Curly Sue (1991)
Starring: James Belushi, Alisan Porter, Kelly Lynch
Genre: Comedy
Runtime: 101 mins
Memorable Song: You’ll Never Know (Ringo Starr)

Uncle Buck (1989)
Starring: John Candy, Jean Louise Kelly, Macaualay Culkin,
Genre: Comedy Gold
Runtime: 95 mins
Memorable Song: Rhythm of Life (Hugh Harris)

She’s Having A Baby (1988)
Starring: Kevin Bacon, Elizabeth McGovern, Alec Baldwin
Genre: Drama
Runtime: 106 mins

Planes, Trains, and Automobiles (1987)
Starring: John Candy and Steve Martin
Genre: Comedy
Runtime: 93 mins

Ferris Bueller’’s Day Off (1986)
Starring: Matthew Broadrick, Alan Ruck, Mia Sara, Jeffrey Jones, Jennifer Grey
Genre: Comedy
Runtime: 103 mins
Awards: Nominated for a Golden Globe

Weird Science (1985)
Starring: Anthony Michael Hall, Kelly LaBrock, Iian Mitchell-Smith
Genre: Teen Pent-up Frustration
Runtime: 94 mins
Memorable Song: Weird Science (Oingo Boingo)

Breakfast Club (1985)
Starring: Emilio Estevez, Molly Ringwald, Judd Nelson, Ally Sheedy, Anthony Michael Hall, Paul Gleason
Genre: American Teen Angst
Runtime: 97mins
Memorable Song: Don’t You Forget About Me (Simply Minds)

Sixteen Candles (1984)
Starring: Molly Ringwald, Anthony Michael Hall, Michael Schoeffling
Genre: Coming of Age
Runtime: 93 mins

John Hughes

I was spending the weekend with a bunch of old college chums when I heard the news that iconic film director John Hughes had passed away. Since I went to school during the height of Hughes’ popularity in the mid-80s, it was somehow appropriate that I would be in the company of the very people with whom I saw his movies.

Hughes directed, produced and/or wrote some of the most memorable films of my generation.

He directed Sixteen Candles, The Breakfast Club, Weird Science, Ferris Bueller’s Day Off, Planes, Trains & Automobiles, She’s Having a Baby, Uncle Buck, and Curly Sue.

He wrote Mr. Mom, Pretty in Pink, Some Kind of Wonderful, and all three Home Alone movies.

And in the process, he created the “Brat Pack” and helped launch the careers of Molly Ringwald, Anthony Michael Hall, Matthew Broderick, Ally Sheedy, Lea Thompson, John Cusack, Emilio Estevez, Charlie Sheen, Jennifer Grey and Macaulay Culkin. It’s hard to imagine what the 80s would have been like without Hughes’ influence on the decade.

Who’s your favorite John Hughes protege: Matthew Broderick, Anthony Michael Hall or Molly Ringwald ? Voice your choice in today’s featured poll. I’m off to light a candle — or sixteeen — in his honor.

John Hughes (1950-2009)

With the news of the passing of writer/director/producer John Hughes, GoreMaster.com is honoring his films with a special “Movie Quote Friday”.  His films touched a generation of teens capturing the humor and drama of surviving those rough and fun years.  Thanks for the wonderful laughter and may you rest in peace.

We couldn’t pick just one movie quote so we’ve listed serveral of our favorites.   Please feel free to add some of your own in the comments space below!

Trivia:

Several director’s trademarks can be seen within Hughes’ films:

• Set in the fictional Shermer, Illinois, as represented by the North Shore suburbs of the Chicago metropolitan area.
• Characters breaking the fourth wall (acknowledging the audience).
• Additional scenes under and/or after the closing credits.
• A strong emphasis on pop songs and music cues.

Actors who have appeared in more than one Hughes production include John Candy, Edie McClurg, William Windom, John Ashton and Larry Hankin.

