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Sixteen Candles Sequel?

Molly_bclub  As you know, the cast of the Breakfast Club was supposed to reunite at the MTV Movie Awards, which taped Sunday (and will be broadcast this Thursday, I think...)

Well, what really happened is that Molly, Ally and TonyMike (Anthony Michael) showed up and palled around with Paul Gleason. Emilio and Judd didn't show. But now that she's back on the MTV radar, Molly's announced that she's considering a script for the Sixteen Candles sequel.

Which begs the question: what happened after Jake and Samantha leaned over her belated birthday cake and kissed?

1) They caught fire. I mean, it was the 80s, so there was lots of hair product used to achieve volume. That stuff is extremely flammable. (Or inflammable. Or incontrivertiflammable.)

2) After extinguishing the fire, the new couple tries to make conversation. He says, "It's kinda cool the way you're always looking at me." And she says, "I had this incredibly bizarre dream and you were in it." At that point, the Donger awakens from his hangover with an inexplicable case of the munchies and interrupts the stellar convo: "The Donger need food!"

3) There's awkward silence. Then they order pizza. Which is delivered by a neckbrace-wearing Joan Cusack.

4) Then Blaine, Ducky and John Bender ("I barely knew her") arrive, and there's a four-way cagematch for Molly/Andi/Claire/Samantha's affections. Jake decides he'd rather be a carpenter, and Bender realizes he's got to meet with his parole officer. They leave. Blaine is tired of defending his name (which does sound like a kitchen appliance), so he goes to find the chick from Some Kind of Wonderful, whose name he thinks is "Amana." Eventually, Blaine leaves Amana for a woman he knows only as "Frigidaire."

5) Ducky gets a call from Andrew Clark, who's out with his brother, Charlie. Charlie's got a new TV show that Ducky'd be, well, just ducky for. Ducky explains that this could be his big break, so that audiences will stop seeing him as the gay best friend; he kisses Molly/Andi/Claire/Samantha on her forehead and leaves.

6) Alone again, Molly/Andi/Claire/Samantha plunges her fist into her birthday cake, and begins to eat.

[As music swells..."Don't you...forget about me...Don't, don't, don't don't..."]

MY URBAN KVETCH FIELD TRIP...

"You See Us As You Want to See Us."  Breakfast Club parody run extended...

Featuring all your favorite "Brat Pack" high school losers; Emilio Estevez's jock is finally out of the closet, Ally Sheedy’s freaky rebel is facing an uphill battle with her weight, Molly Ringwald's snobby rich girl is a mega-bitch, and in tribute to the Long Duck Dong of John Hughes other 1980’s classic film, “Sixteen Candles,” Anthony Michael Hall’s nerd is Asian.

Running Fridays and Saturdays through March 26th.

$20 at The Kraine Theater
85 E. 4th Street
Shows are at 10:45 pm

Anyone interested in a Saturday show in March? The show lasts an hour, then we can go out for some drinks at KGB or somewhere else...

We can initiate the "My Urban Kvetch" theater series...if I get enough interest, I'll call about a reduced rate for groups...

Indicate interest and available dates in comments section.

"Demented and Sad, But Social"

You see us as you want to see us...in the simplest terms and the most convenient definitions.  You see us as a brain, an athelete, a basket case, a princess and a criminal.

Dude, I love the Breakfast Club. If you're about my age, you do too. Even for a former yeshiva girl like me, the film resonated, not for its specifics about pot-smoking or criminals or even students from divorced families, but because the truth in the John Hughes portrait of high school life was the all about the essential challenge of growing up: the battle to belong vs. the yearning to be yourself. It's all about the pressure to become part of the social hierarchy, even at the expense of your own self.

Even in a smaller, somewhat more homogeneous school, cliques were so well-defined that there was just no way you'd interact with everyone. If perchance, there was a crossover, the person in the "lower" (less popular) group would question the sudden interest, suspicious of the olive branch extended, and usually for good reason. This was true not just of high school, but extends back into the good ol' days of elementary school.

