The Goonies (Richard Donner, 1985) holds a special place as a feel-good, coming-of-age classic. A golden gem of the 1980s, it bears the unmistakable touch of Steven Spielberg, who, as a producer, championed stories that preserved the innocence, purity, and authenticity of childhood through metaphor—keeping the inner child alive. His philosophy—"It’s all about making kids feel like they can do anything"—shaped the film’s heart. The Goonies crawled so that Stranger Things (2016–2025), E.T. the Extra-Terrestrial (Steven Spielberg, 1982), and Home Alone (Christopher Columbus, 1990) could run.
Unlike today’s world, where screens and instant access to information shape childhood, The Goonies emerged in an era that valued adventure and discovery. Over the past four decades, screens have become a dominant—and often manipulative—form of literacy, especially for children. What they see influences their behavior, shaping their perception of the world. With children as the target audience, storytellers hold significant power, carrying the weight of the future. Yet, The Goonies remains a cultural touchpoint, a bridge between generations and families.
From the very first minutes, the movie introduces a group of friends whose personalities are one-dimensional yet complementary—like pieces of a perfectly fitting puzzle. However, by the second half, it becomes clear that certain characters are sidelined: Chunk (Jeff Cohen) is literally tossed aside, possibly due to fatphobia; Data (Ke Huy Quan) is reduced to a token role; and Stef (Martha Plimpton) is dismissed as nothing more than a "Plain Jane."
Sloth (John Matuszak) is socially isolated because of his disabilities, yet his friendship with Chunk proves that no one is born hating others because of their background—just as no one is inherently conditioned to view disabilities as weaknesses or limitations. Society teaches us to perceive them that way. A notable moment comes when Sloth wears a Superman shirt, a subtle self-reference by Donner. But if people can learn bias, they can also unlearn it—and instead recognize the strength, resilience, and humanity in diversity.
That said, this is the same movie that subtly reinforces anti-immigration ideologies, portraying Italians as dangerous criminals and showing Mouth (Corey Feldman) mischievously trying to scare away Rosalita (Guadalupe Ontiveros). Beneath the humour lies a reflection of white privilege, with Rosalita—a Latina woman—cast as the Walsh family's subservient governess and housemaid. Her character embodies Latin American stereotypes, associated with narcotics and speaking barely any English.
The Goonies is clearly a children's take on Indiana Jones, both in aesthetics and, to some extent, in storytelling. It leans into the trope of American white saviors, portraying them as protectors of their land and upholders of traditional masculinity. Female characters are often relegated to secondary roles—passive sidekicks or damsels in distress.
Similarly, Indiana Jones presents a romanticized version of historical exploration, where the protagonist "rescues" artifacts from being stolen. However, in his adventures across foreign lands, the local inhabitants are often depicted as villains, savages, or primitive figures wielding basic weapons like bows, arrows, and swords. These characters typically lack depth, personality, identity, or culture, reinforcing harmful stereotypes. In contrast with Indiana Jones who is portrayed as highly educated, possessing near-superhuman abilities, and embodying the ideology of Manifest Destiny—the belief that the U.S. is divinely ordained to expand its influence, spread democracy, and advance capitalism. His actions, framed as heroic, often involve taking historical artifacts for American museums under the guise of preservation.
Despite this, he is also a fallible hero, with the films emphasizing his fragile masculinity—most notably through his fear of snakes. The Goonies borrows from this framework, using adventure to explore themes of foreclosure versus memory. However, it also replicates the same gender dynamics, with female characters largely sidelined. Women are often objectified, serving as passive sidekicks, and in many cases, Indiana Jones's romantic partners function as little more than damsels in distress, existing as rewards for his adventures.
In the 1980s, much like today, there was a strong anti-immigrant sentiment, despite significant immigration reforms that introduced new categories to encourage diversity and investment. Token representation is the practice of including a small number of people from underrepresented groups to create the appearance of diversity. Feminism also faced resistance and challenges, yet it saw significant advancements. Conservative opposition grew, making major challenges to feminist gains, but the groundwork for new waves of feminist thought and activism was being laid. Feminists during this era worked to protect hard-won rights, challenge gender norms, and set the stage for future battles in the fight for gender equality, not even to mention the introduction of intersectional feminism. The body positivity movement is a more recent social shift that promotes a positive view of all bodies, regardless of size, shape, skin tone, gender, or physical abilities. It emphasizes appreciating the functionality and health of the human body rather than its physical appearance—a fight against fatphobia, which has 'othered' individuals throughout history, with each era shaping its own beauty standards and resulting in eating disorders and frustrations.
I remember growing up during the transition between the physical and digital worlds. My childhood was filled with play, blending games from older generations with my imagination—often using my younger sister as my “guinea pig” in party halls, parks, streets, my grandma’s house, and throughout our home. Swings, board games, balls, dolls, jump ropes, scavenger hunts—the list was endless. But I also recall the rise of computers, minigames, and video games, along with the shift from VHS tapes to DVDs, MP3 players to touchscreens. As I grew older, I watched big screens shrink into pocket-sized ones. Once-crowded play spaces became empty. Endless hours of play turned into quick, immediate distractions. Many toy stores and video rental shops closed their doors forever.
Today, with screens as the dominant form of literacy for children, a door has closed—but no window has opened. Imagination plays a vital role in a child’s development, helping them be creative, solve problems, and grow as individuals. But screens stand in the way of this magic, this treasure. With Donner’s passing and the older generation’s high expectations, The Goonies carries the weight of a potential sequel. But after all, Goonies never say die.
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