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How Many of these 25 Brain Teasers Can You Solve?

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1. THE POLE-CLIMBING SLOTH

A slippery sloth climbs six feet up a utility pole during the day, then slides back down five feet during the night. If the pole is 30 feet high and the sloth starts from the ground (zero feet), how many days does it take the sloth to reach the top of the pole?

Answer: 25 days. The math here boils down to a net gain of one foot per day, along with a threshold (24 feet at the beginning of a day) that must be attained so that the sloth can get to the 30-foot mark within a given day. After 24 days and 24 nights, the sloth is 24 feet up. On that 25th day, the sloth scrambles up six feet, attaining the 30-foot top of the pole. Left to the reader is a motivation for the sloth to attempt this feat in the first place. Perhaps there is something tasty atop the pole?

(Adapted from a brain teaser by Carl Proujan.)

2. THE PIRATE RIDDLE

A group of five pirates have to divide up their bounty of 100 coins, as described in the video below. The captain gets to propose a distribution plan, and all five of the pirates vote "yarr" or "nay" on the proposal. If a majority votes "nay," the captain walks the plank. The pirates are arranged in order, and vote in that order: the captain, Bart, Charlotte, Daniel, and Eliza. If a majority vote "nay" and the captain walks the plank, the captain's hat goes to Bart, and the process repeats down the line, with a series of proposals, votes, and other acceptance or plank-walking.

How can the captain stay alive, while getting as much gold as possible? (In other words, what is the optimal amount of gold the captain should offer to each pirate, himself included, in his proposal?) Watch the video below for all the rules.

Answer: The captain should propose that he keep 98 coins, distribute one coin each to Charlotte and Eliza, and offer nothing to Bart and Daniel. Bart and Daniel will vote nay, but Charlotte and Eliza have done the math and vote yarr, knowing that the alternative would get them even less booty.

3. THE HIKER'S DILEMMA

A hiker comes across an intersection where three roads cross. He looks for the sign indicating the direction to his destination city. He finds that the pole carrying three city names and arrows pointing to them has fallen. He picks it up, considers it, and pops it back into place, pointing out the correct direction for his destination. How did he do it?

Answer: He knew which city he had just come from. He pointed that arrow back toward his origin point, which oriented the signs properly for his destination and a third city.

(Adapted from a brain teaser by Jan Weaver.)

4. THE PASSCODE RIDDLE

In the video below, the rules of this riddle are laid out. Here's a snippet: Three team members are imprisoned, and one is allowed the opportunity to escape by facing a challenge. Given perfect logical skills, how can the remaining two team members listen in on what the chosen team member does, and infer the three-digit passcode to get them out?

Answer: The passcode is 2-2-9, for hallway 13.

5. COUNTING BILLS

I had a wad of money in my pocket. I gave half away and of what remained, I spent half. Then, I lost five dollars. That left me with just five bucks. How much money did I start with?

Answer: 40 dollars.

(Adapted from a brain teaser by Charles Booth-Jones.)

6. THE AIRPLANE FUEL RIDDLE

Professor Fukanō plans to circumnavigate the world in his new airplane, as shown in the video below. But the plane's fuel tank doesn't hold enough for the trip—in fact, it holds only enough for half the trip. Fukanō has two identical support planes, piloted by his assistants Fugori and Orokana. The planes can transfer fuel in midair, and they must all take off from and land at the same airport on the equator.

How can the three cooperate and share fuel so that Fukanō gets all the way around the world and nobody crashes? (Check the video for more details.)

Answer: All three planes took off at noon, flying west, fully loaded with fuel (180 kiloliters each). At 12:45, each plane has 135 kl remaining. Orokana gives 45 kl to each of the other two planes, then heads back to the airport. At 14:15, Fugori gives another 45 kl to the professor, then heads back to the airport. At 15:00, Orokana flies east, effectively flying toward the professor around the globe. At precisely 16:30, Orokana gives him 45 kl and flips around, now flying alongside the professor. Meanwhile, Fugori takes off and heads for the pair. He meets them at 17:15 and transfers 45 kl to each plane. All three planes now have 45 kl and make it back to the airport.

7. THE HAYSTACK PROBLEM

A farmer has a field with six haystacks in one corner, a third as many in another corner, twice as many in a third corner, and five in the fourth corner. While piling the hay together in the center of the field, the farmer let one of the stacks get scattered all over the field by the wind. How many haystacks did the farmer end up with?

Answer: Just one. The farmer had piled them all up the middle, remember? 

(Adapted from a brain teaser by Jan Weaver.)

8. THE THREE ALIENS RIDDLE

In this video riddle, you have crashed landed on a planet with three alien overlords named Tee, Eff, and Arr. There are also three artifacts on the planet, each matching a single alien. To appease the aliens, you need to match up the artifacts with the aliens—but you don't know which alien is which.

You are allowed to ask three yes-or-no questions, each addressed to any one alien. You can choose to ask the same alien multiple questions, but you don't have to.

It gets more complex, though, and this wickedly tricky riddle is best explained (both its problem and its solution) by watching the video above.

9. THE FARMER'S WILL

One day, a farmer decided to do some estate planning. He sought to apportion his farmland among his three daughters. He had twin daughters, as well as a younger daughter. His land formed a 9-acre square. He wanted the eldest daughters to get equally sized pieces of land, and the younger daughter to get a smaller piece. How can he divide up the land to accomplish this goal?

