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#the eighties
neondreams83 · 1 year
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gijoe-forever · 10 months
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Jennifer Connelly, "Labyrinth" (1986) 🎬
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Olivia Smart and Tim Dieck skating to Call Me and Rapture by Blondie for their rhythm dance at the 2023 Grand Prix de France.
(© Wilma Alberti)
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meta-holott · 3 months
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1982 Paris
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soaringcloud · 2 years
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tom cruise photographed by herb ritts in 1986
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fibula-rasa · 1 year
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Impeccable 80s Fashion in Wheels on Meals / 快餐車 (1984)
Director: Sammo Hung
Cinematographers: Yiu-Tsou Cheung,  Francisco Riba,  Arthur Wong
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fabriziovh · 4 months
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Loni Anderson as Sydney Kovak in the pilot episode of Partners in Crime (1984)
Costume Supervisor: Diana Reynolds
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1.01b A Little Peace and Quiet
Director: Wes Craven
Writer: James Crocker
Cinematographer: Bradford May
Opening Narration:
“Wouldn’t it be nice if, once in a while, everyone would just shut up and stop pestering you? Wouldn’t it be great to have the time to finish a thought? Or spin a daydream? To think out loud without being required to explain what exactly you meant? If you had the power, would you dare to use it? Even knowing that silence may have voices of its own.. to The Twilight Zone.”
Summary: 
Penny (Melinda Dillion) is at her wit’s end. Between four hyperactive children, a husband who acts like a fifth child, a dog whose mortal enemy is the telephone, and all of the cacophonies of modern suburban convenience, she can’t find a single second of peace. One typically loud suburban afternoon, while at work in her garden, Penny uncovers a small wooden box containing a golden pendant. Later, while wearing the pendant, Penny discovers that it has the unique ability to stop time when the wearer utters the magic words: “shut up.” She quickly starts using (and slightly abusing) this power to complete her daily tasks unbothered. The backdrop of her chaotic suburban life is the looming threat of nuclear war. Penny makes light of the idea of “World War III” and repeatedly refuses to give much thought to the bomb. Unfortunately, one night, while Penny luxuriates in a bubble bath, giggling to herself over her plans with the pendant, that threat presents itself at her doorstep. He husband frantically calls for her to hear the news that a bomb is headed straight for them. As Penny huddles on her bed with her husband and son, she cries out “shut up” in a last-moment litany. Now frozen in the moment before certain doom for Penny and the life she was only now finding contentment in, Penny walks the streets and spots the bomb hanging still in the sky.
More about A Little Peace and Quiet:
A Little Peace and Quiet was an original idea and teleplay by James Crocker, who was primarily a producer for TZ ‘85. Surprisingly, prior to this series, Crocker’s work in television, both as a writer and producer, skewed more toward the episodic detective genre. Following TZ ‘85 though, he worked on major speculative TV series such as Star Trek: Deep Space Nine (1993), The Outer Limits (1995), and the second reboot of The Twilight Zone (2002). 
It wasn’t until I sat down to write up the summary of this episode that I appreciated how densely packed the storytelling is in A Little Peace and Quiet. Specifically, Penny taking the bomb too lightly is reiterated at a regular pace throughout the runtime, starting with minor background elements that you might overlook, then growing into Penny’s outright rejection to engage with a pair of clipboarders. The episode is so laden with quirky frozen-time tableaus that you as the viewer become just as distracted from the worsening geopolitical situation happening in the background as Penny is. So, when the big finale comes, it’s a big gut punch to the viewer as well.
Perhaps the most obvious TZ ‘59 episodes to compare to A Little Peace and Quiet are A Kind of a Stopwatch (S5E4), an episode with a similar MacGuffin, or Time Enough at Last (S1E8), where the protagonist longs for some peace and quiet himself when he’s suddenly faced with an apocalyptic event. But, I think an additional companion episode to consider would be The Shelter (S3E3). In comparison, the changing attitudes of mainstream America from 1961 to 1985 really stand out—specifically attitudes toward the suburbs and toward the possibility of The Cold War turning hot. Whereas in 1961, it was subversive to suggest that the American suburbs were not, in fact, a place of harmony, by 1985, it was already a commonly-held opinion that suburbs were anything but peaceful. The protagonist of The Shelter diligently prepares for the potentiality of nuclear war while his friends and neighbors are woefully unprepared. Our protagonist in A Little Peace and Quiet, however, is framed as relatable in her lack of concern, maybe reflecting a growing indifference in the duck-and-cover generation after decades of Cold War.
