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iRsSlw"><a class="RubricLk-gRWSOU fgWnkQ bric__lk" href="/culture/personal-history"><span class="RubricName-fVtemz cLxcNi">Personal History</span></a></div></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearHed-NCyCC iUEiRd NbxED hpJvIc">What About “The Breakfast Club”?</h1></div><div class="ContentHearAccredatn-lfctVB enhwXT ntent-hear__accredatn" data-ttid="ContentHearAccredatn"><div class="ContentHearDek-bIqFFZ Mtme">Revisg the movi of my youth the age of #MeToo.</div><div class="ContentHearByle-kmPyCa gvUmxJ"><div class="ContentHearByleContent-dpPmNn DRFq"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl ContentHearByl-cZqgyJ bqbBYQ"><p class="ByleWrapper-jWHrLH ivtvgj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL eErqIx byle__name-lk button" href="/ntributors/molly-rgwald">Molly Rgwald</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2018-04-06T12:23:18-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd kYZrFA kEBrdf">April 6, 2018</time></div></div></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" 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22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG gBDqlf"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><div class="GenericCalloutWrapper-tojWn iHBnEl llout--has-top-borr" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Image may nta John Hugh Human Person Clothg Apparel People and E Estevez" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text"><em>It’s hard for me to unrstand how John Hugh ( glass) was able to wre wh so much sensivy, and also have such a glarg bld spot.</em></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph om Universal Pictur / Everett</span></div></figure></div><p class="has-dropp has-dropp__lead-standard-headg paywall">Earlier this year, the Crern Collectn, which is “dited to gatherg the greatt films om around the world,” released a rtored versn of “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Breakfast Club</a>,” a film wrten and directed by John Hugh that I acted , more than three s ago. For this edn, I participated an terview about the movie, as did other people close to the productn. I don’t make a hab of revisg films I’ve ma, but this was not the first time I’d returned to this one: a few years back, I watched wh my dghter, who was ten at the time. We <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">rerd a nversatn</a> about for the rad show “This Amerin Life.” I’ll be the first to adm that ten is far too young for a viewg of “The Breakfast Club,” a movie about five high-school stunts who beiend one other durg a Saturday tentn ssn, wh plenty of cursg, sex talk, and a now-famo scene of the stunts smokg pot. But my dghter sisted that her iends had already seen , and she said she didn’t want to watch for the first time ont of other people. A wrer-director iend assured me that kids tend to filter out what they don’t unrstand, and I figured that would be better if I were there to answer the unfortable qutns. So I relented, thkg perhaps that would make for a sweet if unnventnal mother-dghter bondg moment.</p><p class="paywall">It’s a strange experience, watchg a younger, more nocent versn of yourself onscreen. It’s stranger still—surreal, even—watchg wh your child when she is much closer age to that versn of yourself than you are. My iend was right: my dghter didn’t really seem to register most of the sex stuff, though she did dibly gasp when she thought I had showed my unrwear. At one pot the film, the bad-boy character, John Benr, ducks unr the table where my character, Claire, is stg, to hi om a teacher. While there, he tak the opportuny to peek unr Claire’s skirt and, though the dience don’t see, is implied that he touch her appropriately. I was quick to pot out to my dghter that the person the unrwear wasn’t <em>really</em> me, though that clarifitn seemed nsequential. We kept watchg, and, spe my bt tentns to give ntext to the unfortable bs, I didn’t elaborate on what might have gone on unr the table. She exprsed no cursy anythg sexual, so I cid to follow her lead, and discs what seemed to ronate wh her more. Maybe I jt chickened out.