Three square illustrations.
Three possible solutions.
Chris Higgins

Answer: Shown above are three possible solutions. In each, the box marked 1 is a perfect square for one twin, and the two sections marked 2 combine to make a square of the same size for the second twin. The area marked 3 is a small perfect square for the youngest child.

(Adapted from a brain teaser by Jan Weaver.)

10. COINS

In my hand I have two American coins that are currently minted. Together, they total 55 cents. One isn't a nickel. What are the coins?

Answer: A nickel and a 50-cent piece. (Lately the U.S. 50-cent piece features John F. Kennedy.)

(Adapted from a brain teaser by Jan Weaver.)

11. THE BRIDGE RIDDLE

A student, a lab assistant, a janitor, and an old man need to cross a bridge to avoid being eaten by zombies, as shown in the video below. The student can cross the bridge in one minute, the lab assistant takes two minutes, the janitor takes five minutes, and the professor takes 10 minutes. The group only has one lantern, which needs to be carried on any trip across. The zombies arrive in 17 minutes, and the bridge can only hold two people at a time. How can you get across in the time allotted, so you can cut the rope bridge and prevent the zombies from stepping on the bridge and/or eating your brains? (See the video for more details!)

Answer: The student and lab assistant go together first, and the student returns, putting three minutes total on the clock. Then, the professor and the janitor take the lantern and cross together, taking 10 minutes, putting the total clock at 13 minutes. The lab assistant grabs the lantern, crosses in two minutes, then the student and lab assistant cross together just in the nick of time—a total of 17 minutes.

12. LITTLE NANCY ETTICOAT

Here's a nursery rhyme riddle:

Little Nancy Etticoat
In her white petticoat
With a red nose—
The longer she stands
The shorter she grows

Given this rhyme, what is "she?"

Answer: A candle.

(Adapted from a brain teaser by J. Michael Shannon.)

13. THE GREEN-EYED LOGIC PUZZLE

In the green-eyed logic puzzle, there is an island of 100 perfectly logical prisoners who have green eyes—but they don't know that. They have been trapped on the island since birth, have never seen a mirror, and have never discussed their eye color.

On the island, green-eyed people are allowed to leave, but only if they go alone, at night, to a guard booth, where the guard will examine eye color and either let the person go (green eyes) or throw them in the volcano (non-green eyes). The people don't know their own eye color; they can never discuss or learn their own eye color; they can only leave at night; and they are given only a single hint when someone from the outside visits the island. That's a tough life!

One day, a visitor comes to the island. The visitor tells the prisoners: "At least one of you has green eyes." On the 100th morning after, all the prisoners are gone, all having asked to leave on the night before. How did they figure it out?

Watch the video for a visual explanation of the puzzle and its solution.

Answer: Each person can't be sure whether they have green eyes. They can only deduce this fact by observing the behavior of the other members of the group. If each person looks at the group and sees 99 others with green eyes, then logically speaking, they must wait 100 nights to give the others opportunities to stay or leave (and for each to make that calculation independently). By the 100th night, using inductive reasoning, the entire group has offered every person in the group an opportunity to leave, and can figure that it's safe to go.

14. THE NUMBER ROW

The numbers one through 10, below, are listed in an order. What is the rule that causes them to be in this order?

8 5 4 9 1 7 6 10 3 2

Answer: The numbers are ordered alphabetically, based on their English spelling: eight, five, four, nine, one, seven, six, ten, three, two.

(Adapted from a brain teaser by Carl Proujan.)

15. THE COUNTERFEIT COIN PUZZLE

In the video below, you must find a single counterfeit coin among a dozen candidates. You're allowed the use of a marker (to make notes on the coins, which doesn't change their weight), and just three uses of a balance scale. How can you find the one counterfeit—which is slightly lighter or heavier than the legitimate coins—among the set?

Answer: First, divide the coins into three equal piles of four. Put one pile on each side of the balance scale. If the sides balance (let's call this Case 1), all eight of those coins are real and the fake must be in the other pile of four. Mark the legitimate coins with a zero (circle) using your marker, take three of them, and weigh against three of the remaining unmarked coins. If they balance, the remaining unmarked coin is counterfeit. If they don't, make a different mark (the video above suggests a plus sign for heavier, minus for lighter) on the three new coins on the scale. Test two of these coins on the scale (one on each side)—if they have plus marks, the heavier of those tested will be the fake. If they have minus marks, the lighter is the fake. (If they balance, the coin not tested is the fake.) For Case 2, check out the video.

16. THE ESCALATOR RUNNER

Each step of an escalator is 8 inches taller than the previous step. The total vertical height of the escalator is 20 feet. The escalator moves upward one half step per second. If I step on the lowest step at the moment it is level with the lower floor, and run up at a rate of one step per second, how many steps do I take to reach the upper floor? (Note: Do not include the steps taken to step on and off the escalator.)

Answer: 20 steps. To understand the math, take a period of two seconds. Within that two seconds, I run up two steps on my own power, and the escalator lifts me the height of an extra step, for a total of three steps—this could also be expressed as 3 times 8 inches, or two feet. Therefore, over 20 seconds I reach the upper floor having taken 20 steps.