Stacey (not her real name) was never what I would have called a nemesis; she was nowhere near intelligent enough to outsmart me. But this didn't matter, because she was popular, wealthy and mean, which was the highschool equivalent of being a Harvard graduate. She was the kind of girl who was sweet as sugar when she needed you (which was rarely). But when she was done, she'd shun you as if you'd brought treyf to school (although ironically, I think she was probably the one bringing treyf to school to begin with). She wore expensive, trendy moccasins, day-glo slouchy, Footloose-inspired tops and those stupid, gigantic belts that buckled down in an almost-arrow, pointing your gaze at the moccasins and in effect, making you bow your head in inadvertent deference or reverence before her.

Throughout fifth grade, she taunted me. Fat jokes galore, but never particularly witty ones. Turns out, it doesn't matter how stupid fat jokes are: they hurt just as much as the well-crafted ones. Even more, actually, since there was no thought put into them at all: I was wearing a grey jumper, therefore "elephant." I was minding my own business, therefore "fatso." The adult me might have been able to look back on a more nuanced, educated insult with a modicum of reluctant respect, but these barbs lacked the elegance of a gold-plated pistol; her jabs at me had the merciless unsubtlety of a sledgehammer.

Stacey was a queen bee, and while I wasn't quite a wannabe, I didn't want to be the subject of ridicule either, and I knew the way to do that was to become her friend. Now, if you've ever tried to become someone's friend, against their will, so they wouldn't make fun of you, you know it's like trying to spot-reduce your abs: sweaty, self-destructive and ultimately senseless. But the desire to be accepted is so immense that the absence of logic doesn't bother you.

There were times, when none of her friends were looking, when Stacey and I had bonded. There were a few moments when I totally believed her. She seemed sincere, and I was worth getting to know, so why wouldn't she be impressed once she interacted with me one-on-one? But it was all preamble, all pretense.

One afternoon, she approached me outside our sixth-grade classroom. She needed a "favor."

"Hey, Esther--we're friends, right?"

"Sure, Stacey. We're friends..."

"Well, I need your help. I didn't study for the social studies test. And friends don't let friends fail..."

Gulp.

"...So what I need from you is to"--and here she broke into a full-on chant that, it seemed to me, must have been in hearing range of our teacher--"move your body to the left and move your paper to the right." From the singsong, atonal timbre of her voice, I knew that if our yeshiva had had a cheerleading team, Stacey would have been its insufferable, tone-deaf captain.

Sounding extremely "after-school-special," I demurred. "Stacey, I can't. It's cheating."

She tried logic. At least, her version of logic. "Look, Esther, I'm not asking you to give me the answers. That would be cheating. I'm just asking you to sit in such a way that I can see your answers. That doesn't hurt anyone; you won't get caught, and I won't fail."

Mercifully, the bell rang and class was about to begin, and without having given a yes or a no, I was saved the effort of proclaiming a response in either direction. We lumbered to our seats and plunked ourselves down, Stacey directly behind me. "Move your duh-duh duh duh duh, and your duh-duh duh duh duh," she hummed.

"Stacey," the teacher warned. "That's enough." She handed out the papers, and I heard Stacey humming very softly behind me. Even though my back was to her, in my mind, I could still see her distinctively vicious smile, teeth barely glinting through her braces; apparently, on the popularity scale, her money/metal-mouth combo trumped the plainer and bespectacled.

I shut it out and focused on social studies--not my best subject, mind you--and tried not to think about how screwed I was. I didn't want to cheat, but I had no wish to be the scourge of sixth grade society. Stacey kicked the back of my chair in a staccato rhythm. I shifted in my seat, as if to move my body to the left and not obstruct her view of my paper. And then I did move. So slightly that I knew she wouldn't be able to see over my shoulder. And just for good measure, I put some phony answers on my paper, which I went back and erased--replacing those answers with the right ones--before the exam was over.

It was subtle, but I'd managed to subvert the instructions of the Queen Bee without actually defying her. Even if no one ever knew what I'd done, I'd know. I hadn't cheated, and I hadn't said "no" to Her Royal Pain in the Asse Majeste. I knew I wouldn't be migrating upward into ranks of the sixth-grade elite, but at least I wouldn't suffer any more than I already did. And my morality, such as it was at that early age, was still intact.

Some will argue that bullies, in elementary school, high school, the blogosphere, or anywhere else, need to be taught a lesson. But, as we know from both our own experiences and those of the John Hughes archetypes (commedia dell'arte stock characters for a new generation),  we need the wisdom of hindsight to effect a clear vision of what is required.

