theme song. Let's just say the first-day-of-school five-year-old inside me is pretty psyched.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/t8X_DPy9KSU'\n title='//www.youtube.com/embed/t8X_DPy9KSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And the original for old times' sake:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/woJrjb91pW4'\n title='//www.youtube.com/embed/woJrjb91pW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_7746\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/08/22/want-to-write-an-80s-teen-movie-heres-how/bf1/\" rel=\"attachment wp-att-7746\">\u003cimg class=\"size-full wp-image-7746\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/08/bf1.jpg\" alt=\"bf1\" width=\"550\" height=\"501\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/08/bf1.jpg 550w, https://ww2.kqed.org/app/uploads/sites/12/2013/08/bf1-400x364.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Universal Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>If you're anything like me, born in the '80s, raised in the '90s, and calling shots in the aughts, then the teen movies of the 1980s were likely where you cut your movie-watching teeth. I'll never forget the first time my dad brought home \u003cem>16 Candles\u003c/em> from Blockbuster. My sister had loved all things Molly Ringwald and now it was my turn. My sleepover guests and I sat mesmerized in front of the TV as teen glory unfolded before our eyes. To us, it was some insight on the years that lied ahead, a glimpse into the intimidating world of high school. We all silently took notes: clothes matter, class matters, homework doesn't really ever matter, and if you just be yourself you might get what you want in the end.\u003c/p>\n\u003cp>After my encounter with \u003cem>16 Candles\u003c/em>, I too consumed all things “Brat Pack.” Ferris Bueller became my #1 crush and I would do just about anything to mimic Molly Ringwald’s vocabulary. After all, I had to get prepped for the mean streets of high school. When real-life high school turned out to not be as formulaic as a John Hughes film, I escaped to my basement with my VCR and kept on watching. '80s movies made sense and they were just fun to watch.\u003c/p>\n\u003cp>As time charged ahead and those \u003cem>Dawson’s Creek\u003c/em> characters began representing our generation, I felt a tiny hole in my heart. The '80s teen movie archetypes were so accessible and their motivation was easy to understand. When the '90s attempted to copy that with films like \u003cem>She’s All That\u003c/em>, it just came off as kind of forced and trite. '90s kids lacked the innocence and candor of their '80s counterparts. Nothing beats the '80s.\u003c/p>\n\u003cp>And so it was back to the drawing board. I decided to figure out just what made '80s teen movies so glorious. Now, after years of diligent movie-viewing and dissecting, I think I’ve cracked the code.\u003c/p>\n\u003cp>It’s not only about the characters; an '80s teen movie needs to feel authentic. The film must capture the nitty gritty of teendom; the alienation, the pressure, the constant struggle for status and acceptance and, of course, the general absurdity of day-to-day high school life. Bonus points for including a generation-defining soundtrack.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Okay, but seriously the characters do matter. In fact, it’s the archetypal characters that give these movies their pizzazz. A great '80s movie is all too aware of the power of cliques and cliches. Each character will stringently identify with a specific group. This way we know a bit about them and the way they think right off the bat. \u003cem>The Breakfast Club\u003c/em> laid it out for us: there’s a jock, a prissy rich girl, a nerd, a stoner-loner, and a weird goth chick, or some version thereof.\u003c/p>\n\u003cp>But it’s the side characters that really set it off. If you would like to write an authentic '80s teen movie, be sure to include at least two of the following people:\u003c/p>\n\u003cp>\u003cstrong>The Oppressive Authority Figure\u003c/strong>: Like Mr. Hand in \u003cem>Fast Times At Ridgemont High\u003c/em> and Edward R. Rooney in \u003cem>Ferris Bueller’s Day Off\u003c/em>, the oppressive authority provides the young protagonists with a challenge and a chance to triumph over adults. Everyone can relate to how awesome that is.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/bMtdrKIdDgE\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>The Quirky Sidekick/Best Friend\u003c/strong>: Every strong lead character needs an unconventional buddy hanging around to bounce ideas off of and to scheme with. Lance in \u003cem>The Sure Thing\u003c/em> and Fred in \u003cem>Valley Girl\u003c/em> portray the perfect quirky sidekick.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/sBfBN75Upj8\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>The Quirky Sidekick/ Best Friend Who Is Secretly In Love:\u003c/strong> Sometimes you fall in love with your best friend. Boy, what a pickle! If you're lucky like Watts in \u003cem>Some Kind of Wonderful\u003c/em>, maybe things'll will work out for you. But if you're stuck in friend-zone like \u003cem>Pretty in Pink’s\u003c/em> Duckie, this can be torture.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/mNGIg8f-0Wc\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>The Bully\u003c/strong>: Naturally there needs to be a jerk in the mix to spice things up, mostly because, when the underdog beats him at his own game, we can all celebrate. Steff in \u003cem>Pretty in Pink\u003c/em>, Roy in \u003cem>Better Off Dead\u003c/em> and of course Johnny and Cobra Kai in \u003cem>The Karate Kid\u003c/em> are all bullies we love to hate.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/2XEhUjRWdNE\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>The Token Ethnic Guy\u003c/strong>: The '80s did its damndest, but political correctness was not really its forte. From \u003cem>16 Candles\u003c/em>’ Long Duck Dong to \u003cem>Fast Times At Ridgemont High’s\u003c/em> Jefferson to the Tri-Lambs of \u003cem>Revenge of the Nerds\u003c/em>, almost every film featured at least one token ethnic character.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/YYV5f0Aqo4w\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Now simply juxtapose these characters with some extraordinary high school event -- this event will usually take the form of a large out-of-control house party or some kind of athletic contest. You also might want to make mention of a track or basketball scholarship and/or the prom. Weave it all together with witty quips and voila! you have the quintessential '80s teen movie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It also helps if you listen to the Psychedelic Furs or Simple Minds while working on your screenplay.