(Adapted from a brain teaser by Carl Proujan.)

17. A RIVER CROSSING PUZZLE

In the video riddle below, three lions and three wildebeest are stranded on the east bank of a river and need to reach the west. A raft is available, which can carry a maximum of two animals at a time and needs at least one animal onboard to row it across. If the lions ever outnumber the wildebeest on either side of the river (including the animals in the boat if it's on that side), the lions will eat the wildebeest.

Given these rules, how can all the animals make the crossing and survive?

Answer: There are two optimal solutions. Let's take one solution first. In the first crossing, one of each animal goes from east to west. In the second crossing, one wildebeest returns from west to east. Then on the third crossing, two lions cross from east to west. One lion returns (west to east). On crossing five, two wildebeest cross from east to west. On crossing six, one lion and one wildebeest return from west to east. On crossing seven, two wildebeest go from east to west. Now all three wildebeest are on the west bank, and the sole lion on the west bank rafts back to the east. From there (crossings eight through eleven), lions simply ferry back and forth, until all the animals make it.

For the other solution, consult the video.

18. THE THREE WATCHES

I am marooned on an island with three watches, all of which were set to the correct time before I got stuck here. One watch is broken and doesn't run at all. One runs slow, losing one minute every day. The final watch runs fast, gaining one minute every day.

After being marooned for a moment, I begin to worry about timekeeping. Which watch is most likely to show the correct time if I glance at the watches at any particular moment? Which would be least likely to show the correct time?

Answer: We know that the stopped watch must tell the correct time twice a day—every 12 hours. The watch that loses one minute per day will not show the correct time until 720 days into its cycle of time loss (60 minutes in an hour times 12 hours), when it will momentarily be exactly 12 hours behind schedule. Similarly, the watch that gains one minute a day is also wrong until 720 days after its journey into incorrectness, when it will be 12 hours ahead of schedule. Because of this, the watch that doesn't run at all is most likely to show the correct time. The other two are equally likely to be incorrect.

(Adapted from a brain teaser by Carl Proujan.)

19. EINSTEIN'S RIDDLE

In this riddle, erroneously attributed to Albert Einstein, you're presented with a series of facts and must deduce one fact that's not presented. In the case of the video below, a fish has been kidnapped. There are five identical-looking houses in a row (numbered one through five), and one of them contains the fish.

Watch the video for the various bits of information about the occupants of each house, the rules for deducing new information, and figure out where that fish is hiding! (Note: You really need to watch the video to understand this one, and the list of clues is helpful too.)

Answer: The fish is in House 4, where the German lives.

20. MONKEY MATH

Three castaways and a monkey are marooned together on a tropical island. They spend a day collecting a large pile of bananas, numbering between 50 and 100. The castaways agree that the next morning the three of them will divide up the bananas equally among them.

During the night, one of the castaways wakes up. He fears that the others might cheat him, so he takes his one-third share and hides it. Since there is one banana more than a quantity which could be divided equally into thirds, he gives the extra banana to the monkey and goes back to sleep.

Later in the night, a second castaway awakes and repeats the same behavior, plagued by the same fear. Again, he takes one-third of the bananas in the pile and again the quantity is one greater than would allow an even split into thirds, so he hands the extra banana to the monkey and hides his share.

Still later, the final castaway gets up and repeats the exact same procedure, unaware that the other two have already done it. Yet again, he takes a third of the bananas and ends up with one extra, which he gives to the monkey. The monkey is most pleased.

When the castaways meet in the morning to divide the banana loot, they all see that the pile has shrunk considerably, but say nothing—they're each afraid of admitting their nighttime banana thievery. They divide the remaining bananas three ways, and end up with one extra for the monkey.

Given all this, how many bananas were there in the original pile? (Note: There are no fractional bananas in this problem. We are always dealing with whole bananas.)

Answer: 79. Note that if the pile were bigger, the next possible number that would meet the criteria above would be 160—but that's outside the scope listed in the second sentence ("between 50 and 100") of the puzzle.

(Adapted from a brain teaser by Carl Proujan.)

21. THE VIRUS RIDDLE

In the video below, a virus has gotten loose in a lab. The lab is a single story building, built as a 4x4 grid of rooms, for a total of 16 rooms—15 of which are contaminated. (The entrance room is still safe.) There's an entrance at the northwest corner and an exit at the southeast corner. Only the entrance and exit rooms are connected to the outside. Each room is connected to its adjacent rooms by airlocks. Once you enter a contaminated room, you must pull a self-destruct switch, which destroys the room and the virus within it—as soon as you leave for the next room. You cannot re-enter a room after its switch has been activated.

If you enter via the entrance room and exit via the exit room, how can you be sure to decontaminate the entire lab? What route can you take? See the video for a great visual explanation of the problem and the solution.

Answer: The key lies in the entrance room, which is not contaminated and which you may therefore re-enter after exiting it. If you enter that room, move one room to the east (or the south) and decontaminate it, then re-enter the entrance room and destroy it on your way to the next room. From there, your path becomes clear—you actually have four options to complete the path, which are shown in the video above. (Sketching this one on paper is an easy way to see the routes.)

22. THE IN-LAW CONUNDRUM

According to puzzle book author Carl Proujan, this one was a favorite of author Lewis Carroll.

