I Rewatched The Outsiders For The First Time As An Adult, And I Don’t Think I Ever Appreciated This Movie Enough

I Rewatched The Outsiders For The First Time As An Adult, And I Don’t Think I Ever Appreciated This Movie Enough

The Outsiders is a film I never really understood.

When it comes to the best 80s films, everyone typically picks The Outsiders as one of them. While I’ve been very familiar with Ralph Macchio in The Karate Kid movies, as well as Cobra Kai, one of the best shows on Netflix, I never got to see another one of his most famous movies, The Outsiders.

I watched it as a middle schooler because every school had their kid reading this book and then watching the movie, and I remembered enjoying it. But it has literally been fourteen years since then, and I decided to check it out for the first time in years. And I have to admit…it was the experience I didn’t realize I needed.

2025 movie schedule is filled to the brim with them, and due to that, we never really get to see that many well-told original movies anymore. It’s one of the biggest gripes I had with the box office.

In turn, that also translates to adaptations of original stories. They don’t get the marketing they deserve, and half the time, they only end up getting the praise years after its release, or when it’s finally available to stream.

The Outsiders is one of those movies where, if it were released today, I’m not sure how well it would do at the box office. It’s a moving coming-of-age story that hits harder than ever before because we’ve gone through experiences that are so similar in many different ways. It makes me wonder why we’re required to read this in middle school rather than high school, where we can better comprehend the themes.

Even so, this film had an impact on me, and there are two reasons why – the cast and the story.

Rob Lowe – everyone did such a fantastic job.

There have been many moments in the past when certain cast members didn’t seem to fit, or the entire cast lacked chemistry. But watching this film makes me really feel the story. Because these characters don’t feel like cast members, they feel like family. They feel real.

That’s the kind of cast that we rarely see, where the cast members genuinely feel so raw and authentic. You can tell from a mile away that these cast members were close on set and that this story meant a lot to them. And that made the viewing experience that much better.

available to stream for free, so it’s not difficult to find. If you’re looking for something to do on a Saturday afternoon, check this film out again.

You won’t regret it.

TV & Beyond on 2025-07-15 12:00:00

TV & Beyond on 2025-07-15 12:00:00

James Gunn’s “Superman” is a love letter to many previous incarnations of the character, with a lot of influence being pulled from different eras of the comics. But it also takes a lot of cues from the original 1978 Richard Donner “Superman” film — a movie that Gunn has said on multiple occasions had a massive impact on him as a kid. You can see that influence on things like David Corenswet’s Superman valuing all life (even saving small animals in the middle of fights), the campy nature of some of the story and dialogue, and the back-and-forth between Clark Kent and Lois Lane (Rachel Brosnahan). Unfortunately, Gunn’s film also does one character from the ’78 film incredibly dirty.

Yes, I’m talking about Eve Teschmacher, Lex Luthor’s ditzy girlfriend played by Sara Sampaio in the 2025 film. Eve isn’t from the comics. Rather, she was created specifically for the 1978 movie, not entirely unlike how Harley Quinn was created for “Batman: The Animated Series.” In Donner’s film, the role was played by Valerie Perrine, and if you didn’t know, let me be the first to tell you: She’s an incredible character. While clearly playing into the “dumb bimbo” archetype, she stands up to Lex constantly, saves the day by saving Superman (and, uh, kissing him non-consensually, but more on that later), and is shown to be immensely capable.

The version we get in Gunn’s film somehow feels more backward than the one we got 47 years ago. It’s an insult to a great character, and quite frankly, it’s one of the weakest parts of the new “Superman.”

The original Eve Teschmacher is an icon, plain and simple

To talk about Eve Teschmacher, we have to talk about the bimbo as a cultural idea. Much has been written over the last five years about the feminist reclamation of the word, which, through image-forward social media platforms like TikTok in particular, has put forward a new, progressive definition that matches hyper-feminity with intelligence, liberation, and empowerment. As Laura Pitcher wrote for The Cut in 2021, “Self-confessed bimbos are discussing the flaws of late-stage capitalism while wearing fake eyelashes and winged eyeliner and posting captions that educate followers about gender and racial inequality with long acrylic nails.”

Eve might not fit all of those qualifiers, but she’d thrive under the modern banner. Not all of her writing holds up, I’ll grant you, but her contributions — both to Lex’s evil plan and Superman’s heroic one — are never played as accidents. She is fully aware of the kind of man Lex is, and she never misses an opportunity to put him in his place. (“When I was six years old, my father said to me…” Lex begins one boring diatribe. “‘Get out?'” Eve suggests, cutting him off.)