John Hughes Credits include:

Writer

Director

Producer

National Lampoon’s Vacation (1983):

Clark: I think you’re all f#%*ed in the head. We’re ten hours from the f#%*ing fun park and you want to bail out. Well I’ll tell you something. This is no longer a vacation. It’s a quest. It’s a quest for fun. I’m gonna have fun and you’re gonna have fun. We’re all gonna have so much f#%*ing fun we’ll need plastic surgeory to remove our godamn smiles. You’ll be whistling “Zip-A-Dee Doo-Dah” out of you’re a**holes!

Sixteen Candles (1984)

The Geek: “Relax, would you? We have seventy dollars and a pair of girls underpants. We’re safe as kittens.”

Weird Science (1985)

Wyatt: It’s a joke Chet!

Chet: That’s not a joke, that’s a severe behavioral disorder. Those are women’s underpants! The next thing you know you’ll be wearing a bra on your head.

John Hughes died today. He was 59. He’ll be remembered for producing, writing, and/or directing a series of popular teen films in the 1980s, which are enjoyed even today, long after those teens (i.e., us) have softened into middle age with teens of our own, kids who can somehow look past the dated (what the squirts sardonically call “retro,” although in a tone of reverence and awe) attire to the eternal truths of the adolescent experience buried within. For those of us who were his target demographic back in the day — I was in middle school during his peak, a cauldron of confusion and desire — the movies were a fantasy-laden version of a hormonal modern drama too horrific to contemplate.

Although I loved his Oxy oeuvre, I did have a few issues with Hughes. For one, the families in his films always seemed impossibly upscale (did anyone in Ferris Bueller’s Day Off live in a one-story house?) — even the broken one belonging to thrift-shop poster-girl Andie Walsh in Pretty in Pink. Her squalor was well-scrubbed. If that was the wrong side of the tracks, I’ll bet you could eat the mess hall’s Charlevoix Veal right off the jailhouse floor. Also, while the girls at my school swooned over Anthony Michael Hall and Jon Cryer, they were strangely immune to the true geek’s obvious charms. Oh, how they wanted to pamper Ducky, coddle Ducky, take Ducky in their spray-tanned limbs and kiss his fashionably quirky lips. It was bad enough I’d never be a Jake Ryan or a Blane McDonnagh; I wasn’t the right kind of outcast, either.

On the other hand, I’m glad Hughes at least acknowledged the loser’s humanity. Most teen-centric flicks tended to pillory the spaz as a sexless dope flailing impotently around the genetically blessed. With his Messy Marvin countenance, Hughes seemed to identify with the social underdog. When he cast the geek in Sixteen Candles, his directorial debut, he eschewed the look usually adopted for such roles. “Every kid who came in to read for the part … did the whole stereotyped high sch0ol nerd thing,” he told the Chicago Tribune in 1984. “You know — thick glasses, ballpoint pen in pocket, white socks. But when [Anthony] Michael [Hall] came in he played it straight, like a human being. I knew right then that I’d found my geek.”

Although he may have understood the geek’s dilemma, as a successful man in his early 30s, perhaps he regarded his own adolescence with fondness and sympathy. Therefore, his films seem to simultaneously criticize and celebrate the artifice of high school, with the Beaver Cleaver happy-ending aesthetic of his youth transferred to Shermer, Illinois, with a more colorful palette and parlance. The girl scores the dreamboat (always a sensitive chap beneath the popular, chiseled sheen), the guy lands the babe. Or a babe: The Geek loses a redhead but gains a blonde in Candles, and poor-goob Ducky, politely declined by his own siren-locked pal, is awarded one helluva senior-prom consolation prize by the Hughes ex machina mere seconds before Pretty in Pink’s fade.

These are but slight alterations, however; the old pecking order remains firmly in place. Even after an educational Saturday detention in The Breakfast Club, when Anthony Michael Hall (garbed in geek again) asks, “What’s going to happen to us on Monday, when we’re all together again? I mean, I consider you guys my friends. I’m not wrong, am I?”, the only right answer, as voiced by school queen Claire Standish, is the one he doesn’t want to hear. It’s the most honest moment in any of Hughes’ films — and he’s responsible for more than you think — which makes it his best.