The prime minister is planning a dinner party, but he wants it to be small. He doesn't like crowds. He plans to invite his father's brother-in-law, his brother's father-in-law, his father-in-law's brother, and his brother-in-law's father.

If the relationships in the prime minister's family happened to be arranged in the most optimal manner, what would be the minimum possible number of guests be at the party? Note that we should assume that cousin marriages are permitted.

Answer: One. It is possible, through some complex paths in the prime minister's family, to get the guest list down to one person. Here's what must be true: The PM's mother has two brothers. Let's call them brother 1 and brother 2. The PM also has a brother who married the daughter of brother 1, a cousin. The PM also has a sister who married the son of brother 1. The host himself is married to the daughter of brother 2. Because of all this, brother 1 is the PM's father's brother-in-law, the PM's brother's father-in-law, the PM's father-in-law's brother, and the PM's brother-in-law's father. Brother 1 is the sole guest at the party.

(Adapted from a brain teaser by Carl Proujan.)

23. THE PRISONER BOXES RIDDLE

In the video, ten band members have had their musical instruments randomly placed in boxes marked with pictures of musical instruments. Those pictures may or may not match up with the contents.

Each member gets five shots at opening boxes, trying to find their own instrument. Then, they must close the boxes. They're not allowed to communicate about what they find. If the entire band fails to find their instruments, they'll all be fired. The odds of them randomly guessing their way through this is one in 1024. But the drummer has an idea that will radically increase their odds of success, to more than 35 percent. What's his idea?

Answer: The drummer told everyone to first open the box with the picture of their instrument. If their instrument is inside, they're done. If not, the band member observes what instrument is found, then opens the box with that instrument's picture on it—and so forth. Watch the video for more on why this works mathematically.

24. S-N-O-W-I-N-G

One snowy morning, Jane awoke to find that her bedroom window was misty with condensation. She drew the word "SNOWING" on it with her finger. Then she crossed out the letter N, turning it into another English word: "SOWING." She continued this way, removing one letter at a time, until there was just one letter remaining, which is itself a word. What words did Jane make, and in what order?

Answer: Snowing, sowing, owing, wing, win, in, I.

(Adapted from a brain teaser by Martin Gardner.)

25. THE MYSTERY STAMPS

While on vacation on the island of Bima, I visited the post office to send some packages home. The currency on Bima is called the pim, and the postmaster told me that he only had stamps of five different values, though these values are not printed on the stamps. Instead, the stamps have colors.

The stamps were black, red, green, violet, and yellow, in descending order of value. (Thus the black stamps had the highest denomination and yellow the lowest.)

One package required 100 pims worth of stamps, and the postmaster handed me nine stamps: five black stamps, one green stamp, and three violet stamps.

The other two packages required 50 pims worth each; for those, the postmaster handed me two different sets of nine stamps. One set comprised one black stamp and two each of the other colors. The other set was five green stamps, and one each of the other colors.

What would be the smallest number of stamps needed to mail a 50-pim package, and what colors would they be?

Answer: Two black stamps, one red stamp, one green stamp, and one yellow stamp. (It may help to write out the stamp formulas given above using the various b, r, g, v, and y. Because we know that b > r > g > v > y, and we have three described cases, we can do some algebra to arrive at values for each stamp. Black stamps are worth 18 pim, red are worth 9, green are worth 4, violet are worth 2, and yellow are worth 1.)

(Adapted from a brain teaser by Victor Bryant and Ronald Postill.)

Sources: Brain Teasers by Jan Weaver; Brain Teasers & Mind Benders by Charles Booth-Jones; Riddles and More Riddles by J. Michael Shannon; Brain Teasers Galore: Puzzles, Quizzes, and Crosswords from Science World Magazine, edited by Carl Proujan; The Arrow Book of Brain Teasers by Martin Gardner; The Sunday Times Book of Brain Teasers, edited by Victor Bryant and Ronald Postill.

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11 Surprising Facts About Fatal Attraction
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Paramount Pictures

Written by James Dearden and directed by Adrian Lyne, 1987’s Fatal Attraction showed audiences just how dangerous sex could be. Michael Douglas plays Dan Gallagher, a married man who has a weekend-long affair with single career woman Alex Forrest, played by Glenn Close. When he breaks off their affair, Alex goes a little nuts. Despite drawing the ire of feminists and frightening men everywhere, the film grossed an impressive $320 million worldwide, earned six Oscar nominations (including one for Close), and ranks number one in the “Psycho/Stalker/Blank from Hell” genre. Here are 11 scintillating facts about the movie, which was released 30 years ago today.

1. THE MOVIE IS BASED ON THE SCREENWRITER’S SHORT FILM.

In 1980, Fatal Attraction screenwriter James Dearden wrote and directed a short film called Diversion. “I was sitting at home thinking, ‘What is a minimalist story that I can do?’ My wife was out of town for the weekend, and I thought what would happen if a man who has just dropped his wife at the railroad station rings this girl who he's met at a party and says, ‘Would you like to have dinner?’” he told The New York Times. “It’s a little fable about the perils of adultery. It is something that men and women get away with 99 percent of the time, and I just thought, ‘Why not explore the one time out of 100 when it goes wrong?’”