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/CdqoNKCCt7A\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_7746\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/08/22/want-to-write-an-80s-teen-movie-heres-how/bf1/\" rel=\"attachment wp-att-7746\">\u003cimg class=\"size-full wp-image-7746\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/08/bf1.jpg\" alt=\"bf1\" width=\"550\" height=\"501\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/08/bf1.jpg 550w, https://ww2.kqed.org/app/uploads/sites/12/2013/08/bf1-400x364.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Universal Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>If you're anything like me, born in the '80s, raised in the '90s, and calling shots in the aughts, then the teen movies of the 1980s were likely where you cut your movie-watching teeth. I'll never forget the first time my dad brought home \u003cem>16 Candles\u003c/em> from Blockbuster. My sister had loved all things Molly Ringwald and now it was my turn. My sleepover guests and I sat mesmerized in front of the TV as teen glory unfolded before our eyes. To us, it was some insight on the years that lied ahead, a glimpse into the intimidating world of high school. We all silently took notes: clothes matter, class matters, homework doesn't really ever matter, and if you just be yourself you might get what you want in the end.\u003c/p>\n\u003cp>After my encounter with \u003cem>16 Candles\u003c/em>, I too consumed all things “Brat Pack.” Ferris Bueller became my #1 crush and I would do just about anything to mimic Molly Ringwald’s vocabulary. After all, I had to get prepped for the mean streets of high school. When real-life high school turned out to not be as formulaic as a John Hughes film, I escaped to my basement with my VCR and kept on watching. '80s movies made sense and they were just fun to watch.\u003c/p>\n\u003cp>As time charged ahead and those \u003cem>Dawson’s Creek\u003c/em> characters began representing our generation, I felt a tiny hole in my heart. The '80s teen movie archetypes were so accessible and their motivation was easy to understand. When the '90s attempted to copy that with films like \u003cem>She’s All That\u003c/em>, it just came off as kind of forced and trite. '90s kids lacked the innocence and candor of their '80s counterparts. Nothing beats the '80s.\u003c/p>\n\u003cp>And so it was back to the drawing board. I decided to figure out just what made '80s teen movies so glorious. Now, after years of diligent movie-viewing and dissecting, I think I’ve cracked the code.\u003c/p>\n\u003cp>It’s not only about the characters; an '80s teen movie needs to feel authentic. The film must capture the nitty gritty of teendom; the alienation, the pressure, the constant struggle for status and acceptance and, of course, the general absurdity of day-to-day high school life. Bonus points for including a generation-defining soundtrack.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Okay, but seriously the characters do matter. In fact, it’s the archetypal characters that give these movies their pizzazz. A great '80s movie is all too aware of the power of cliques and cliches. Each character will stringently identify with a specific group. This way we know a bit about them and the way they think right off the bat. \u003cem>The Breakfast Club\u003c/em> laid it out for us: there’s a jock, a prissy rich girl, a nerd, a stoner-loner, and a weird goth chick, or some version thereof.\u003c/p>\n\u003cp>But it’s the side characters that really set it off. If you would like to write an authentic '80s teen movie, be sure to include at least two of the following people:\u003c/p>\n\u003cp>\u003cstrong>The Oppressive Authority Figure\u003c/strong>: Like Mr. Hand in \u003cem>Fast Times At Ridgemont High\u003c/em> and Edward R. Rooney in \u003cem>Ferris Bueller’s Day Off\u003c/em>, the oppressive authority provides the young protagonists with a challenge and a chance to triumph over adults. Everyone can relate to how awesome that is.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/bMtdrKIdDgE\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>The Quirky Sidekick/Best Friend\u003c/strong>: Every strong lead character needs an unconventional buddy hanging around to bounce ideas off of and to scheme with. Lance in \u003cem>The Sure Thing\u003c/em> and Fred in \u003cem>Valley Girl\u003c/em> portray the perfect quirky sidekick.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/sBfBN75Upj8\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>The Quirky Sidekick/ Best Friend Who Is Secretly In Love:\u003c/strong> Sometimes you fall in love with your best friend. Boy, what a pickle! If you're lucky like Watts in \u003cem>Some Kind of Wonderful\u003c/em>, maybe things'll will work out for you. But if you're stuck in friend-zone like \u003cem>Pretty in Pink’s\u003c/em> Duckie, this can be torture.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/mNGIg8f-0Wc\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>The Bully\u003c/strong>: Naturally there needs to be a jerk in the mix to spice things up, mostly because, when the underdog beats him at his own game, we can all celebrate. Steff in \u003cem>Pretty in Pink\u003c/em>, Roy in \u003cem>Better Off Dead\u003c/em> and of course Johnny and Cobra Kai in \u003cem>The Karate Kid\u003c/em> are all bullies we love to hate.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/2XEhUjRWdNE\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>The Token Ethnic Guy\u003c/strong>: The '80s did its damndest, but political correctness was not really its forte. From \u003cem>16 Candles\u003c/em>’ Long Duck Dong to \u003cem>Fast Times At Ridgemont High’s\u003c/em> Jefferson to the Tri-Lambs of \u003cem>Revenge of the Nerds\u003c/em>, almost every film featured at least one token ethnic character.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/YYV5f0Aqo4w\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Now simply juxtapose these characters with some extraordinary high school event -- this event will usually take the form of a large out-of-control house party or some kind of athletic contest. You also might want to make mention of a track or basketball scholarship and/or the prom. Weave it all together with witty quips and voila! you have the quintessential '80s teen movie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It also helps if you listen to the Psychedelic Furs or Simple Minds while working on your screenplay.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/CdqoNKCCt7A\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\n\u003c/div>\u003c/p>",
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},
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
},
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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