I knew him initially as a filmmaker/producer. Then about 15 years ago I read some of his pieces for the National Lampoon. Most were toothless in the irreverent Lampoon vein, but the best had a nostalgic patina. The ones that stand out in my memory are “Vacation ‘58″ and “Christmas ‘59,” from which he’d later draw the Griswold family (yep, Vacation was his brainchild). The latter story introduced one of his more alarming stereotypes, Long Duk Dong, whom he uprooted from the page and shoved into Sixteen Candles for comic relief. As much as I loved Gedde Watanabe’s performance — the character is memorable and lovable, even though you hate yourself for laughing — he seemed out of place in a whitebread fairy tale.

However, whatever need Hughes had to offend or subvert through deliberate provocation was usually complemented by a Capra-esque sentimentality. Crack him open, he was a sugarplum softy. Home Alone was Looney Tunes bathed in shmaltz. Despite its thorns, Planes, Trains and Automobiles walked a straight-and-narrow mawkish path. Uncle Buck teetered between sadism and morality but eventually fell on the right side. Curly Sue was paint-by-numbers sap. After that, Hughes just began cashing checks. I doubt many historians will defend the merits of Baby’s Day Out or Dennis the Menace.

Nonetheless, John Hughes was an important part of my life. I never got to live in Shermer, Illinois. My moxie and determination didn’t win the girl in the end. A detente was never reached through weekend summits between the brain, the athlete, the basket case, the princess, and the criminal. But Hughes succeeded where so many chroniclers of adolescent ennui have failed: by bringing comfort to all of us.

The Breakfast club was one of those movies that really moved me very deeply.  In a direction that one could call right? I honestly can’t say, but I was deeply touched by what I thought would be a time waster teen flick that I rented to keep myself company during a boring, dateless weekend spent in my first place of my very own.

I saw myself, in more than one character, in that movie.  A couple of my close friends (long out of high school) did too.  We were all (my close buddies and I) Mid-westerners transplanted to the West Coast or the East Coast and determined to never move back to where we came from again.  All of us were products of the suburban, and small town high schools that either sent kids to the best colleges or quietly facilitated our moves to the working class jobs and neighborhoods where we would live, make families, smoke too many cigarettes, drink a lot of beer, work too long and hard, and die someday.  Mr. Hughes almost certainly had such a community and it’s high school culture in mind when he created this film.

Actually, I was out of high school by then and wandering, working, watching a lot of movies (most very different than this one) and far from knowing what I would do with my life.  I still don’t have a clue on that score.

I do remember, and still recommend The Breakfast Club readily.  John Hughes must have been as sensitive a man as the story he told in this work.  He just had to be.  It really was one of those beautiful, almost flawless movies, and in a genre where one would think such a film never exists.

My parents went out one night and watched Ferris Bueller’s day off and laughed about it for weeks. Again, something about life and film just went together very well.  John Hughes made some great films that regularly managed to reach beyond their target audiences.  I think I know why they did too.

John Hughes, rest in peace and may your memory be eternal.

“My generation had to be taken seriously because we were stopping things and burning things. We were able to initiate change, because we had such vast numbers. We were part of the baby boom, and when we moved, everything moved with us.”

-John Hughes.

RIP John Hughes.

Before actually entering high school, having no older siblings, I really thought that high school was going to be a lot like it was depicted in John Hughes’ movies.

And in some ways, yeah, sure, it was.

But maybe not nearly enough. Though I chalk that up to the general corniness of the 80s where Hughes did his best work and literally created the model for the modern teen film that took “young adults” seriously. And at the same time let them have their world of escape.

Back in 1999, Hughes spoke to Premiere magazine about how when he first screened The Breakfast Club for Universal, the studio executives hated it. “They said, ‘Kids won’t sit through it. There’s no action. There’s no party. There’s no nudity.’ But they were missing the one really key element of teendom, and that is that it feels as good to feel bad as it does to feel good. At that age, I remember, many times, staring out the window and feeling sorry for myself. ‘The whole world is against me. Nobody understands me.’ It’s a lot of fun. One of the great wonders of that age is that your emotions are open and fresh and raw. That’s why I stuck around that genre for so long.”