The dolts of the film’s U.S. military are quickly distracted by Eve’s performative bimbo-hood, and when the incompetent Otis (Ned Beatty) messes up one of Luthor’s schemes, it’s Eve who sneaks back in and makes it work. The sexual harassment of Superman? Not a fan, obviously. But it was 1978. We have to allow at least some space for growth.

James Gunn’s Superman bungles what could have been a triumphant return for Eve

Given the history of her character and the modern trappings of more progressive writing around the archetype, Eve should have been a great addition to James Gunn’s “Superman.” Instead, she’s played for a repeated joke that doesn’t even make any sense. Jimmy Olsen (Skyler Gisondo) has some sort of romantic history with her, which allows for convenient plot things to happen but is never explained to any degree. How did they meet? Why is she obsessed with him? Why does he find her so unbelievably grotesque that simply meeting with her at all is to be avoided at all costs?

Her worst offense throughout the entire movie is being kind of annoying — a trait that you’d expect to be played for unearned laughs in, say, 1978, but now? Even when she saves the day with a barrage of selfies featuring classified LuthorCorp intel in the background, she never really gets the proper credit for helping thwart the villain’s plans. She doesn’t get any real agency — we just hear jokes about how much everyone apparently hates her (and her “mutant toes”) for the fifth time. It’s a character written by your sexist uncle’s Facebook posts — a sort of empty treatise of “selfies and makeup are dumb” with no twist.

Lazy doesn’t begin to describe it. This is a waste of a character who could have been fantastic in 2025. Sampaio does her best with the material, but the script does her no favors, and Eve winds up being both the film’s least sensical plot device and most embarrassing joke. In the Year of our Lord 2025, Eve Teschmacher deserved so much better.

TV & Beyond on 2025-07-15 11:45:00

TV & Beyond on 2025-07-15 11:45:00

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When you’re the star of a major TV show — like, for example, “The Big Bang Theory,” Chuck Lorre and Bill Prady’s massively popular CBS sitcom that ran for 12 years and the same number of seasons, you probably have to follow some basic rules. An understandable one is that, as an actor, you need to keep yourself physically safe as best as you can, because an injury could be disastrous for the entire production. Apparently, “Big Bang Theory” stars Johnny Galecki and Simon Helberg, who played friends and California Institute of Technology colleagues on the series from start to finish, didn’t think about this when they kept renting ill-advised boats whenever the cast went to Comic-Con together.

As Jessica Radloff revealed in her 2022 book “The Big Bang Theory: The Definitive, Inside Story of the Epic Hit Series,” Galecki and Helberg, despite knowing very little about boats at all, started a super-dangerous tradition whenever the whole gang found themselves in San Diego for the massive convention. “For some reason, Simon and I had this thing where we have rented a lot of boats together, which makes no sense because neither of us are sailors,” Galecki said. “But every time we went to Comic-Con and we’d rent a boat, he’d buy a captain’s hat, and we’d just endanger everyone’s lives.”

Prady, understandably, had a much different and much less casual memory of this whole thing. “When they told us the story of how they all chartered a boat but none of them knew what they were doing, I just remember thinking, ‘Well, this almost ended very badly,’ and my stomach just flipped.” After saying the only other time in his life that he’d felt that sick and concerned was after his daughter was in a non-fatal but still scary car accident, Prady said, of how he felt upon hearing Galecki’s confession, “So to answer the question, nausea.”

Jim Parsons had the most Sheldon Cooper-coded reaction to Simon Helberg and Johnny Galecki’s boat shenanigans

Jim Parsons, who played Sheldon Cooper throughout the entirety of “The Big Bang Theory,” told Jessica Radloff that Chuck Lorre was furious, and it’s easy to see why! “Chuck was also apoplectic about it when he heard. He was like, ‘Wait, what? They did what?! Do you know how much money and insurance is in that one boat?'” 

Despite that memory, Parsons insists that he barely remembers anything about why or how he ended up getting on the boat in the first place. “Now, for what it’s worth, I don’t remember getting on the boat or accepting the invitation [or] plan to be on the boat,” Parsons mused. “It just happened. I remember being on it. But looking at it now, I’m like, ‘I don’t know if I would have said yes to that. I don’t know who that was that said, yes!’ I guess I was like, ‘Well, somebody said we were going to do it, so let’s do it!'” Apparently, there was one saving grace for Parsons: “Thank God I was sober at the time. I don’t even know what body of water we were in. I mean, by the grace of God do I still walk on this earth after that.”

If your instinct is that nothing about Parsons’ alleged attitude sounds at all like the overly cautious Sheldon, fret not, because Johnny Galecki fully blew the whistle on his co-star. “Jim is right,” Galecki said of the conceit in general. “[Helberg] and I trailed off from the group and returned with a boat.”

