50 People Who Woke Up One Morning Over The Past Month And Kinda Sort-Of Accidentally Destroyed Their Entire Lives
1. The person who might need to take some time off from driving:
2. The person who, uh, had THIS happen to them:
3. The person whose phone had the ride of a lifetime:
4. The person who blue themself:
5. The person whose pool just became an infinity pool at no cost:
6. The person who got absolutely AMPED at bedtime:
7. The person who had the universe laugh in their face:
8. The person who learned a valuable lesson about measuring things that day:
9. The person whose financial situation is now looking dire:
10. The person whose view just got a whole lot crinklier:
11. The person with the cleanest floor this side of the Mighty Mississipp':
12. The person lived way too dangerously while cutting their hair:
13. The person who got absolutely dusted by some espresso powder:
14. The person who finally answered the eternal question of what happens when you take a table saw to an iPhone:
15. The person who just straight up lived a Looney Tunes scene:
16. The person who found a little friend in their dishwasher:
17. The person who gave their MacBook a cool, new design:
18. The person whose microwave no longer belongs to them:
19. The person who might be the soundest sleeper this side of the Mighty Mississipp':
u/katonmyceilingeatkow / Via reddit.com
20. The person who might have to go pick up a brick or two:
u/own_pass7990 / Via reddit.com
21. The person who just got absolutely screwed:
u/maesuave / Via reddit.com
22. The person who just made a wedding memory they'll never, ever forget:
u/firebolt1171 / Via reddit.com
23. The person who had a Looney Tunes-esque fall on the slopes:
u/pp0787 / Via reddit.com
24. The person who went on a hero's journey to the beach only to have this happen:
reddit.com
25. The person whose laundry just got extra gritty:
u/oxonia / Via reddit.com
26. The person who just got the worst kind of message:
u/forum4um / Via reddit.com
27. The person who is eatin' good tonight:
u/Silver_Medusa / Via reddit.com
28. The person whose delivery order may have gotten juuuust a bit smooshed:
u/bars2021 / Via reddit.com
29. The person whose hard-earned money went to some crisp, cool air:
u/EcstaticBoysenberry / Via reddit.com
30. The person who had their day go from bad to even worse in about five seconds:
u/carcamper888 / Via reddit.com
31. The person whose eye had a tiny, tiny problem:
u/aauser85 / Via reddit.com
32. The person whose egg looks like it came from Planet Xeblar-B:
u/tiklichor / Via reddit.com
33. The person who accidentally cooked their cheesecake on the surface of the sun:
u/pixmanohio / Via reddit.com
34. The person who made the classic rice–giant-jug-of-salt mix-up:
u/bumbeel / Via reddit.com
35. The person whose steak was cooked to unfathomable levels of doneness:
u/NeoshadowXC / Via reddit.com
36. The person who was lucky enough to find out they had a few extra friends living with them:
u/elbebemacho / Via reddit.com
37. The person who added a special blue seasoning to their burgers:
u/partyrooster / Via reddit.com
38. The person whose mouth is very clean now, I'm sure:
u/hellogoawaynow / Via reddit.com
39. The person who was just in the wrong place at the wrong time:
u/rust1112 / Via reddit.com
40. The person who learned time's oldest lesson:
u/akopec / Via reddit.com
41. The person who might want to hire new roofers:
reddit.com
42. The person whose bike shall remain forever locked:
u/ihavnoideawhattoput / Via reddit.com
43. The person who learned the hard way about big ol' buckets of paint and convertible roofs:
u/misterx1958 / Via reddit.com
44. The person whose phone looks like it might as well been sitting in the pharaoh Merenptah's tomb:
u/chickenluna / Via reddit.com
I'm serious!