I didn’t love Ferris Bueller’s Day Off like others did. Actually, I much preferred it’s 90s television update, Parker Lewis Can’t Lose, but even I have to admit there’s something essential in the fantasy epic that is the life of Ferris Bueller, with his creepy best friend (who, once he gets down to the root of his problems, will become a much more interesting person than Ferris), and his incredibly foxy girlfriend who you know just has some kind of dangerous secret lurking beneath her sexy surfaces.

No bullshit: Mia Sara (though I was pretty crazy about Jennifer Grey’s character too) didn’t create them, but she certainly perfected both the ultimate girl masturbation fantasy of my early teens but also got me set down the possibly wrong path of the Hot, Cool Girlfriend Ideal, which, you have to admit, is at least more worthy than the Manic Pixie Dream Girl, right?

Drugs?

The death of John Hughes is absolutely heartbreaking. The fact that is was via heart attack is somehow poetically right. Think about this man and his oeuvre. And then try to think of another director who’s made the same quantity of harmless mainstream hits that can not only satisfy, but satisfy repeatedly, and have had a serious penetration of the zeitgeist.

A selection of his filmography as director (either as writer, director, producer, or some combo of the three):

The Breakfast Club.

Pretty In Pink.

Some Kind Of Wonderful (the reverse Pretty In Pink).

Ferris Bueller’s Day Off.

Uncle Buck.

Weird Science.

Planes, Trains, and Automobiles.

Curly Sue.

Home Alone.

If I had to place myself, and this is sad, I’d say that I was at the right age demographic to appreciate the first Home Alone, back in 1990, the year after Tim Burton’s Batman. How tragic is it that my first exposure to something like Weird Science – which, and let’s get this straight: I’m not claiming is a great movie, or that any of these are great by any means, but a movie of a certain kind of value – is through the USA TV show version with Vanessa Angel.

And now I live in a generation, the first of many, that won’t ever understand the appeal of someone like John Candy. With people like Chris Farley and those who may have succeeded that niche, something was diluted and lost. And will continue to be. I’m writing this post-dental surgery and earlier in the dentist’s office as I was waiting for the sadist’s gas to wear off, two of the hot nurses were actually discussing John Candy. One asked the other to name a single John Candy movie. The young woman thought for a moment and then said, “Canadian Bacon?” I was shocked that A) she actually remembered that movie of all movies, and B) that was the movie, to her, that was quintessential John Candy.

Without John Candy the John Hughes of the world are practically extinct.

The same for the Molly Ringwalds of the world. (Or pretty much the entire cast of The Breakast Club, but especially Judd Nelson.) The normal, awkward girl who could be cool. The everygirl (if you identified with her, as opposed to Ally Sheedy). And you could learn that inside every girl that you see at every high school has a whole world of tragedy and comedy and emotions and insight living inside her if you actually took five seconds out of your day to actually discover her. And if you did, you’d probably discover that she was just dying to give her panties to a geek.

And that’s where John Hughes came in, giving a voice to the often voiceless. Setting up a caste system in high school that’s imitated in almost every teen movie from then til now, from 10 Things I Hate About You to Disturbing Behavior to Mean Girls: That scene where a character has to intro us to the weird stereotypes and cliques that are absolutely “unique” to this school and this school alone. The brain/geek, the closeted Jake Ryan, the bad boy, the sportos and waistoids, the princess, the spaz and/or basket case, and he made none of them tragic nor heroic. He just made them as real as the cinema and the audience could stand.

Brian Orloff – People.com

John Hughes died of a heart attack on Thursday, his spokeswoman confirmed to the Los Angeles Times. The director was 59.

Hughes, who directed the beloved ’80s films The Breakfast Club and Ferris Bueller’s Day Off, was visiting family in Manhattan when he had a heart attack during a morning walk, the Associated Press reports.

The writer-director, who lived in the Chicago area and set many of his films there, is credited with making Molly Ringwald, who appeared in his 1984 movie Sixteen Candles, a star.