</p><p class="paywall">But I kept thkg about that scene. I thought about aga this past fall, after a number of women me forward wh sexual-asslt accatns agast the producer <a href=">Harvey Weste</a>, and the #MeToo movement gathered steam. If attus toward female subjugatn are systemic, and I believe that they are, stands to reason that the art we nsume and sanctn plays some part rercg those same attus. I ma three movi wh John Hugh; when they were released, they ma enough of a cultural impact to land me on the ver of <em>Time</em> magaze and to get Hugh hailed as a geni. His cril reputatn has only grown sce he died, 2009, at the age of fifty-ne. Hugh’s films play nstantly on televisn and are even tght schools. There is still so much that I love them, but lately I have felt the need to exame the role that the movi have played our cultural life: where they me om, and what they might mean now. When my dghter proposed watchg “The Breakfast Club” together, I had hated, not knowg how she would react: if she would unrstand the film or if she would even like . I worried that she would fd aspects of troublg, but I hadn’t anticipated that would ultimately be most troublg to me.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">It n be hard to remember how srce art for and about teen-agers was before John Hugh arrived. Young-adult novels had not yet explod as a genre. Onscreen, the big issu that affected teens seemed to belong largely to the world of ABC Afterschool Specials, which premièred 1972 and were still around as I me of age, the eighti. All the teens I knew would rather have died than watch one. The films had the whiff of sanctimony, the dialogue was obvly wrten by adults, the mic was rny.</p><p class="paywall">Portrayals of teen-agers movi were even worse. The actors st teen rol tend to be much olr than their characters—they had to be, sce the films were so equently exploative. The teen horror flicks that flourished the seventi and eighti had them gettg murred: if you were young, attractive, and sexually active, your chanc of makg to the end were basilly nil (a trope spoofed, years later, by the “Scream” anchise). The succsful teen edi of the perd, such as “Animal Hoe” and “Porky’s,” were wrten by men for boys; the few women them were eher nymphomaniacs or battleax. (The stout female ach “Porky’s” is named Balbricker.) The boys are perverts, as one-dimensnal as their female unterparts, but wh more screen time. In 1982, “Fast Tim at Ridgemont High,” which had the rare distctn of beg directed by a woman, Amy Heckerlg, got closer to an thentic pictn of adolcence. But still ma room for a young male’s fantasy of the actrs Phoebe Cat stridg topls a soft-porny sprkler mist.</p><p class="paywall">And then Hugh me along. Hugh, who grew up Michigan and Illois, got work, after droppg out of llege, wrg ad py Chigo. The job brought him equently to New York, where he started hangg around the offic of the humor magaze <em>Natnal Lampoon</em>. He wrote a story lled “Vatn ’58”—spired by his own fay trips—which secured him a job at the magaze and beme the basis for the movie “Natnal Lampoon’s Vatn.” Another story ught the eye of the producer Lren Shuler Donner, who enuraged him to wre what beme “Mr. Mom.” Those movi helped him get a al wh Universal Studs. “The Breakfast Club” was to be his directorial début; he planned to shoot Chigo wh lol actors. He told me later that, over a July 4th weekend, while lookg at headshots of actors to nsir for the movie, he found me, and cid to wre another movie around the character he imaged that girl to be. That script beme “Sixteen Candl,” a story about a girl whose fay fets her sixteenth birthday. The stud loved the script, perhaps bee, form at least, had more mon wh proven succs—“Porky’s” et al.—than did wh “The Breakfast Club,” which basilly read like a play.</p><p class="paywall">A meetg was arranged, we h off, and I filmed “Sixteen Candl” the suburbs of Chigo the summer after I pleted the nth gra. Once we were done shootg, and before we began filmg “The Breakfast Club,” John wrote another movie specifilly for me, “Pretty Pk,” about a workg-class girl navigatg the social prejudic of her affluent high school. The film’s dramatic arc volv gettg ved and then unved to the prom. In synopsis, the movi n seem flimsy—a girl los her date to a dance, a fay fets a girl’s birthday—but that’s part of what ma them unique. No one Hollywood was wrg about the mutiae of high school, and certaly not om a female pot of view. Acrdg to one study, sce the late neteen-forti, the top-grossg fay movi, girl characters have been outnumbered by boys three to one—and that rat has not improved. That two of Hugh’s films had female protagonists the lead rol and examed the young women’s feelgs about the fairly ordary thgs that were happeng to them, while also managg to have stant cred that translated to succs at the box office, was an anomaly that has never really been replited. (The few blockbter films starrg young women recent years have mostly been set dystopian futur or have featured vampir and werewolv.)