Demented and sad, but social. That's what we all, to an extent, were. We stayed in our clique, no matter how dysfunctional the dynamic, no matter how warped the values, no matter how many compromises we needed to make to stay part of a group, whichever group it was. If we had any kind of "moment" with someone from another group, we denied any sense of real connection that might have become a friendship that didn't follow the rules of our social contract. We lived in constant pursuit of belonging.

Eventually, the search for self takes over, usually in a college environment; separated from their previous educational and social contexts, people are free to remake themselves in their own image, create the self they want other people to see, and forge friendships that cross social class boundaries.

That Saturday morning in detention at Shermer High School, there were no Staceys and Esthers, no power struggles over classroom morality and ethics. Once the walls of the social dynamic of high school were lowered, the real battle became clear: it was every student for him or herself, locked in a power struggle between peer acceptance and personal identity. At the end of the day, the five students left with new alliances, partners who would challenge their places within the social structure of high school. Monday at Shermer was going to be a bitch.

Since (smartly) there was no sequel, our memories of these characters is frozen in time. We still see them as we want to see them: emblems of our youth, polarized versions of ourselves, echoes of people we once knew or once were, striving to become aware of themselves within the physical environment and social structure of high school.

*And a happy birthday to Molly Ringwald...she's 37 today!

HAPPY BIRTHDAY, BREAKFAST CLUB

The year was 1985. I was in high school. So were Bender, Allison, Claire, Andrew ("Sporto") and Brian.

20 years later, they are still in high school, dancing in the library, eating Captain Crunch and Pixie Stix sandwiches and throwing cold cuts at statues.

But after two decades, you learn things about your Shermer High School friends that maybe you didn't know: For instance, Bender (Judd Nelson) could have been played by John Cusack or Nicolas Cage. Might Molly have made a better basket case than Ally did? It was a thought that the producers had at some point over the casting process.

For more, see this article. It contains several top five lists of things you didn't know about the Breakfast Club, including the tantalizing tidbit that writer/director John Hughes has an hour of additional footage that didn't make the studio's final cut. Petitionsonline, anyone?

IDEA: Ally Sheedy and Molly Ringwald are both now living in New York. Write and launch a play reviving the two female characters--called "Because You're Letting Me"--that goes inside the bathroom where Claire gives Allison a makeover 20 years ago. The acting challenge: have Ally play Claire, and Molly play Allison. Their conversation runs to boys, social structure, and "carrying this much shit in your bag."

The Oscars are a Sham...

Duh. I think the fact that there's no comedy category proves that.

But the author of this article maintains that Dumb & Dumber was an "overlooked" "epic," that Paul Westerberg* should have received an Oscar for his work on the Singles soundtrack, and that Molly Ringwald was robbed by Sally Field.

Not that author Ace Burpee (I mean, really!) sore just about the last few decades of Oscar. It was this year that prompted the piece, and for him to ask the question that was on everyone's minds:

"Where was Anchorman?"

*If you don't know Paul Westerberg's music on this album, you are totally missing the boat. His two songs, "Waiting for Somebody" and "Dyslexic Heart," are infectious, but in a much better way than say, Britney Spears' "Toxic." Much better, in that "W4S" and "DH" are songs that actually consist of lyrics and music, sold by the musician's passion and enthusiasm without the aid of a vocoder...

Measure My Fame in Cryers

Amazing, after all Teresa Strasser and I have been through together, that I have to read about this new system of measuring fame in the Jewish Ledger.

She writes:
I'll describe it this way. If electricity is measured in watts and height is measured in inches, what is the measure of fame? I offer you, the Jon Cryer.You might remember him as Duckie from "Pretty in Pink" with Molly Ringwald. Maybe you've seen him on "Two and a Half Men" (he's the not Charlie Sheen one). You'd know his face if you saw him getting a slice, but you might think you just know him from high school.Jon Cryer is, of course, one Jon Cryer. Paris Hilton is 72 Cryers. I'm a fraction of a Cryer, maybe one-sixth at best.

Well, if Teresa's one-sixth of a Cryer, then I must be around one-twentieth of a Cryer. And I'm okay with that.

