Before Jawbreaker, Clueless, or Mean Girls, there was 1989’s Heathers, a dark cult comedy that set the standard for films about popular cliques in high school. Pre-Regina George, there were Heathers Duke, McNamara and Chandler, a trio of scrunchied debutantes who classed up the joint with delicate phrases like “Did you have a brain tumor for breakfast?” and “F–k me gently with a chainsaw.” READ FULL STORY
Tag: I Love the '80s (1-10 of 27)
Entertainment Geekly is a weekly column that examines pop culture through a geek lens and simultaneously examines contemporary geek culture through a pop lens. So many lenses!
Measuring time in specific decades is a fallacy, but it’s a fallacy that everyone believes in. There’s no legitimate reason that we should set aside the passage of time between January 1, 1980 and December 31, 1989 as a specific and clearly defined unit of time. 1979 wasn’t too different from 1980; most of the movies released in 1990 were probably shot in 1989. People used to refer to the ’80s as “the MTV Decade” before every decade became some kind of MTV Decade — but it’s worth remembering that MTV’s ridiculously iconic debut video, “Video Killed the Radio Star,” featured a song written in 1978. READ FULL STORY
What is your damage!? If this news doesn’t make you want to dust off your Big Fun album, conduct a lunchtime poll, or simply play a rousing round of croquet, then you’re being a real cooze.
Heathers: The Musical, the stage adaptation of the 1989 cult-classic dark comedy about teen suicide and scrunchies, will make its New York premiere at Off Broadway’s New World Stages. The limited engagement will begin previews March 17, 2014, in anticipation of opening night March 31.
The musical, which enjoyed a sold-out premiere in Los Angeles earlier this year, features book, music, and lyrics by Laurence O’Keefe (Legally Blonde) and Kevin Murphy (Reefer Madness). Andy Fickman will direct, with choreography by Emmy winner Marguerite Derricks.
What is the story of Heathers, you ask? The original comedy stars Winona Ryder as Veronica Sawyer, a sardonic misfit who finds herself hanging out with Westerberg High’s most popular clique, a trio of shoulder-padded hotties all named Heather. When Veronica meets the mysterious J.D., she finds herself accidentally responsible for launching a string of deaths that become suspiciously in vogue among the high school hierarchy.
Talk about good timing.
A Berlin street musician was given the surprise and performance of a lifetime by Scottish pop singer Jimmy Somerville. While playing the 1984 synth anthem “Smalltown Boy” by Bronski Beat, Somerville — who was the lead singer of the group — stops and joins in while walking his dog. The impromptu duet was captured on film by bystanders, including the reaction from the unnamed street musician when he realizes who he was just harmonizing with.
Watch the video below:
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We can’t really recommend seeing the new Carrie movie. EW’s Owen Gleiberman gave the film a B-. Your time would be better spent watching the original Carrie, or maybe looking up that kid who bullied you in high school’s Facebook page and playing a round of Poor Life Choices Schadenfreude.
But there was one scene in neo-Carrie that took me completely by surprise. The Evil Popular Girl played by Portia Doubleday has a meeting with the high school principal and Judy Greer’s gym teacher. Evil Popular Girl’s dad is there, too. He looks kind of familiar. He’s mean and egotistical and has the overall affect of a go-go ’80s Reaganaut who negotiates million dollar deals for breakfast. After staring hard at the guy for a minute, a sudden loud thought filled my brain: “Is that…Ellis?” READ FULL STORY
Cigars… vapes… cookies…
I really wouldn’t mind a sequel to the 1989 Shelley Long vehicle Troop Beverly Hills. The most cherished movie of my childhood is no cinematic masterpiece, so this would hardly be sacrilege. I figure if this is really gonna be the film most often running through my head like a skunk on a misdirected trail (oh, the shame!), the story may as well continue. So sack up, hobos, and pour some wine into that stew: It’s cookie time. Again.
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Breaking news: Adam Scott and Jon Hamm’s shot-for-shot recreation of Simon & Simon‘s opening credits sequence was not, in fact, the Greatest Event in Television History.
“How does an error this egregious happen?” wondered Jeff Probst — the host of 2012′s hyperbolic Adult Swim special — in a follow-up that aired last night. And while Probst couldn’t really answer that question, he could present a new video, one which “we’ve been absolutely assured is the Greatest Event in Television History”: a recreation of the opening title sequence from another classic ’80s TV series (Hart to Hart), this time featuring “beloved star Amy Poehler” and “working actor Adam Scott.”
Congratulations, Molly Ringwald — you may yet out-Franco James Franco. Over the past 12 months, the beloved Brat Pack actress has released her first novel, completed filming the final season of The Secret Life of the American Teenager, and won the Internet over with a classic Reddit AMA. Now she’s celebrating the release of her first album, a collection of jazz standards called Except Sometimes that dropped yesterday. (Yes, Ringwald sings — don’t you forget that The New Mickey Mouse Club launched her career.)
Though most of the album’s tracks wouldn’t seem out of place on a record by Ella Fitzgerald or Susannah McCorkle, there’s one outlier on there: a cover of “Don’t You (Forget About Me),” a.k.a. The Breakfast Club‘s iconic theme song. Here’s a preview of Ringwald’s version that’s been floating around for a few weeks:
Those who appreciate the finer things in life are generally against the idea of sequels; they’re so crass, so money-grubbing, so… déclassé, unless you’re talking about the Ring Cycle. But snobs and slobs alike should be delighted to hear that Grey Poupon, the label that single-jar-edly made it okay for America to move beyond French’s yellow mustard, is bringing back its iconic “Pardon Me” ad campaign for one night only.
Anyone who watched television in the ’80s or ’90s will remember the campaign’s general conceit: A fancy-looking man drives through a quaint country scene in a chauffeured car when another expensive automobile pulls up alongside him. The back window rolls down to reveal a similarly fancy-looking man, who asks, “Pardon me, would you have any Grey Poupon?”
“But of course,” the first man replies, handing over a jar of dijon mustard. The tagline: “One of life’s finer pleasures.”
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