</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">I had what uld be lled a symbtic relatnship wh John durg the first two of those films. I’ve been lled his me, which I believe I was, for a ltle while. But, more than that, I felt that he listened to me—though certaly not all the time. Comg out of the <em>Natnal Lampoon</em> school of edy, there was still a ridue of crassns that clung, no matter how much I protted. In the shootg script of “The Breakfast Club,” there was a scene which an attractive female gym teacher swam naked the school’s swimmg pool as Mr. Vernon, the teacher who is charge of the stunts’ tentn, spied on her. The scene wasn’t the first draft I read, and I lobbied John to cut . He did, and although I’m sure the actrs who had been st the part still blam me for foilg her break, I thk the film is better for . In “Sixteen Candl,” a character alternately lled the Geek and Farmer Ted mak a bet wh iends that he n sre wh my character, Samantha; by way of proof, he says, he will secure her unrwear. Later the film, after Samantha agre to help the Geek by loang her unrwear to him, she has a heartwarmg scene wh her father. It origally end wh the father askg, “Sam, what the hell happened to your unrpants?” My mom objected. “Why would a father know what happened to his dghter’s unrwear?” she asked. John squirmed unfortably. He didn’t mean that way, he said— was jt a joke, a punch le. “But ’s not funny,” my mother said. “It’s creepy.” The le was changed to “Jt remember, Sam, you wear the pants the fay.”</p><p class="paywall">My mom also spoke up durg the filmg of that scene “The Breakfast Club,” when they hired an adult woman for the shot of Claire’s unrwear. They uldn’t even ask me to do —I don’t thk was permted by law to ask a mor—but even havg another person pretend to be me was embarrassg to me and upsettg to my mother, and she said so. That scene stayed, though. What’s more, as I n see now, Benr sexually harass Claire throughout the film. When he’s not sexualizg her, he tak out his rage on her wh vic ntempt, llg her “pathetic,” mockg her as “Queenie.” It’s rejectn that spir his vrl. Claire acts dismissively toward him, and, a pivotal scene near the end, she predicts that at school on Monday morng, even though the group has bond, thgs will return, socially, to the stat quo. “Jt bury your head the sand and wa for your fuck’ prom!” Benr yells. He never apologiz for any of , but, neverthels, he gets the girl the end.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">If I sound overly cril, ’s only wh hdsight. Back then, I was only vaguely aware of how appropriate much of John’s wrg was, given my limed experience and what was nsired normal at the time. I was well to my thirti before I stopped nsirg verbally abive men more tertg than the nice on. I’m a ltle embarrassed to say that took even longer for me to fully prehend the scene late “Sixteen Candl,” when the dreamboat, Jake, sentially tras his dnk girliend, Carole, to the Geek, to satisfy the latter’s sexual urg, return for Samantha’s unrwear. The Geek tak Polaroids wh Carole to have proof of his nqut; when she wak up the morng wh someone she don’t know, he asks her if she “enjoyed .” (Neher of them seems to remember much.) Carole shak her head wonrment and says, “You know, I have this weird feelg I did.” She had to have a feelg about , rather than a thought, bee thoughts are thgs we have when we are nsc, and she wasn’t.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Thkg about that scene, I beme cur how the actrs who played Carole, Haviland Morris, felt about the character she portrayed. So I sent her an e-mail. We hadn’t seen or spoken to each other sce she was twenty-three and I was fifteen. We met for ffee, and after we had filled each other on all the terveng years, I asked her about . Haviland, I was surprised to learn, do not have the same issu wh the scene as I do. In her md, Carole bears some rponsibily for what happens, bee of how dnk she gets at the party. “I’m not sayg that ’s O.K. to then be raped or to have nonnsensual sex,” Haviland clarified. “But . . . that’s not a one-way street. Here’s a girl who gets herself so bombed that she don’t even know what’s gog on.”</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">There was a time my early twenti when I had too much to drk at a party and end up a bedroom stg on the edge of a bed wh a producer I didn’t know, lighthead and woozy. A good iend, who had followed me, popped her head the door a uple of mut later and announced, “Time to go now, Molly!” I followed her out, tryg not to stumble, and spent the rt of the night vlently ill and embarrassed—and the rt of my life grateful that she had been there, watchg out for me, when I was temporarily pable of watchg out for myself. I shared the story wh Haviland, and she listened polely, noddg.