45. The person who was betrayed by the very fish tank they loved so:
u/metroid413 / Via reddit.com
46. The person who gave a little roach a beautiful new home:
u/b_ild / Via reddit.com
47. The person whose phone was dropped into a portal to Hell:
reddit.com
48. The person who... uh... had to follow this driver:
u/themautau / Via reddit.com
49. The person who might just want to avoid ever going outside again:
reddit.com
50. And the person who can never, ever go back into their car:
u/iam__lethal / Via reddit.com
It's done.
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Digging into movie backstories, budgets, ticket sales, and social trends, he is interested in how the films repeatedly glamorize adolescent acting-out in charged and timely ways. He situates the Beach Party series of 1963–65 ('crap, but interesting crap') amid early-'60s worries that teens would take over the culture. Watch out, warned a 1963 book called Teen-Age Tyranny; they're 'permanently' imposing 'teenage standards of thought, culture, and goals.' Or lack of goals. The seven Beach Party films feature airheads enjoying sandy weekend fun, no teachers or parents in sight—though an anthropologist on the sidelines scrutinizes youthful mating habits through a telescope. The fact that no sex was in sight either (even visible navels were deemed off-limits) didn't stand in the way of ad copy that deployed titillation and terror. 'When 10,000 Bodies Hit 5,000 Blankets …' invited thousands of viewers to fill in the blank with their imagination. 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And in John Hughes's films, teens do what adults dread most: cast blame on their elders. In The Breakfast Club (1985), the kids consigned to Saturday-morning detention (a microcosm of high-school social tribes) conclude that it's their 'wintry, stone-faced' parents, as Handy puts it, who 'are the root of all their children's problems.' Hughes, who insisted on happy endings, grants the students victory: The film wraps with a freeze-frame of a freshly released detainee's defiantly raised fist—and it belongs to Bender (Judd Nelson), the disaffected, angry loner most inclined to stick it to the grown-ups. More recently, the flavor of the moral panic has changed in a way that Handy doesn't quite latch on to. Adults were once afraid of teens: the greasers of Rebel, the boppers of Beach Party, the stoners of Fast Times, the screwups of The Breakfast Club. They were threats to the order of things, both too grown-up to control and not grown-up enough to properly wield control themselves. But since the arrival of the 21st century, teen films have taken a turn. Adults have become afraid for teens, and newly distressed about their own role (or lack thereof) in the troubles facing them. The mode of anxiety has shifted, and the culture of concern is playing catch-up. As A ninth grader in April 1999, I came home one Tuesday to a news bulletin that showed a boy dangling from a window at Columbine High School, desperately trying to escape two schoolmates on a shooting rampage. That day, real-life teenagers entered a new era, one of victimhood. The fraught terrain has steadily expanded since, and now encompasses fears about social media's pernicious influence on teens, their growing anxiety and loneliness, their future in a polarized society on a warming planet. Handy does not underrate the bleak fallout in teen films of 'our current wretched century.' He also rightly identifies the rise of 'girl power' as a force in teen culture, and the popularity and quality of girl-centered movies, even as old-school sex romps (the American Pie franchise) never disappear. Tina Fey's 2004 film, Mean Girls, is near the top of his list of best teen films, as it is of mine, and he embeds it in a discussion of articles and parenting guides (Fey drew on Rosalind Wiseman 's Queen Bees & Wannabes) that sounded the alarm about aggression and insecurity in the world of American girlhood. But in emphasizing bullying's links to the usual teen-film theme of high-school tribalism, Handy stops short of recognizing the portrayal of it, both comic and horrifying, as part of a larger shift toward incisive psychological probing that skewed dark: When Fey watched the movie with test audiences, she took note that girls were responding to it less as a teen movie and more 'like a reality show.' They weren't 'exactly guffawing.' Recently out of high school myself at the time, though I laughed, I also remember wincing at the no-safe-spaces aura of the cruelty. In his choice of other 21st-century films to focus on, Handy veers away from depictions of teens whose newly stressful struggles for autonomy portend dire consequences. He omits Sofia