Fatal Attraction producers Sherry Lansing and Stanley Jaffe saw the short and asked Dearden to elaborate on the story. “To turn it into a mass-audience film, I knew there would have to be an escalation of the psychological violence, which in the end becomes physical,” Dearden explained. He says he wasn’t trying to make a social statement about AIDS, but he was trying to say “we can have the most intimate sexual relationships with somebody we know nothing about.”

2. GLENN CLOSE WANTED TO PLAY AGAINST TYPE.

By the time Fatal Attraction came around, Glenn Close was a three-time Oscar nominee who had never been asked to play a sexy role. “When Glenn made it known she was prepared to test, I became fascinated with the idea of using her,” Adrian Lyne told People. “She’s a person you’d least expect to have this passion and irrational obsession. When she and Michael tested, an extraordinary erotic transformation took place. She was this tragic, bewildering mix of sexuality and rage—I watched Alex come to life.” 

Close recalled her nerve-racking audition to Entertainment Weekly: “My hair was long and crazy. I’m very bad at doing my hair. I got so nervous, I took a little bit of a Valium. I walked in and the first thing I saw was a video camera, which is terrifying, and behind the video camera in the corner was Michael Douglas. I just said, ‘Well, just let it all go wild.”’

A year after Fatal Attraction’s release, Close kept the sexiness going in Dangerous Liaisons, which garnered her yet another Oscar nod.

3. ADRIAN LYNE WANTED TO DO A DIFFERENT TYPE OF SEX SCENE.

According to Lyne, the only thing audiences remember about the movie is the spontaneous and somewhat goofy kitchen sink sex scene. “But what people take away from the movie is not Glenn Close putting acid on the car or even the last 10 minutes when they are flailing around in the bathroom,” he told MovieMaker Magazine. “What they remember is Michael f*cking her over the sink early on—which was like 30 seconds—and another 30 seconds of them making out in the elevator … but there’s another two hours and five minutes! And I guess it worked or they wouldn’t have gone to the movie.”

In John Andrew Gallagher’s book Film Directors on Directing, Lyne said he didn’t want the love scene to take place in a bed “because it’s so dreary, and I thought about the sink because I remembered I had once had sex with a girl over a sink, way back. The plates clank around and you’ll have a laugh. You always need to have a laugh in a sex scene.” During filming he yelled at the couple, praising them. “If they know that they’re turning you on, it builds their confidence.” He used a handheld camera to film it “so there was no problem with the heat going out of the scene.”

4. CLOSE HAD A HUGE PROBLEM WITH THE NEW ENDING.

Paramount Pictures

Two endings of the film were shot: The first had Alex planting Dan’s fingerprints on a knife and then killing herself while Madama Butterfly played in the background. Test audiences felt unsatisfied, so Paramount decided to re-shoot the ending and make it more violent. They had Dan’s wife, Beth (Anne Archer)—the only untainted character—shockingly shoot and kill Alex as a statement on preserving the American family.

“When I heard that they wanted to make me into basically a psychopath, where I go after someone with a knife rather than somebody who was self-destructive and basically tragic, it was a profound problem for me because I did a lot of research about the character,” Close told Oprah. “So to be brought back six months later and told, ‘You’re going to totally change that character,’ it was very hard. I think I fought against it for three weeks. I remember we had meetings. I was so mad.”

In Entertainment Weekly, Close said she thought Alex was a deeply disturbed woman, but not a psychopath. “Once you put a knife in somebody’s hand, I thought that was a betrayal of the character,” she explained. The main reason the ending was changed was because moviegoers wanted revenge. “The audience wanted somebody to kill her,” Michael Douglas told Entertainment Weekly. “Otherwise the picture was left—for lack of a better expression—with blue balls.” Though audiences wanted Alex dead, Douglas saw that as a compliment. “You were so good in the part that everybody wanted you to be killed,” he told Close on Oprah.

In hindsight, Close thinks they did the right thing in changing the ending. “Bloodshed in a dramatic sense brings catharsis,” she told Entertainment Weekly. “Shakespeare did it. The Greeks did it. That’s what we did. We gave the audience my blood. It worked.”

5. THE MOVIE CAUSED THE PHRASE “BUNNY BOILER” TO BECOME A PART OF THE LEXICON.

In probably the most disturbing scene in the movie, Alex boils Dan’s kid’s pet bunny. The phrase is listed in Urban Dictionary and on the U.K. site Phrases.org. Urban defines it as “after a relationship break-up, the person who wants some kind of revenge, like stalking, or harassment,” and Phrases says, “an obsessive and dangerous female, in pursuit of a lover who has spurned her.” Close herself was uneasy about the scene. “The only thing that bothered me was the rabbit,” she said on Oprah. “I thought it was over the top.”

6. CLOSE HAD THE KNIFE SHE TRIED TO KILL MICHAEL DOUGLAS WITH FRAMED.

In the theatrical ending of the movie, Alex comes after Dan with a knife but doesn’t succeed in getting away with murder. Close told Vanity Fair that she framed the fake knife, and that it’s hanging in her kitchen. “It’s all an illusion. It’s a cardboard prop!” she said. It’s also a rather creepy reminder of the film.