</p><p class="paywall">Haviland, like me, has children, and so I cid to ame the qutn hypothetilly, mother to mother, to see if changed her pot of view. If one of our kids had too much to drk, and somethg like that happened to one of them, would she say, “It’s on you, bee you drank too much”? She shook her head: “No. Absolutely, posively, stays your pants until ved by someone who is willg and nsensually able to ve you to remove .” Still, she add, “I’m not gog to black-and-whe . It isn’t a one-way street.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="lkv9"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="ahyyv6"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">After our ffee, I rpond to an e-mail om Haviland to thank her for agreeg to talk to me. Later that night, I received another note. “You know,” she wrote, “the more I thk of this eveng, oddly, the <em class="small">LESS</em> unfortable I am wh Carole. Jake was disgted wh her and said he uld vlate her 17 ways if he wanted to bee she was so trashed, but he didn’t. And then, Ted was the one who had to ask if they had had sex, which certaly don’t monstrate rponsible behavr om eher party, but also don’t really spell date rape. On the other hand, she was basilly trad for a pair of unrwear . . . Ah, John Hugh.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">It’s hard for me to unrstand how John was able to wre wh so much sensivy, and also have such a glarg bld spot. Lookg for sight to that darkns, I cid to read some of his early wrg for <em>Natnal Lampoon</em>. I bought an old issue of the magaze on eBay, and found the other stori, all om the late seventi and early eighti, onle. They nta many of the same them he explored his films, but wh none of the humany. Y, was a different time, as people say. Still, I was taken aback by the spe of the ugls.</p><p class="paywall">“A Dog’s Tale” has a boy watchg his mother turn to a dog. “Agast His Will” featur an “ugly fat” woman who tri to rape a man at gunpot ont of the man’s wife and parents bee she n’t have sex any other way. “My Penis” and “My Vaga” are quasi-magil-realist stori wrten om the pots of view of teen-agers who wake up the morng wh different genalia than they were assigned at birth; the protagonist of “My Penis” lerally forc her boyiend’s mouth open to perate him, and the male “My Vaga” is gang-raped by his iends once they disver he has one. (The latter story ends wh him havg to e the money he saved for new skis on gettg an abortn.) The “Hugh Engagement Gui” is an illtrated manual on how to protect yourself agast women. It giv exampl of women “bullshtg to not put out,” and teach rears how to do a “quickie pelvic exam,” how to tect “signs of future fat,” and how to terme if a woman has any anctors of different rac, based on what her relativ look like—there is an acpanyg drawg of an Asian person and an Ain-Amerin—and on and on.</p><p class="paywall">The October, 1980, issue clud a piece, -thored by Ted Mann, tled “Sexual Harassment and How to Do It!” The gui explas, “If you hire a woman om another field or wh a background that is not sued to the duti she is to assume, you’ve got the glans the crevice, or, if you prefer, the foot the door.” It ntu, “Not only will her huy prepare her for your sexual advanc, will also help steel her for her evable dismissal.” There are sectns scribg different kds of secretari based on their ag, and how bt to reward and punish them. (The olr on are “easier,” the younger on “preferable.”) There’s even a sectn on arrt: “Sometim even guys wh ol siburns and a smooth le of patter get arrted for sexual harassment and are issued summons.” It go on to suggt different methods for zyg up to the police officer.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">It’s all satire, of urse, but ’s pretty clear that ’s not the chvists who are beg lampooned but the “women’s liberatn movement.” Women had begun to speak out, the mid-seventi, agast harassment the workplace. (The beloved movie “9 to 5,” which three women get revenge on a sexist boss, was released December of 1980, two months after the Hugh-Mann piece ran.) Mann is now a wrer and producer who has been nomated for seven Emmys, most recently for his work on the Showtime seri “Homeland.” I sent him an e-mail askg what he now thought of the piece he wrote wh Hugh. He replied that he didn’t remember ever havg wrten . “It looks like one of our art director Peter’s sperate page fillers,” he explaed, referrg to Peter Kleman. “It wouldn’t fly today and never should have flown then,” he went on, addg, “The were generate e days.”