Coppola's excellent and grim feature-length directorial debut, The Virgin Suicides (based on Jeffrey Eugenides's 1993 novel and set in the mid-'70s), which was released with a sickening thud in 2000—a bookend of sorts to the freewheeling laxity of Dazed and Confused, set in the same era. When 13-year-old Cecilia, the youngest of five spectrally beautiful sisters whose severe parents keep them cloistered, throws herself out a second-story window in the middle of a rare party at their house, she is the first of the girls to successfully take her own life; the rest follow. With the haze of inexplicable death clouding every sequence, The Virgin Suicides reset the barometric pressure of teen movies. Who could or would protect these kids from themselves? Instead, Handy homes in on the biggest teen blockbusters of the 21st century— The Twilight Saga (2008–12) and The Hunger Games (2012–23)—two series, one fantasy and the other science fiction, in which teens succeed in summoning rare strength not just to manage their own hormones but to deal with their elders' destructive drives. The themes are familiar: sexual initiation for Bella Swan (Kristen Stewart) in Twilight and peer competition for Katniss Everdeen (Jennifer Lawrence) in The Hunger Games. But a vampire boyfriend for Bella and gladiatorial combat in a totalitarian dystopia for Katniss—and ultimate wind-in-the-hair domestic bliss for both—leave the current social realities of teen life behind. The pressures of a hyper-meritocratic, social-media-saturated world surface elsewhere, with girls again in the foreground. Handy mentions the hilariously incisive Booksmart (2019) only in passing, but its two super-stressed-out, overachieving Los Angeles seniors, Molly and Amy (Beanie Feldstein and Kaitlyn Dever), embody a strain of contemporary, and contradictory, fears about teenagers: Have they been so intent on molding themselves into some optimized version of young adulthood that the only thing they're headed for is burnout or disappointment? If they just chill, though, what about their future productivity? On the last day of school, the two girls are busy resolving student-council-budget issues—only to be jolted into questioning their rule-following zeal. Together, they dare to let loose before it's too late. Booksmart delivers a giddy quest-for-a-party ride, while also feeling like a heady glimpse into a teen therapist's session notes. For poignant scrutiny of the digital revolution's repercussions for teens, Handy might have explored the sweetly rendered Eighth Grade (2018), which arms a fledgling adolescent with her own camera. Kayla (Elsie Fisher), a painfully shy and insecure 13-year-old, is glued to screens, a voyeur obsessively scrolling for glimpses of lives that seem intimidatingly alien and glamorous. At the same time, she's a vlogger, posting wishfully affirmative videos online. Set during the last week of the school year, the movie deftly captures a kid caught between the digital and real worlds, trapped in her own head and stranded on the margins of an inaccessible peer scene. Finally daring to show up at a pool party, she doesn't reach for beer or pot; she has a panic attack. I couldn't help comparing the scene of Kayla, in an all-wrong bright-green one-piece, anxiously descending into the pool, head down as if to make herself invisible, with a memorable moment in Fast Times: the sexually-savvy-beyond-her-years Linda (Phoebe Cates), clad in a fire-engine-red bikini, majestically emerging from the water, a symbol of an era freighted with such different fears. By now, in the TikTok-teen era (vlogging Kayla was a little ahead of her time), the feedback-loop premise of Handy's history shows signs of being under strain. Teens, once Hollywood's lucrative market, no longer flock to theaters. And the place where their adventures are playing out isn't as readily accessible as it once was, even to hyper-hovering adults. If teens are still showing up at parties, they're on their phones there; if they still venture out to whatever malls they can find, they're on their phones there. When they're at school, they're mostly on their phones there, too. And what they are consuming is content produced by other teens—stories and TikToks and straight-to-camera diatribes more real to them than any film written by adults and shot through their anxious, or nostalgic, lens. The cohort that took over mass culture more than half a century ago has now built a sprawling culture for itself, by itself. In 2025, the most potent media produced about teenagers will likely emerge on those pocket-size life changers, and most grown-ups will never get wind of what's on display. How's that for something to worry about?