7. THE MOVIE SAVED MORE THAN A FEW MARRIAGES.

The film shows what happens when a married man lets his guard down and embarks on an affair, only to have it destroy his life. “That movie struck a very, very raw nerve,” Close told Daily Mail. “Feminists hated the movie and that was shocking to me. They felt they'd been betrayed because it was a single, working woman who was supposed to be the source of all evil. But now Alex is considered a heroine. Men still come up to me and say, ‘You scared the s**t outta me.’ Sometimes they say, ‘You saved my marriage.’”

8. CLOSE WOULD PLAY ALEX DIFFERENTLY TODAY.

One of the reasons the film was so controversial is the negative way it depicted mental illness. Psychiatrists have said Alex suffered from erotomania, a condition in which a person wrongly believes a person is in love with them. Close spoke to two psychiatrists in preparation for her role, and neither said Alex’s behavior—especially the bunny-boiling—was because of mental illness. “Never did a mental disorder come up. Never did the possibility of that come up,” Close told CBS News. “That, of course, would be the first thing I would think of now.” She also said, “I would have a different outlook on that character. I would read that script totally differently.”

9. DEARDEN ADAPTED FATAL ATTRACTION INTO A PLAY, WITH THE ORIGINAL ENDING INTACT.

In 2014 a stage version of the movie went up in London, starring Natascha McElhone as Alex and Kristin Davis as the long-suffering wife, Beth. Dearden reimagined the script in making Alex more sympathetic, Dan more blameworthy, and returning to the original ending.

“[I] wanted to return to my original conception of the characters in a sense to set the record straight,” Dearden told The Atlantic. “Because while Alex is undeniably borderline psychotic, she is also a tragic figure, worn down by a series of disappointments in love and the sheer brutality of living in New York as a single woman in a demanding career. So whilst remaining faithful to the storyline, I have introduced the ambivalence of my earlier drafts … nobody is entirely right and nobody entirely wrong.”

10. DEARDEN AND CLOSE DON’T BELIEVE ALEX IS A MONSTER.

“Alex is emphatically not a monster,” Dearden wrote in The Guardian. “She is a sad, tragic, lonely woman, holding down a tough job in an unforgiving city. Alex is not a study in madness. She is a study in loneliness and desperation.” He goes on to write that he regrets “that audiences shouted ‘Kill the bitch!’ at the screen … Did Fatal Attraction really set back feminism and career women? I honestly don’t believe so. I think that, arguably, it encouraged a vigorous debate from which feminism emerged, if anything, far stronger.”

Close doesn’t see Alex as monstrous either. “I never thought of her as the villain, ever,” she said on Oprah.

11. A TV VERSION OF FATAL ATTRACTION WAS KILLED.

In 2015 it was reported that Paramount would be bringing the film to the small screen in what was described as “a one-hour event TV series.” Mad Men producers Maria and André Jacquemetton were set to write and executive produce the show, with Deadline writing that the TV version would show how “a married man’s indiscretion comes back to haunt him,” just like in the movie. The show was set to air on Fox. But in early 2017, it was announced that the project was being killed—at least by Fox—after the producers encountered troubles with both the title and casting (The Hollywood Reporter wrote that both Megan Fox and Jenna Dewan Tatum were both said to have passed on the project.)

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13 Stylish Facts About dELiA*s
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Lucy Quintanilla

Millennial women across the United States will remember rushing to their mailboxes after school to grab the hottest catalog of the ‘90s: dELiA*s. The groundbreaking magalog, which debuted in 1994, was, by 1998, sending out 55 million catalogs a year. REaD oN fOr A fEw fUN fACts aBoUt dELiA*s.

1. THE COMPANY WAS FOUNDED BY TWO MALE YALE GRADS.

Stephen Kahn and Christopher Edgar, former Yale roommates, were in their 20s when they started dELiA*s in New York in 1993. Kahn—who, after Yale, had studied political philosophy and Victorian history at Oxford—had taken a job at the brokerage firm PaineWebber and was studying for his MBA at night. But he was bored. He wanted to run his own company. “I was interested in being more creative,” Kahn told Crain’s New York Business in 1998. “And I wanted to make a lot of money.” He convinced Edgar to leave his comparative literature Ph.D. program at Columbia University to start the company. Kahn provided $100,000 of his own money, and his father provided another $100,000.

2. DELIA*S WAS ORIGINALLY AIMED AT COLLEGE-AGED WOMEN.

In the early ‘90s, 90 percent of catalogs were aimed at women aged 30 to 50; it was seeing fashionable undergrads at Columbia that inspired Kahn and Edgar to launch a catalog aimed at selling clothes to college-aged women. They called the catalog dELiA*s. (Where that name came from is a mystery.) Initially, they created 20,000 catalogs and, in 1994, hired students to distribute them around college campuses.

But the response from college women, Kahn told Chief Marketer in 1998, was “lukewarm.” After running ads for the catalog in a few magazines, they found a new market: the college students’ little sisters. “We got a huge response from high school kids,” Kahn said. “So basically the market found us.”

