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Gen Z is right, the most beloved Gen X films from our youth had objectively 'toxic' messages

It's not just that these movies didn't age well.

Image: Paramount Movies/YouTube

"Grease" is not a love story for the ages, despite the fun music and dancing.

Every generation has its highs and lows, strengths and weaknesses, points of pride of and things to lament in hindsight. Nostalgia can cause us to see our own pasts through rose-colored glasses, making it hard to be objective, so sometimes it takes someone from outside of our own generational bubble to discern which things are worth cherishing and keeping.

Enter Gen Z watching Gen X coming-of-age films. We all know by now that many movies have not aged well, as those of us who have assumed a PG movie from the 80s would be fine to show our children can attest. But many movies that have been held up as favorites for decades have not only not aged well, but have revealed themselves to have always had objectively terrible messages from the get go.

A mom on Threads shared her experience trying to show her favorite movies from the 70s and 80s with her teenagers and how their reactions were not what she expected. "Turns out what we saw as empowering entertainment was actually teaching Gen X girls some seriously toxic lessons," she wrote. Then she gave specific examples.

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She introduced them to Grease from 1978, which she saw as "A classic love story with great songs!" But her teens saw it differently. "So she completely changes her personality, starts smoking, and squeezes into leather pants... for a guy who spent all summer lying about her?"

Ouch. Yeah, that is actually what happened, isn't it? But the music is so good! And we love Rizzo! And Olivia Newton-John is iconic! Is it really that bad?

Yes, yes it is.

- YouTubewww.youtube.com

How about Fame, the 1980s hit about the kids at a competitive arts high school pursuing their dreams of becoming dancers, singers, and actors?

"So normalizing eating disorders and teacher abuse is…inspirational?" Hmm.

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1983's Flashdance wasn't seen as a story about "a strong, independent woman," but rather about an 18-year-old "working as a welder AND an exotic dancer while prepping for ballet school and dating a guy who could be her father." Working two jobs? Fine. Exotic dancer at 18 and dating a 36-year-old? Debatable.

And, oh boy, Sixteen Candles. We all probably cringe at the Long Duk Dong caricature of an Asian student at this point, but that's just scratching the surface of the issues with this film. The "scene about sexual assault played for laughs" may not be what most of us remember about that movie, but it's very much in there.

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Even worse, it's the movie's heartthrob love interest, the guy Molly Ringwald is gaga over and who she ends up with in the end, who says of his extremely drunk girlfriend, "I could violate her 10 different ways if I wanted to. I’m just not interested anymore," and then passes her off to another guy, saying “She’s so blitzed she won’t know the difference,” and telling him to "have fun."

Ew. This was the 80s, long before the Me Too movement and copious conversations about consent, but that still was gross even for back then.

- YouTubewww.youtube.com

But there are more. The woman's kids pointed out that Risky Business was essentially a movie "about a high school kid literally pimping out a bunch of women to his high school friends to get into... Princeton???" Again, not even a great premise at the time.

My husband and I recently tried rewatching Weird Science to see if it held up. We ended up turning it off partway through because yeesh.

People shared other movies from that era that probably should have received a little more scrutiny than they got when they came out. There are Revenge of the Nerds and Saturday Night Fever with the sexual assault scenes. There are Dirty Dancing and Pretty Woman with very questionable relationships positioned as protagonist romances. Even The Breakfast Club has some elements that were pushed as sweet but were super problematic.

Molly Ringwald herself, John Hughes' favorite teen leading lady in the 80s, has rethought some of the characters and storylines in some of those famous "brat pack" films.

"As I can see now, Bender sexually harasses Claire throughout the film,” Ringwald wrote of Judd Nelson's and her Breakfast Club characters in The New Yorker. “When he’s not sexualizing her, he takes out his rage on her with vicious contempt, calling her ‘pathetic,’ mocking her as ‘Queenie.’ It’s rejection that inspires his vitriol . . . He never apologizes for any of it, but, nevertheless, he gets the girl in the end.”

Sure, those movies all had some fun laughs and made Gen Xers feel seen in the chaotic period of our benignly neglected youth, but we also have to admit that we may have internalized some unhealthy messages from them. It's not that there were scenes of sexual harassment or assault or blatant sexism or racism in those films. It's that they were trivialized as part of the comedy. There's a big difference between Biff, the villain, trying to rape Marty's mom in the backseat of his car in Back to the Future and the main love interest who's painted as the ideal man in Sixteen Candles handing off his girlfriend to be sexually assaulted because she's too drunk to consent. The former was meant to be a problem. The latter was supposed to be funny, which is super problematic regardless of the era.