The last film he directed was 1991’s Curly Sue. In recent years, the somewhat reclusive Hughes contributed as a writer to movies including 2002’s Maid in Manhattan

Unless you’re a pop culture enthusiast, you probably have no idea who John Hughes is.  However, I’d be willing to bet that if you’re older than 25, one of his movies probably rocked your world at some point in time.  Renowned for being able to turn a story about nothing into a story about everything, John Hughes is one of the better directors of our age.

His career really started when he wrote the screenplay for National Lampoon’s Vacation – a film that set the standard for comedy in the 80’s.  His directorial debut was none other than Sixteen Candles, released in 1984.  Sixteen Candles was the first in a string of films that would later be labeled a “brat pack” film; a movie that starred some or all of the 80’s teen actors that were prevalent in those days (Emilio Estevez, Anthony Michael Hall, Rob Lowe, Andrew McCarthy, Demi Moore, Judd Nelson, Ally Sheedy and Molly Ringwald).  Sixteen Candles opened to rave reviews and the world immediately knew that John Hughes would be one to watch.

Hughes set out to make films that were a more realistic portrayal of growing up and high school life, so his next few films followed Sixteen Candles almost as if they were cut from the same mold.  Pretty in Pink, Weird Science, The Breakfast Club and Ferris Bueller’s Day Off also rolled out between 1984 and 1987, all receiving critical acclaim and taking in high box office sales.  Hughes was very aware of how much his version of high school contrasted other high school films of the day (think Porky’s and Ridgemont High), even going so far as to say:  “At the time I came along, Hollywood’s idea of teen movies meant there had to be a lot of nudity, usually involving boys in pursuit of sex, and pretty gross overall. Either that or a horror movie. And the last thing Hollywood wanted in their teen movies was teenagers!”

One of my favorite films of all time is The Breakfast Club which effortlessly combines teen angst, touching dramatic scenes and offbeat humor.  **I am pretty sure that this movie is singlehandedly responsible for the band Simple Minds making any money at all due to the use of their song “Don’t You Forget About Me” being used at the end of the film.  On its own, the song is mediocre at best.  Paired with this film, it’s DYNO-MITE!!**

But John Hughes didn’t want to direct coming of age teen comedies his entire career; the late 80’s saw the release of Planes Trains and Automobiles and Uncle Buck, both classics.  As far as the box office is concerned, his most successful film to date is Home Alone which was the highest grossing film of 1990.

**Interesting fact: Home Alone stars Macaulay Culkin’s lesser known younger brother, Kieren Culkin.  You can see him in small parts of Home Alone 1 and 2 as the smallest sibling who is known for wetting the bed after drinking too much soda.  Kieren Culkin proved his acting chops with increasingly larger roles in films such as Father of the Bride 1 and 2 and finally, M. Night Shyamalan’s Signs which, say what you want about that film, Kieren was amazing.**

After directing Curly Sue in 1991, John Hughes decided to retire from directing.  He does small appearances here and there but mostly enjoys retirement in Wisconsin.

Your strength is so hard to find
I feel so much stronger now
the feeling's alright
Your words make me whole again
Those eyes cannot ever lie
you're so divine 

I'm not ever alone
You're not ever alone 

I'm head over heels goddess of mine
Your curls touching my face and now I can fly
You brought my life back
the glory you found
I'm in deep debt, without you I wouldn't survive 

I'm not ever alone 

Your smile is heavenly
I don't deserve all the love that your giving to me
Your touch makes it hard to breathe
the shiver's around me now, you're so fine 

I'm head over heels goddess of mine
your curls touching my face and now I can fly
You brought my life back
the glory you found
I'm in deep debt, without you I wouldn't survive 

The heart is pumping for my life
the mind is happy and I,
I will love you 'til the day I die 

I'm head over heels goddess of mine
your curls touching my face and now I can fly
You brought my life back
the glory you found
I'm in deep debt, without you I wouldn't survive 

I'm head over heels goddess of mine
your curls touching my face and now I can fly
You brought my life back
the glory you found 
I'm in deep debt, without you I wouldn't survive
Takida - Curly Sue

Idag mår jag bättre. Skönt att få vara hemma hos mamma och pappa
 och vila upp mig lite. Så skönt och inte sitta ensam hemma.
Även om Anna skulle kommit igår, men jag mådde verkligen inte bra!
Idag mår jag bättre, men vi får se om jag sover här eller hemma i natt,
 ska ju ändå vara på stan klockan8 imorronbitti, kanske skönare o
sova hemma och sen cykla ner på stan på 10 minuter.. Vi får se!