</p><p class="paywall">I n’t vouch, personally, for any e days that John may or may not have had. When I knew him, he never exprsed an tert dog dgs of any kd, cludg alhol—wh the exceptn of cigarett, which he smoked nstantly.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">John believed me, and my gifts as an actrs, more than anyone else I’ve known, and he was the first person to tell me that I had to wre and direct one day. He was also a phenomenal gdge-keeper, and he uld rpond to perceived rejectn much the same way the character of Benr did “The Breakfast Club.” But I’m not thkg about the man right now but of the films that he left behd. Films that I am proud of so many ways. Films that, like his earlier wrg, though to a much lser extent, uld also be nsired racist, misogynistic, and, at tim, homophobic. The words “fag” and “faggot” are tossed around wh abandon; the character of Long D Dong, “Sixteen Candl,” is a grotque stereotype, <a href=">as other wrers have tailed</a> far more eloquently than I uld.</p><p class="paywall">And yet I have been told more tim than I uld unt, by both iends and strangers, cludg people the L.G.B.T. muny, that the films “saved” them. Leavg a party not long ago, I was stopped by E Wilbek, a gay, Ain-Amerin iend of a iend, who wanted to tell me jt that. I sed and thanked him, but what I wanted to say was “Why?” There is barely a person of lor to be found the films, and no characters are openly gay. A week or so after the party, I asked my iend to put me touch wh him. In an e-mail, Wilbek, a journalist who created an anizatn lled Native Son, voted to empowerg gay black men, expand upon what he had said to me as I had left the party. “The Breakfast Club,” he explaed, saved his life by showg him, a kid growg up Ccnati the eighti, “that there were other people like me who were stgglg wh their inti, feelg out of place the social nstcts of high school, and alg wh the challeng of fay ials and prsur.” The kids were also “fdg themselv and beg ‘other’ a very tradnal, whe, heteronormative environment.” The lack of diversy didn’t bother him, he add, “bee the characters and storyl were so betifully human, perfectly imperfect and flawed.” He watched the films high school, and while he was not yet out, he had a pretty good ia that he was gay.</p><p class="paywall">“Pretty Pk” featur a character, Duckie, who was loosely based on my bt iend of forty years, Matthew Freeman. We’ve been iends sce I was ten, and he worked as a productn assistant on the film. Like E, he’s out now, but wasn’t then. (It’s one of the reasons I’ve often posed, to the nsternatn of some fans and the light of others, that Duckie is gay, though there’s nothg to dite that the script.) “The characters John created spoke to feelg visible and an outsir,” Matt told me recently. They got at “how we felt as closeted gay kids who uld only live virly through others’ sexual awakengs, lt we get found out wh the very real threat of beg ostracized or pummelled.”</p><p class="paywall">John’s movi nvey the anger and fear of isolatn that adolcents feel, and seeg that others might feel the same way is a balm for the trma that teen-agers experience. Whether that’s enough to make up for the impropriety of the films is hard to say—even cricizg them mak me feel like I’m divtg a generatn of some of s fonst memori, or beg ungrateful sce they helped to tablish my reer. And yet embracg them entirely feels hypocril. And yet, and yet. . . .</p><p class="paywall">How are we meant to feel about art that we both love and oppose? What if we are the unual posn of havg helped create ? Erasg history is a dangero road when to art—change is sential, but so, too, is rememberg the past, all of s transgrsn and barbarism, so that we may properly gge how far we have e, and also how far we still need to go.</p><p class="paywall">While rearchg this piece, I me across an article that was published <em>Seventeen</em> magaze, 1986, for which I terviewed John. (It was the only time I did so.) He talked about the artists who spired him when he was younger—Bob Dylan, John Lennon—and how, as soon as they “got fortable” their art, they moved on. I poted out that he had already done a lot of movi about suburbia, and asked him whether he felt that he should move on as his idols had. “I thk ’s wise for people to ncern themselv wh the thgs they know about,” he said. He add, “I’d feel extremely self-nsc wrg about somethg I don’t know.”