The good news is Gen Z are by and large watching these movies with their parents and having these conversations about them, which is super healthy. That's a move in the right direction and actually gives us room to still enjoy these films while acknowledging their toxic elements. Generations are supposed to learn from those who went before them, but we can also learn from those who come after us, even if it means seeing some of our favorite things in a new light.

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Couple advertises their rundown Honda as a luxury vehicle in hilarious parody ad

Their spot-on impression of most luxury vehicle commercials says a lot about how we are trained to view consumerism.

Fularious/Youtube

Luxury, it's a sate of mind

When Carrie Hollenbeck needed to sell her 1996 Honda Accord, with over 140,000 lifetime miles on it, having a filmmaker boyfriend paid off. Big time.

Max Lanman had the idea to produce an actual commercial to advertise his girlfriend's jalopy. But this wouldn't be some low-budget production for a 4 a.m. run on the local access cable channel. Oh no. Not at all.

“I thought it would be hilarious to make a high-end car commercial for a really junky car,” Lanman told ABC News. “And she had just the car.”

The ad begins like any high-gloss, self-important, sleek car commercial, with a deep-voiced narrator uttering some vaguely inspiring patter: "You, you're different. You do things your way. That's what makes you one of a kind."

Cut to — instead of a luxury vehicle with a slick dash, leather interior, and impeccably dressed anonymous driver — Carrie's old Honda, complete with coffee spills, random objects rolling around in the back, and one of those cassette things you use to play your iPod in a car without Bluetooth.

"You don't do it for appearance. You do it because it works," the narrator adds triumphantly.

Check out the finished product:

Lanman may have intended the piece to be more silly than satire, but the faux ad inadvertently makes an important point about the car buying experience in America.

As commonplace as the ads he's lampooning are, the majority of Americans cannot afford a new car. Things are only getting worse — the average price of a new vehicle has skyrocketed 35% since the 1970s, while the median household income is only up about 3% for the same time period.

Cars have always been a status symbol, but somewhere along the line — between the time of horse-drawn carriages and the modern era of Matthew McConaughey selling Lincolns by falling backward into an infinity pool while wearing a tuxedo — cars have become an extreme symbol of status.

Car commercials would have you believe that cars are not something you buy because of how well they can get you from Point A to Point B, but because of how they made you feel and how they make you look to other people. For every person buying a $60,000 car that fits their "lifestyle," (or to sit in their garage, barely touched) there are dozens more people buying a used junker on Craiglist or eBay because it's all they can afford. And there's nothing wrong with that.

Though it wasn't intended to be, Max and Carrie's viral ad is almost a digital middle finger to those who want the rich to get richer and income disparity to get worse. It reminds us to be proud of our ability to successfully live our own lives, even if it's not always pristine or glamorous. This ad ... is practical and real and ... well, it's all of us.

"Luxury is a state of mind," the narrator bellows at the end. Finally, a car slogan everyday Americans can get behind.


This article originally appeared on 11.09.17

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John Krasinski's scary hit movie has a heartwarming backstory about inclusion.

"A Quiet Place" features a deaf actress in a central role and it's a huge hit.

The horror thriller made over $50 million during its opening weekend, which is especially impressive for a movie that's not part of a franchise or a comic book. First-time director John Krasinski (aka Jim Halpert from NBC's "The Office") has received critical acclaim, particularly for insisting on casting Millicent Simmonds, a 14-year-old deaf actress, to play his character's daughter.

"After we landed on the concept, we had to define how people interacted in that world. How do you survive without sound?" co-writer Bryan Woods said. "The most important part of the film outside of its concept is the family and its issues. In our minds, the issues pre-date the monster event."

Simmonds' role gave the film more depth but also brought greater empathy for the deaf community.

Woods and co-writer Scott Beck said that Simmonds casting changed the on-set dynamic, helping highlight the experiences and challenges a person who is deaf can have outside the larger than life confines of their script.

"We always had a deaf character in the script, but John really pushed for them to hire Millicent," Beck said. "She came to set and taught everyone sign language. It was really amazing and brought an extra depth to the film."

The casting is also an important lesson about inclusion that Hollywood can learn from.