Rendezvous With Ringwald: Denied

Or at least, delayed. I didn't get the approval to interview Molly Ringwald, who's appearing off-Broadway in the new show, Modern Orthodox. I'm going to have to wait, as I now have no reason to contact the publicist and offer them the exposure of my column.

But I'll meet her someday, I feel it. If only to tell her what an icon she's become to my generation. As if she didn't already know.

Thoroughly Modern (Orthodox) Molly

Because I consider myself a child of the 80s, and because John Hughes movies were responsible for nearly all the unrealistic expectations I had about both high school and romance, I feel it is my duty to bring you some Molly Ringwald related news.

Item #1: Molly Ringwald Becomes Orthodox
While I spent the better part of my modern Orthodox high school experience wanting to be Molly/Samantha/Claire/Andi, apparently the divine Miss R. has decided that a modern Orthodox life is worth living. With that guy who shtupped the pie in that movie.

From Playbill.com:
Molly Ringwald, Jason Biggs, Jenn Harris and Craig Bierko star in the Off-Broadway premeier of Daniel Goldfarb's Modern Orthodox, beginning previews November 11 at the 499-seat Dodger Stages at Worldwide Plaza. Opening night is scheduled for December 6. Tix: 212-239-6200.

Item #2: "Come on, Claire, answer the question!" "No! I never did it!"
This is not exactly about Molly. But it is an homage to the era, and one of the movies that made Molly famous.

Breakfast Club Parody Returns (when was it here the first time?) to Off-Broadway
You See Us As You Want to See Us...Reflections
The parody of the 80s flick performed at downtown New York City's Opaline this past summer. (Oh, I guess that's when it was here last time. Guess I missed it.) It now returns to Off-Broadway, playing the Kraine Theatre in the East Village Friday and Saturday nights, December 10-January 29. Previews are December 3-4. Tix are $25 ($20 for previews), via SmartTix at 212-868-4444, smarttix.com.

Anyone for a theater outing?

"JAKE RYAN? BUT HE'S A SENIOR..."

"Jake Ryan? But he's a senior, and he's taken, I mean, REALLY taken..."

If you are anything like me, there was a point in your high school life when you totally lived for Sixteen Candles. Well (prepare to feel old instantly), Sixteen Candles (see this excellent NY Times article) is 20 years old.

You remember how it was back then.
* You'd look longingly at "that guy," whoever he was, and hoped that he'd catch you staring, leave his perfect girlfriend and see the someone special your parents were always telling you that you were.
* You went to dances hoping for miracles. (Or, if you were in yeshiva, like I was, you hoped the miracle would be that there'd be a dance to begin with.)
* Sweet sixteen parties functioned as additional school dances, with classroom cliques perfectly preserved in their transition to dance floor; there was no redemption in boogieville for the losers among us--even if we believed we were good dancers, we'd be shunned by the regular group of shunners.
* You passed notes in class, hoping your declaration of love would be intercepted even as you feared that your declaration of love would be intercepted.

Back in the pre-Britney age, we all wanted to be Molly. We wished we were redheads. (After we saw The Breakfast Club, we even danced like her.) We named our crushes "Jake Ryan." We incorporated phrases like "life is not whatnot, and it's none of your business" into regular discourse. We puzzled over the centrality of a young John Cusack to the pack of nerds, which he was so clearly not destined to be a long-term part of. We identified with the headgear-clad Joan Cusack as she attemped to drink from a water fountain. We wondered what the Donger was saying as he lay, writhing intoxicatedly, on the front lawn of Samantha Baker's house.

And now, twenty years later, we remember our hero worship, our identification with the losers of cinema, and realize that most of them were never really losers to begin with. (OK, maybe Anthony Michael Hall was.) And we know from our own personal experience and shattered high school expectations that most of us will never get our crushes to fall in love with us because they catch us staring at them. If your crush intercepts a love-declaring note, he's seldom intrigued. (Trust me on this one.)

But we manage to survive without the boy, because it turns out that our parents were right about us, even if we didn't believe them.

Sixteen Candles has always been about the themes that obsess us constantly: the torture of geek populations; the primacy of superficial beauty; and the potential for transformation. Universal and timeless themes...just look at reality television.

There's a term paper in here somewhere. It's almost worth going back to school. Almost.

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