Within the first 60 seconds of The Breakfast Club, John Hughes managed to successfully introduce the five high school archetypes he would spend the next hour and a half dismantling, or at least redefining. Upon its release 30 years ago, it would have been easy to dismiss it as just another teen comedy about stock adolescent problems, i.e. does he like
me, or does he like me like me? And while that exact question may have been a central plot point in Hughes’ Sixteen Candles, which hit theaters less than a year before TBC, the late, great, Chicago-loving auteur decided to use this follow-up to turn the genre on its head.