Har haft en hyffsad dag, I kom hit och vi pratade länge, åt lussebullar och drack te. Vi löste nog inte världsproblem men det var skönt för oss båda att prata.
När I åkt hem slog jag in de julklappar jag hade kvar, märker att det blir många mjuka paket till barnen i år, vilket inte brukar vara så populärt… Jag kom även ihåg att fixa de saker som svärfar påminner mig om varje gång vi träffas, skönt att det är avklarat nu.

När vi åkte hem från dagmamman idag var barnen sura för att jag hämtade en julklapp som jag köpt till min syster. Blir så arg på att de är så otacksamma ibland, blir sur på mig själv och undrar om det är jag som gjort fel. Då när jag sitter och känner hur jag stimmar upp mig börjar radion att spela Curly Sue. Ett stort leende spred sig över mina läppar och jag tänkte, “tack Joakim för att du kom och lugnade mig lite”. Jag skruvade upp och sjöng med som alltid. Hörde att Natalie som satt bak i bilen sjung med i låten, så gulligt.

Efter att jag lämnat barnen tog jag en tur ut till Joakim för att kolla om gravstenen hade kommit. Det hade den! Så fin den var, så skönt att se en fin sten istället för det där vita plastkorset. Efter tandläkaren ska jag åka dit igen och plantera och göra lite fint.
När jag åkte hem satt jag i bilen och tänkte hur jag skulle göra vid graven, kände mig glad för att stenen var på plats, tänkte på Joakim. Då började radion att spela, Curly Sue, låten Joakim ville ha på begravningen. Jag tror Joakim var med mig och tackade mig för stenen. Den låten spelas oftast när jag behövder den som mest. Känner ett lugn och trygghet när jag hör den.

Your strength is so hard to find
I feel so much stronger now
the feeling’s alright
Your words make me whole again
Those eyes cannot ever lie
you’re so divine

I’m not ever alone
You’re not ever alone

I’m head over heels goddess of mine
Your curls touching my face and now I can fly
You brought my life back
the glory you found
I’m in deep debt, without you I wouldn’t survive

I’m not ever alone

Your smile is heavenly
I don’t deserve all the love that your giving to me
Your touch makes it hard to breathe
the shiver’s around me now, you’re so fine

I’m head over heels goddess of mine
your curls touching my face and now I can fly
You brought my life back
the glory you found
I’m in deep debt, without you I wouldn’t survive

The heart is pumping for my life
the mind is happy and I,
I will love you ’til the day I die

I’m head over heels goddess of mine
your curls touching my face and now I can fly
You brought my life back
the glory you found
I’m in deep debt, without you I wouldn’t survive

I’m head over heels goddess of mine
your curls touching my face and now I can fly
You brought my life back
the glory you found
I’m in deep debt, without you I wouldn’t survive

Älskade underbara.
Idag är det din dag, pappas dag. Jag tänker på dig varje dag, du finns alltid nära mig. Saknaden går inte att beskriva, trodde aldrig det skulle göra så ont. Jag försöker att leva utan dig, men det är inte lätt. Du finns i mina drömmar, där får jag röra dig, där är vi nära. Det kommer alltid vara du och jag, även fast vi nu är på olika platser.

Du var inte rädd för att dö, din största oro var att barnen inte skulle komma ihåg dig. Jag lovade dig att jag aldrig kommer låta barnen glömma sin underbara pappa, du kan lita på mig. Barnen och jag pratar om dig varje dag, varje natt pussar vi god natt upp till dig i himlen.
Du ville att jag skulle tända många ljus för dig, det gör jag varje kväll. Ljuset ger mig värme och trygghet, ljuset är du.

Idag är det fars dag, din dag. Vi glömmer dig aldrig, du finns för alltid i mitt och barnens liv. Jag hoppas du är stolt över mig och att du håller en vakande hand över barnen.
Vi saknar dig.