Though this doesn’t specifically relate to The Shelter, another updated attitude reflected in A Little Peace and Quiet is the perception of the homemaker. I appreciate this story popping up so early in the reboot since Serling got a lot of flack when TZ ‘59 was on the air for how he wrote women. It’s something he tried to rectify in earnest, and it gets progressively better across the original series’ run. Here in Dillon’s Penny, we have a common Serling-like protagonist in that she is dissatisfied with her current lot in life and generally put upon. However she’s also a frustrated homemaker, who, in some of Serling’s less thoughtful stories, would be nagging the protagonist rather than be the protagonist. In A Little Peace and Quiet, Penny is framed as a character the viewer is meant to relate to—though whether one relates to her or not is obviously relative. All around, I guess what I’m getting at is that this installment feels heavily influenced by the original TZ, but thoughtfully contemporized and seasoned with an interesting reversal of archetypes.
✨Support✨
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neondreams83 · 7 months
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blueelectricroom · 1 year
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Invariably, while I'm grocery shopping, a person who is not yet mature (and therefore still curious about the world and all that is in it), will ask me: 
“Old, what were the 1980s like, music wise?” 
Well I can't cover an entire decade with cold items in the cart, so I always grab a year at random.
1986 was the year the 1980s became very sick and began to die. But if you could find a way to be brave in that moment, it wasn’t so bad. Granted, there were some rough weeks. Hideous, actually.
Bon Jovi was everywhere. So too, Madonner. Aerosmith had “joined forces” with Run-DMC to create an insufferable, wholly disgraceful re-do of “Walk This Way.”  The American pop charts were downright hellish; UK charts more baffling than ever. But no one who knew anyone who knew anyone was listening to the radio anymore.
So no bigee.
There was the other side of '86, so to speak, that seemed expressly designed for lonely people with no sense of direction. You had your Smiths. You had your Fall.  (As a matter of hopes and dreams and coming attractions, the Pixies, the Sugarcubes, the Wolfgang Press, and Jane's Addiction were lurking in the shadows that year.) 
In any case, there were moments:
Talk Talk’s “Life’s What You Make It” was a plaintive pop masterpiece that showed off Mark Hollis’ voice like nothing before or since. 
The Leather Nun covered ABBA with zero irony and it was straight-up, on-fire Viking sex-club stuff. 
I didn’t hate the idea of the Pet Shop boys providing a soundtrack for every merchant along every rainy street of London for a few months.
Folks at the 4AD label (mostly Ivo) again confirmed that they were from another planet by releasing—on the first day of autumn!—This Mortal Coil’s majestic, almost unutterable Filigree & Shadow.
Siouxsie and the Banshees’  spooky track, “The Sweetest Chill,” was an undeniable melodic nod to part-time Banshee and persona non grata Robert Smith (at the time, I doubt Siouxsie would say so) and boasted a guitar line that sounded like they had re-hired John McGeoch. Leave it to the Banshees to have us longing for the early 80s during the middle 80s. 
Speaking of 4AD and goth heroes and all that, Clan of Xymox quietly, almost secretly sent into the world “Agonised by Love” (that’s how they spell it over there), and the black-clad lucky few who found that song understood that the entire Goth universe had been bested by a cute little Dutch couple. 
The Shop Assistants’ “Somewhere in China” was a masterpiece of early dream pop. It would provide the framework for a thousand indie-girls during the next three decades. 
The Cure’s “Exploding Boy” was an incorrectly released and un-marketed B-side that almost no one heard until the 1980s were over, which is the only reason it did not become an anthem for the era.
Therefore, as if to comfort us in those dying days, the Shop Assistants offered this spot-on melancholia:
"Come and sit beside me here and we'll watch the fire go down And dream of days and nights when we were young Time seems to go much faster Living in the cold, old city But we can still pretend we're having fun Having fun..."
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gijoe-forever · 5 months
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David Bowie as Jareth the Goblin King, "Labyrinth" (1986) ✨
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I swear, the Eighties were MESSED UP!!!
I just found this clip of a hit single that was in the UK pop charts in 1982. A ventriloquist and his puppet green baby duck, wearing a giant nappy (diaper), and singing such plaintive lyrics as “I often pretend my sadness will end but it won’t”. 
Enough people bought this record to make it a big enough hit to feature on Top of the Pops - the music show of the time and had been for decades. Everything stopped for TotP on BBC1 every Thursday evening (most people didn’t have video machines so you couldn’t record what you wanted to watch; you had to be home when it was aired on TV). 
Anyway, take a look at this and marvel at the insanity: X
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