From there, however, Galecki said Parsons put on a Sheldon-worthy performance. “Jim was very hesitant to come aboard. And absolutely refused to jump off into the water, which I think the rest of us did whenever or wherever Captain Helberg and I deemed our location a safe depth.” Now that’s method acting (although, frankly, Sheldon never would have stepped foot on the boat in the first place).

Ultimately, Johnny Galecki understood that he and his Big Bang Theory castmates needed to look after themselves

After reminiscing about his deeply ill-advised boat adventures, Johnny Galecki admitted that it was a terrible idea, and that he now understands why Chuck Lorre and Bill Prady were so freaked out. “We truly didn’t understand the financial investment of billions of dollars at hand until we saw our bosses’ reactions to such behaviors. And also started to notice how the studio would split us up into different cars while on press tours and such — ‘Oh, I see. So if this car rolls over a land mine, only half the cast [and] half their investment is dead. Got it.'”

“And then Kaley’s accident with her horse years later,” Galecki went on, referencing the devastating horseback riding accident that Kaley Cuoco, who played Penny throughout the series, endured that ended up taking her out of two episodes entirely. “That really put into perspective how many people’s livelihoods our actions affected. Before then, we just saw ourselves as a weirdo, ragtag bunch of scrappy actors who didn’t think enough of ourselves to understand we were of value to many people we cared about deeply.” (Cuoco’s accident, to be clear, was extremely serious; after a horse threw the experienced rider, it trampled her leg and she almost needed the limb amputated.)

Lorre retaliated in his own way. On one of his many custom title cards — which you can see on Lorre’s website — he lists some important rules for his “Big Bang Theory” performers. “Following Kaley Cuoco’s horseback riding injury, I’ve instituted new rules governing acceptable leisure activities for the cast of ‘The Big Bang Theory,'” the card begins. The first rule makes sense, with that in mind. “No friggin’ horses,” it declares. “This includes those found on merry-go-rounds and in front of supermarkets.” Apparently, Lorre did not forget the boating incident, based on the fourth rule: “The only permissible boating activity at Comic-Con is in your hotel room bathtub.”

“The Big Bang Theory” is streaming on Max now.

Rob Reiner Teases Paul McCartney, Elton John Cameos in ‘Spinal Tap II’

Rob Reiner Teases Paul McCartney, Elton John Cameos in ‘Spinal Tap II’

Rob Reiner Teases Paul McCartney, Elton John Cameos in ‘Spinal Tap II’

Spinal Tap II: The End Continues writer-director Rob Reiner may be amazed by the love that Paul McCartney and Elton John still have for performing, as both legendary musicians make cameos in the forthcoming sequel movie.

The follow-up to the 1984 cult classic This Is Spinal Tap hits theaters Sept. 12 from Bleecker Street. Christopher Guest, Michael McKean, Harry Shearer and Reiner star in the comedy about a heavy metal band reuniting for one last show.

During an interview with AARP Movies for Grownups, Reiner was asked whether Spinal Tap’s final concert featuring appearances from McCartney and John is intended as a statement about reinvention.

“It basically says: ‘No matter how old you are, if you can still do it and still enjoy doing it, then do it,’” Reiner replied. “I asked Paul McCartney about this. I said, ‘There’s you, Mick Jagger, Elton John, and you still like to perform. What is it about you guys? Is it that you just love the music? And you love performing?’” According to Reiner, McCartney responded with a line from the new movie: “And he says, ‘Yeah. And the drugs.’”

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Reiner continued, “The point is, these guys just love doing it. If they’re given an opportunity, they’ll get in front of an audience and play.”

In a joint statement earlier this year, Bleecker Street CEO Andrew Karpen and president Kent Sanderson expressed their excitement for the sequel: “We feel privileged for the opportunity to work with Rob Reiner and the brilliant minds behind the original This Is Spinal Tap, and to be part of a film that has resonated with so many.”

TV & Beyond on 2025-07-15 11:30:00

TV & Beyond on 2025-07-15 11:30:00

/Film’s ranking of the 15 best films of the 1970s here.

However, the audience’s cinematic tastes started to evolve thanks to the release of “Jaws” in 1975. Steven Spielberg’s film became an unprecedented cultural phenomenon and popularized the modern blockbuster for cinema. Audiences were eager to be thoroughly entertained in their visits to the movie theater, and their appetite for more inspiring crowd-pleasing films continued throughout the decade, thanks to films such as “Star Wars,” “Superman: The Movie,” and “Rocky.” While “Rocky” may be a smaller-budget sports film compared to the epic scale of the other blockbusters mentioned, the 1976 release, which was written by its then-unknown leading man, Sylvester Stallone, inspired audiences with its compelling underdog story. The film became the highest-grossing film of 1976 and won three Academy Awards, including Best Picture.