Till pappa från Gustav.
Jag gillar dig jätte jätte jätte mycket, superduper mycket.

Till pappa från Natalie.
Jag vill krama och pussa dig. Jag älskar dig. Jag gillar dig jättemycket.

Till min Drattel.
Jag kommer alltid älska dig. Jag kommer alltid vara din Pluttas och du min drakdodare

Sitter och försöker blogga med en busig lillebror runt omkring mig. Inte överdrivet lätt, men jag tänkte ändå försöka. Frun sover. Hennes tur att ha sovmorgon idag. Hon var uppe med lillebror igår när jag hade sovmorgon.

Det känns inte bra just nu. När jag startade bloggen var det ju tänkt som en “resebeskrivning” över “resan tillbaka”. Just nu känns det mest som kaptenens loggbok när han är beredd att följa sitt skepp i djupet.

Jag är inte lika hysteriskt ledsen som jag var i början. Känner mig mest uppgiven, och det är ingen bra känsla att bygga vidare på. Det jag just nu har svårt att släppa är, konstigt nog, inte otroheterna, utan den sista händelsen när hon chattade med Tony. Just nu känner jag att jag ältar det om och om igen.

Hon tycker inte att det är någon stor grej. “Släpp det där” tycker hon. Hon tycker att hon försökte säga ifrån, men var för feg att säga det rakt ut. Jag har svårt att se det så, och även om jag skulle lyckas med det förstår jag inte varför hon var så förtrolig i övrigt svarar hon att han ju varit en kompis också. När jag frågar om hon tycker att det är lämpligt att vara så förtrolig med en kompis som man varit otrogen med svarar hon “Jag vet inte, förmodligen inte”. Nä, ni har hört allt det här innan, nu börjar jag nog upprepa mig.

Igår låg vi på sängen och mös med lillebror. Ibland ställer han sig vid sängkanten och vill att vi lyfter upp honom, sen vill han att vi ska lägga oss i sängen också, sen vill han mysa och busa. Det är svårt att låta bli att le åt honom, men samtidigt är det ett leende som gör ont. Hela den här mysigt-gosigt-familjeliv-grejen gör ont. Det är ju så här jag vill ha det. Det var ju det här som var meningen. Men det är till stora delar förstört, och jag börjar bli osäker om jag orkar vara med och bygga upp det igen.

Med risk att verka som en tonåring som just blivit dumpad avslutar jag med bästa depplåten just nu. Det här var faktiskt en favoritlåt innan det här hände. Den beskriver exakt det jag kände för frun innan otroheten, och vad jag skulle vilja känna för den jag lever tillsammans med i framtiden.

jag inte är, så bakade jag och barnen äpplekaka. Den blev jättegod och vi satt lääänge och mumsade i oss. Gustav gick på em hem till en kompis som fått ett nytt piratskepp, det var en stor händelse!

Jag och Natalie åkte till graven för att tända ljus och lägga dit en fin sten som jag köpt. Vi lyssnade på Curly Sue och sjung, både Natalie och jag. Då mitt allt regn började solen skina och nog var det Joakim som hälsade på oss. Lagom till vi satte oss i bilen blev det mulet igen och började regna.

Nu ska vi äta lite god mat och hälla i oss det lördagsgodis som jag och Natta köpte.

Innan Gustav sprang iväg till kompisen fick jag en stor puss och kram, helt spontant!

John Hughes died today of a heart attack, and so did a little bit of my childhood. Actually, that’s not true. A large part of my childhood died today. So many of John Hughes’ movies have inspired me over the years. I know he hasn’t made a movie in many years, but loosing him this soon, just makes me realize we’ll never be able to get just one more film. I think deep down, I was always holding out for Ferris Bueller’s Day Off 2. Where Ferris and Cameron take the day off from work and just maybe their kids also just so happen to skip school that day as well. I really wanted to say something about John Hughes, but I never met him, and seem to be at somewhat of a loss for words. But then I stumbled upon this post, and thought it would just be better to share this with all of you.

Please read this link. Sincerely, John Hughes