Even in 2018, building bridges of inclusion is a struggle in Hollywood. It would have been easy for Krasinski to cast an actress who wasn't deaf. But in pushing for authenticity, he gave a perfect opportunity to an actress like Simmonds while also opening up his cast to an experience that brought greater depth to their own roles.

Other films have faced backlash for being less inclusive. The forthcoming film "Anything" was criticized for casting a cisgender man in the role of a transgender woman — even though the film's producer is transgender. While those behind the film acknowledged the criticism, it's just another example that Hollywood has a long way to go in pursuing diversity across all facets of production.

It's not about saying "no" to anyone. It's about saying "yes" to a broader spectrum of voices and talents.

Audiences are supporting more diverse films with their hearts and their wallets.

Krasinski did the right thing and should be commended for that. And his screenwriters say it was smart creatively as well. Plus, over $50 million at the box-office is hard to argue with.

If the last few years have shown us anything it's that audiences are hungry for more inclusive forms of storytelling.

After all, "Black Panther" just passed "Titanic" on the all-time box office charts. With his own film, Krasinski showed us how to be more inclusive and he can take all of that goodwill straight to the bank.

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What you didn't see: Jordan Peele's epic answer to a backstage question.

After winning the Oscar for Best Original Screenplay, Jordan Peele's press conference got off to an awkward start backstage.

Standing in front of a room of reporters with numbered cards in hand, the "Get Out" writer and director joked that he felt like he was "about to be auctioned off right now." Someone else in the room replied, "You absolutely are. Get used to it."

[rebelmouse-image 19534047 dam="1" original_size="450x253" caption="GIF from "Entertainment Tonight"/YouTube." expand=1]GIF from "Entertainment Tonight"/YouTube.

The room laughed at what was essentially an unintentional callback to a scene from Peele's award-winning film. "This is creepy," he said. The atmosphere was filled with a kind of enjoyable tension — the same feeling one might have when watching "Get Out" for the first time.

What made the whole experience even more surreal was the fact that Peele almost didn't make the movie, let alone win a top honor for it.

[rebelmouse-image 19534048 dam="1" original_size="450x186" caption="GIF from "Get Out."" expand=1]GIF from "Get Out."

The whole press conference was fascinating, but one question about the importance of awards stood out.

"As you continue to move forward telling stories about race and things that have affected us in our society, how important are Oscars and other awards essential to you for validation or to continue to move forward?" asked one reporter. Peele's response touched on his complicated feelings around awards as a sign of validation, discussing how his 12-year-old self helped him understand why they do matter.

"I didn't know how important this was. I always wanted this, but the campaign is grueling, and there are times when I questioned, what is it all about? You're watching your last jump shot for a year, and as an artist, that doesn't feel right. It doesn't feel right to be complacent and to feel like I've done anything too special to reward myself."

Once he was nominated, however, Peele says he understood how much awards helped inspire him at a young age.

"When the nominations for this came together — first of all, when the nominations came out, I had this amazing feeling of looking at the 12-year-old that had this burning in my guts for this type of validation, and I instantly realized that an award like this is much bigger than me."

All GIFs via Entertainment Tonight/YouTube.

It was Whoopi Goldberg's 1991 Best Supporting Actress Oscar win that helped fuel Peele's own curiosity and ambitions. He hopes his win can have the same effect on others.

"This is about paying it forward to the young people who might not believe that they could achieve the highest honor in whatever craft they want to push for. You're not a failure if you don't get this. But I almost didn't do it because I didn't believe that there was a place for me. Whoopi Goldberg, in her acceptance speech for best supporting actress for 'Ghost,' was a huge inspiration to me, and when I got nominated, one of the first things I did was reach out and call her and thank her for telling young people who maybe doubted themselves that they could do it. So I hope that this does the same and inspires more people to use their voices."

Peele has every reason to be inspired by Goldberg's speech. It was filled with a beautiful combination of honesty and joy.

"I want to thank everybody who makes movies," she said, beaming. "I come from New York. As a little kid, I lived in the projects, and you're the people I watched. You're the people wanted — made me want to be an actor. I'm so proud to be here. I'm proud to be an actor, and I'm gonna keep on acting. And thank you so much."

Peele tweeted that Goldberg's speech "practically reached through my TV and told young me to follow my dreams."

Maybe his speech could inspire another aspiring filmmaker the way hers inspired him.

You can watch Peele's backstage press conference below.

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