They expanded their customer base to include 10- to 24-year olds with the goal of giving girls who might not live in areas with tons of shops for them an opportunity to buy cool clothes. (Fortune’s summation of the company’s strategy, from a 1997 article, is too amazing not to share: “Today’s average 14-year-old girl in Des Moines is just as hip to what’s hot as the 14-year-old in suburban Los Angeles … She, too, wants shiny avalanche pants and baby-T’s, but she’s stuck in the backwoods with nowhere to shop but her local Wal-Mart. Delia’s body glitter, like Dorothy’s red shoes, transports her from the farm to Melrose Avenue.”) “We felt that this group was not well served,” Edgar told The New York Times in 1997. “There wasn’t a recognition of these kids as real consumers.”

The first catalog hit campuses in the fall 1994, and quickly became a hit: Within four years, the company had annual sales of $158 million. When it went public in 1996, Kahn’s 57 percent share of the stock was worth $163 million.

3. KAHN AND EDGAR WOOED INVESTORS BY COMPARING dELiA*s TO MTV.

In the ‘90s, it was tough to get investors to put their money into catalogs. According to the Los Angeles Times, they “often doubted that teens will bother to leaf through pages and manipulate measuring tapes.” But dELiA*s was able to land financing by comparing its catalog to MTV’s programming. “We told them to think of us as a ‘channel’ through which you can program different types of apparel brands,” Evan Guillemin, the company's chief financial officer, told the Los Angeles Times in 1997. “We, like MTV, stay constant … but we’ll provide them with a constantly changing assortment of designs and brands.”

4. CREATIVE DIRECTOR CHARLENE BENSON HAD A DAY JOB AND WORKED ON DELIA*S AT NIGHT FOR THE FIRST YEAR.

The cover of the first-ever dELiA*s catalog
The cover of the first-ever dELiA*s catalog.
Courtesy of Charlene Benson

With its irregular capitalization and engaging photos, dELiA*s was a standout from the start. That strategy came from creative director Charlene Benson and her collaborators. Benson was the art director of Mademoiselle magazine when she got the dELiA*s gig—and she kept that day job for a full year while producing the catalog at night.

How Benson got the dELiA*s job is what she calls a “folksy” story: One of her friends, the writer Hilton Als, met Kahn at an art show, and they got to talking about the catalog. Benson went in for an interview. The office was casual; “it looked like they had collected all the furniture off the street,” Benson tells Mental Floss. “They didn’t really have an idea of what it should be yet. They wanted to know if I knew how to put together a photo shoot, how to do the layout, how to talk to printers. It was more of the business part of it.”

Given pretty much free rein—albeit on a shoestring budget—Benson hired some help and got to work … at night, after she finished at her day job. And though she loved working at Mademoiselle (which was, she says, “wonderful”), dELiA*s gave her a different kind of opportunity. “I did all of the things that I didn’t get to do at Mademoiselle—choose the pictures where the girls were making faces, and have kind of more chaotic layouts, and just have a certain kind of fun and a certain kind of real girl-ness that I always missed working at a Condé Nast fashion magazine,” she says.

That included randomly capitalized type. “We really liked that mixed up and down type,” Benson says. “Sassy had kind of done something like that [before dELiA*s] and we really liked it. But because I was such a bad typist a lot of times my typing would kind of look like that, so it was like, ‘This feels right.’”

Benson didn’t do any market research to create the catalog, but she did look at teen magazines that were available at the time. “When I looked at teen stuff it was a lot of ‘how to kiss a boy,’ or ‘how to know if he likes you.’” She and her team decided to do the opposite: “It was kind of like, ‘Let’s do something where that’s not in the picture yet or maybe it’s not the most important thing to her—that she’s more creative, and she’s more interesting, and she’s more about her friends still.”

The copy in the catalog (an example: “wOulD YoU rAtHeR bE iN a cAve oF sNakEs oR a bAthTub fUlL oF sluGs?”) also reflected that—something Benson says parents appreciated. “I got a lot of nice notes from moms that would be like, ‘Oh thank you for the funny copy. My daughter and I had a really beautiful moment reading it together.’”

The first catalog, which Benson says “wasn’t totally baked,” was a huge success; Edgar came back to Benson in two months and said they’d sold every piece of merchandise. “He was like, ‘So we want to do another one,’ and I was like ‘Wow, didn’t you find that first one really difficult?,” Benson says, laughing. “And so we did another one. ... I did that for a year and was still working at Mademoiselle and I just basically had no life,” Benson says. After that year, Kahn and Edgar asked Benson to come on full-time, and she left Mademoiselle. “That’s really when we made the catalog grow.”

5. THERE WAS A “FICTIONAL DELIA.”

Though no one knows where the name Delia came from (Benson calls it "one of the great mysteries"), according to Jim Trzaska, dELiA*s' photo producer, there was a fictional Delia who “was supposed to be a girl’s girl who loved hanging out with her friends above all else, and dressed for herself rather than to attract boys. That naturally set the tone at the photo shoots as well.”

6. THE CREW HAD A STRATEGY FOR MAKING PHOTO SHOOTS FUN.

A page from the Summer '97 dELiA*s catalog.

Rarely will you find a girl in a dELiA*s catalog smiling; she’s more likely to be making a funny face or looking like she’s having the time of her life. They were looking for a particular type of girl, Benson says—someone who was expressive. "Sometimes I would ask them, 'Do you want to be an actress someday?' The actual shoots were super fun. We just had the funniest crew, and the stylist that we worked with consistently, Galadriel Masterson, was just really, really funny and she had this way of teaching the girls how to be on set and how to express themselves. She had a really good idea for how to put the stuff together because we weren’t match-y and we weren’t outfit-y. We just shot a lot of film until we got the funny pictures we wanted." Benson brought on Kevin Hatt to photograph the early catalogs, and later, Mei Tao shot them.