</p><p class="paywall">I’m not sure that John was ever really fortable or satisfied. He often told me that he didn’t thk he was a good enough wrer for prose, and although he loved to wre, he notorly hated to revise. I was set to make one more Hugh film, when I was twenty, but felt that need rewrg. Hugh refed, and the film was never ma, though there uld have been other circumstanc I was not aware of.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">In the terview, I asked him if he thought teen-agers were looked at differently than when he was that age. “Defely,” he said. “My generatn had to be taken serly bee we were stoppg thgs and burng thgs. We were able to iate change, bee we had such vast numbers. We were part of the Baby Boom, and when we moved, everythg moved wh . But now, there are fewer teens, and they aren’t taken as serly as we were. You make a teen-age movie, and crics say, ‘How dare you?’ There’s jt a general lack of rpect for young people now.”</p><p class="paywall">John wanted people to take teens serly, and people did. The films are still tght schools bee good teachers want their stunts to know that what they feel and say is important; that if they talk, adults and peers will listen. I thk that ’s ultimately the greatt value of the films, and why I hope they will endure. The nversatns about them will change, and they should. It’s up to the followg generatns to figure out how to ntue those nversatns and make them their own—to keep talkg, schools, activism and art—and tst that we re.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="71mpab"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/molly-rgwald">Molly Rgwald</a> is an actrs, thor, and sger. She has wrten two books and is the translator of the memoir “<a href=">My Co Maria Schneir</a>,” which will be published next year.</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/molly-rgwald" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Molly Rgwald</span></a><a href="/tag/john-hugh" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">John Hugh</span></a><a href="/tag/metoo" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">#MeToo</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt kbxOa-D newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Gogs On</h3><div class="NewsletterSubscribeFormDek-kXonvc cKOhTM newsletter-subscribe-form__k">What we’re watchg, listeng to, and dog this week, onle, N.Y.C., and beyond. 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kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Cultural Comment</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href="/culture/cultural-ment/all-the-other-harveys" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">All the Other Harvey Westes</div></a><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Molly Rgwald</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--article summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2017/06/19/om-john-hugh-to-michael-flynn" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="From John Hugh to Michael Flynn" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Comeback Dept.</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href="/magaze/2017/06/19/om-john-hugh-to-michael-flynn" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">From John Hugh to Michael Flynn</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2017/06/19/om-john-hugh-to-michael-flynn" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="From John Hugh to Michael Flynn" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Anthony Michael Hall started out “The Breakfast Club.” Now he’s playg a character based on the ex-natnal-secury adviser, “War Mache.”</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Tad Friend</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--evio summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 720w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="The Stunts Who Fought for Change" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Vio</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Stunts Who Fought for Change</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 720w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="The Stunts Who Fought for Change" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k summary-em__k--isCneVio">From the Uned Stat to Iran, stunts led social movements that are changg the urse of history.</div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" 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Interview</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Why Emma Seligman Decid to Make a Movie About a Queer Fight Club</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR 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