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Tag: I Love the '80s (11-20 of 31)

The 'Greatest Event in Television History,' courtesy of Adam Scott & Amy Poehler -- VIDEO

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.”

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Molly Ringwald reminds us not to forget about her with 'Breakfast Club' theme cover

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:

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Grey Poupon to bring back classic campaign: Pardon me, would you have any nostalgia?

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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Who's the boss? It's definitely Jon Hamm

Here’s that photo you ordered of Jon Hamm making a goofy face at Tony Danza:

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The year in nostalgia: Reboots, sequels, comebacks, and callbacks to a simpler time

There’s nothing new under the sun — which is just the way Millennials like it.

We’re a generation obsessed with our own recent past, as befits the children of Boomers. Our influence on the entertainment industry is also increasing as we grow older. That’s probably why 2012 was the year that a collective nostalgia for pop culture from the ’90s and even the early ’00s hit in full force. Sure, the year also featured its share of projects inspired by/cribbing from the ’80s or even earlier — we learned it by watching you, Generation X! — but generally speaking, a yearning for the days of Boy Meets World, Titanic, and the Spice Girls has supplanted a yearning for the days of Growing Pains, Journey, and The Breakfast Club.

Here’s a month-by-month rundown of 2012′s most nostalgia-driven moments, from announcements of sequels and reboots to random late night comedy bits. (Tom Hanks recited a slam poem about what?) Though it’s pretty ’90s heavy, even non-Millennials should find something here they get a kick out of — or something that makes them righteously furious. (For many nostalgia hounds, the two go hand in hand.)

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Sam Malone go Braugh? Irish language adaptation of 'Cheers' is in development

Sometimes you want to go where everybody knows your name… only they pronounce it with an Irish accent.

The Irish Film and Television Network recently announced that casting is underway on an Irish language version of Cheers, the classic NBC sitcom set in a Boston bar. Dublin-based production company Sideline is behind the Emerald Isle reboot.

“I know some people think it’s crazy,” Sideline creative director Billy McGrath told IFTN, “but Sideline is now focused on both scripted and non-scripted formats. Is re-producing Cheers any different than us producing a version of Mastermind, Take Me Out or The Great British Bake Off for Irish viewers?” If we had a clue what any of those things were, we’d certainly have an opinion!

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Nostalgia alert: Which '80s and '90s sitcoms should get 'Boy Meets World'-style reboots?

FULL-HOUSE

The people have spoken — and they really, really can’t wait for Girl Meets World. In the month of November, stories about GMW — the as yet un-greenlit Disney Channel sequel-slash-spinoff of Boy Meets World — accounted for a staggering half a million pageviews on EW.com, indicating that you guys take your nostalgia pretty darn seriously.

And while we’re all for reveling in the return of Cory, Topanga, and (fingers crossed) more of the Philadelphia crew, your enormous interest in Girl Meets World got us thinking about which other beloved ’80s and ’90s sitcoms might be ripe for a reboot. And we want to know which comedies you’d put on the list.

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12 things we learned from the new 'Freaks and Geeks' oral history

Freaks-and-Geeks

Mark Seliger exclusively for Vanity Fair

Though it lasted only a single season on NBC, Freaks and Geeks is justifiably beloved — for presenting an unvarnished take on adolescence in the Dawson’s Creek era, for perfectly mixing comedy and drama, and for launching the careers of big names like Judd Apatow, Paul Feig, James Franco, Seth Rogen, and Jason Segel. And it’s not only fans who have a special place in their hearts for Freaks — since its cancellation, nearly every member of its cast and crew has said that working on the series was the high point of their career.

That’s a sentiment that’s echoed over and over again in Vanity Fair‘s new oral history of the show, which appears in the magazine’s just-released Comedy Issue (guest edited by Apatow himself). The article also includes plenty of fun facts for those who still love Freaks, such as:

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Bill Murray calls Kelly Lynch's husband every time he sees her 'Road House' sex scene on TV

And you thought you had already read this week’s craziest Bill Murray story.

Background: Actress Kelly Lynch, best known for her work in late ’80s and early ’90s touchstones like Cocktail, Drugstore Cowboy, and Curly Sue, is married to screenwriter Mitch Glazer. Glazer co-wrote 1988′s Scrooged, an updated version of A Christmas Carol starring Bill Murray. Murray also appeared in 2000′s Charlie’s Angels with Lynch. Apparently, Murray has stayed in touch with the couple — by which I mean that he calls Glazer any time he sees Road House‘s steamy sex scene, starring a young Lynch and an in-his-prime Patrick Swayze, playing on TV.

Here’s the scoop, straight from an interview Lynch did with The A.V. Club:

Speaking of Bill Murray, every time Road House is on and he or one of his idiot brothers are watching TV — and they’re always watching TV — one of them calls my husband and says [In a reasonable approximation of Carl Spackler], “Kelly’s having sex with Patrick Swayze right now. They’re doing it. He’s throwing her against the rocks.”  READ FULL STORY

Remember the ending of 'Some Kind of Wonderful'? Ever wish you could change it?

Like many of us, I grew up on John Hughes movies. But while some friends claim Breakfast Club or Sixteen Candles as their favorite Hughesian tale, and others swear by Ferris Bueller’s Day Off and Pretty in Pink, I have an undeniable soft spot for 1987′s Some Kind of Wonderful

Written by Hughes and directed by Howard Deutch (the same combo that did the previous year’s Pretty in Pink), SKOW captures a specific flavor of  teen love-triangle angst: there’s the sensitive artist, Keith (Eric Stoltz), who lives on the wrong side of the tracks but is hopelessly infatuated with Amanda (Lea Thompson), the pretty popular girl who dates the loathsome rich Hardy (Craig Scheffer). As Keith schemes his way into Amanda’s life, he’s completely oblivious to the feelings of Watts (Mary Stuart Masterson), his awesome toughie tomboy best friend, who loves only three things in life: herself, her drums, and him.

There’s so much great stuff in this movie: the music (miss you March Violets!), the style (Miley Cyrus’s new ‘do seems downright Watts-like… though she was not alive when this movie came out. Sigh), and the maybe-best-makeout-in-a-garage scene ever. But there was one thing that always bugged me (obligatory 25-year-old spoiler alert). A subplot of the film is Keith’s hard work at the garage, and the growing college fund his father is so proud of. Keith takes the money and buys Amanda diamond earrings instead. The final scene of the film is him giving them to Watts. “You look good wearing my future,” he tells her. READ FULL STORY

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