According to the models who participated in those shoots—who typically had already appeared in teen mags like Seventeen—they really were awesome. “Every single one was fun,” model Kim Matulova told MTV. “There was always a lot of energy and it was very natural, unforced, and spur-of-the-moment. [The photographer] would just turn on the music and let us girls do our thing, and he’d capture it.”

The photographer shot on Polaroid, and the models would get to take some photos home at the end of the shoot. “I have a huge box at my mom’s house full of old Polaroids and outtakes,” Matulova said.

A page from the Summer '97 dELiA*s catalog.

The crew also had a strategy for getting girls to let loose. “One thing that always got a big reaction from everyone on set was a fake boy named ‘Billy’ who was invented by our lead stylist, Galadriel Masterson,” Trzaska told Refinery 29. “Depending on what kind of mood we needed from the model, ‘Billy’ could be anyone from a shady ex-boyfriend to a bratty little brother or a gay best friend. He definitely helped us get the shot on more than one occasion.”

7. YOU MIGHT FIND SOME FAMOUS FACES IN YOUR OLD CATALOGS.

Miranda Kerr, Brooklyn Decker, Rosie Huntington-Whiteley, Cassie, and Krysten Ritter all struck a pose for dELiA*s back in the day.

8. AT ITS PEAK, THE COMPANY GOT THOUSANDS OF CATALOG REQUESTS DAILY.

Courtesy of Charlene Benson

According to Chief Marketer, by August 1998, Delia’s was receiving 3000 to 5000 catalog requests every single day. (Some outlets suggest the number was as high as 7000 requests a day.) The company had a whopping 5 million names in its database, each one accompanied by its precise order history.

According to The Cut, 4 million people—or 10 percent of the 40 million female Millennials currently living in the United States—have requested a dELiA*s catalog.

9. THERE WERE PLENTY OF COPYCATS.

Not surprisingly, dELiA*s' massive success led to a number of “magalog” competitors, including Zoe, Wet Seal, moXiegirl (or mXg), Alloy, Airshop, and Just Nikki. But Kahn was not threatened by the competition. “People will try to play catch-up,” he told Chief Marketer. “There will be a shakeout on the imitator side. Most of these guys will lose a lot of money for a long time.”

10. THERE WAS A SPIN-OFF FOR BOYS.

Droog, a.k.a. dELiA*s for boys, launched in 1998. Though it, too, aimed for a market Kahn and Co. thought was untapped, its approach was different than its big sister’s: Instead of being shot in a studio, Droog was shot in fields and parking lots. Its centerfold featured a car, shot head on, bearing a license plate which read “Droog.” The name was the result of a company contest. It was, Kahn told Catalog Age in 1999, a “natural progression from dELiA*s” that featured “streetwear, workwear, and urban and athletic lines.”

Sadly, Droog did not find the same success as dELiA*s; according to Catalog Age, it folded in 2000.

11. THERE WAS A CATALOG FOR HOME FURNISHINGS, TOO.

Contents, which featured roomwares for teens, launched in the late ‘90s. Says Benson, who collaborated with a designer named Whitney Delgado on the catalog: "I love the pictures so much, and those crazy rooms that we built."

12. THE BRICK-AND-MORTAR STORES POSED A PARTICULAR CHALLENGE FOR BENSON.

A Delia's storefront.
Mike Mozart, Flickr // CC BY 2.0

Following the launch of its website in 1998 (which, according to Chain Store Age accounted for two to three percent of the company's total sales in just two weeks online), dELiA*s began opening brick-and-mortar stores in 1999. Creating the look of the stores was, according to Benson, a tough but rewarding assignment.

To help, the company enlisted visual merchandiser Renee Viola and hired store designer John Farnum, who had worked with Nike. “The tricky part was like ‘OK, we have this thing, it looks like this and feels like this in print. How do we bring what’s happening here into the stores?’” she says. “We didn’t want to lose what we had. From a design standpoint and a building creative team standpoint, it was super fun—I haven’t been in a store development process that was so collaborative since. It was quite wonderful.”

13. THE COMPANY WAS SOLD, WENT OUT OF BUSINESS, AND CAME BACK FROM THE DEAD.

In 2003, amidst decreasing sales, dELiA*s was sold to Alloy, its former competitor, for $50 million. (Catalog Age called it “one of the hottest pairings in teendom since Britney and Justin.”) Alloy at first absorbed the company; then, two years later, spun it off again so it was a separate entity. In 2014, after it lost $57 million, dELiA*s filed for bankruptcy; all of its retail locations and its website were shuttered by March 2015.

But that wasn’t the end. In early 2015, Delia’s was purchased by Steve Russo and other investors and relaunched that August. “In speaking to women who came of age in the ‘90s, they all said they couldn’t wait to receive their dELiA*s catalog in the mail after school,” Russo told The Huffington Post. “The company in those days was visionary, with its inclusive product assortment. We saw an opportunity to revive that excitement in every girl again through print catalogs, exciting new social media campaigns, and a strong e-commerce presence.” You can shop here.

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