Sylvester Stallone believes audiences yearned for inspiring characters like Rocky Balboa

Before “Rocky” was produced, Sylvester Stallone was living the typical working actor’s life, struggling in his career, and hustling endlessly. He wrote the film’s script, which in some ways, reflected his desires to be given a chance in the spotlight to potentially lead to a more fulfilling career. Stallone’s earnestness and authenticity were on full display in his script and lead performance, which charmed critics and audiences alike.

In a 2012 interview with Roger Ebert, Sylvester Stallone reflected on his career, particularly in how “Rocky” changed his life and turned him into one of Hollywood’s biggest stars, even if it became a bit of a double-edged sword for him. When looking back on his original film, Stallone has a clear understanding of why audiences gravitated towards the eccentric, yet sweet Philadelphia boxer, and how easy it is to empathize and root for the underdog:

“The people like it who let their emotions be their guide. Of course, if you go in intellectually, you hate it. But if you let yourself go with it, something happens about 40 minutes into the movie. You say to yourself, hey, this isn’t going to be the colossal downer of all time. You find out Rocky’s not just a fighter on the way down, he’s a pliable, vulnerable person. And the movie isn’t just about fighting it’s about heart and love. And then you throw yourself into it emotionally. Maybe that’s why I made it about boxing. Everybody knows what it’s like to punch, and be punched, and everybody knows what it’s like to fall in love.”

Although the Rocky franchise became campy, the raw humanity of the character stays true

Following the critical and commercial success of “Rocky,” Sylvester Stallone returned for five more films in the series. He wrote and directed “Rocky II,” “Rocky III,” “Rocky IV,” and “Rocky Balboa,” while John G. Avildsen returned to direct “Rocky V,” which Stallone also wrote, despite his public disdain for the film. “Rocky II” took place immediately after the first film and continues the thread of raw human emotions for the character on a moderately expanded scale. “Rocky III” was when the series began to get campy, thanks to the larger-than-life opponents taking the spotlight, reflecting the exaggerated bravado of 1980s popular culture. Villains like Clubber Lang (Mr. T) and Ivan Drago (Dolph Lundgren) were particularly memorable and challenged Rocky physically, mentally, and emotionally.

Although the “Rocky” series had its share of camp, its earnestness and heart are maintained throughout its entire legacy. It helps that Sylvester Stallone is supported by wonderful actors who help ground the stories in reality. After all, Rocky’s unconditional love for his wife, Adrian (Talia Shire), is the heart of the entire series, even when it is revealed she passed away from cancer before the events of the underrated “Rocky Balboa.” The tenderness of Rocky continues in the “Creed” films, where he fully embraces the role of mentor for Adonis Creed (Michael B. Jordan), the son of his former rival turned friend, Apollo Creed (Carl Weathers).

German Film Academy Expands Eligibility Rules for National Awards

German Film Academy Expands Eligibility Rules for National Awards

German Film Academy Expands Eligibility Rules for National Awards

The German film academy has issued new criteria for the German film awards that will make it easier for international productions with significant local creative input to qualify for the country’s top film honors, called the Lolas.

Under the new regulations, any film can qualify for the national awards if at least 25 percent of its financing, along with sufficient creative input, comes from Germany. The academy has also broadened the group of creatives it considers significant, giving equal weight to a movie’s director and its screenwriter, and allowing the contribution of actors or behind-the-scenes talent to be counted in determining whether a film qualifies as “German” for the sake of the awards.

A film with at least 50 percent German financing can qualify for the Lolas if its director or screenwriter and at least one of its leading producers are German nationals or based in Germany. The film also meets the Lola criteria if it has at least one leading producer and at least three significant heads of department who are German nationals or based in Germany, or if one producer, two heads of department, and one of the acting leads are.

Films with between 25 percent and 50 percent German financing can also qualify if the majority of the dialog is in German and there is more significant local creative input — meaning a leading producer, director or screenwriter, and at least 3 heads of department, or two heads of department and a lead actor, are German nationals or based in Germany.

In a statement, the academy said the aim of the reform is “to strengthen the positions of filmmakers while ensuring greater flexibility in film financing. [And to] encourage the participation of creative professionals who live and work in Germany or who hold German citizenship.”

The changes come after this year’s awards in which Mohammad Rasoulof’s Oscar-nominated Iranian drama The Seed of the Sacred Fig, was a multiple nominee and won two Lolas: Best actor for Missagh Zareh and the runner-up Silver Lola for best film. The film qualified for Germany’s national film awards because it received significant financing out of Germany, via Hamburg-based lead producer Run Way Pictures, and because Rasoulof is a German resident, having escaped Iran for Berlin, where he has refugee status.