DreamWorksTV
DreamWorksTV

11 Things You Might Not Know About She-Ra, Princess of Power

DreamWorksTV
DreamWorksTV

At the height of He-Man's popularity in the early 1980s, Mattel and cartoon studio Filmation discovered an interesting demographic detail about the series: 30 percent of its audience consisted of girls. To help satisfy the unpredicted demand for a female fantasy character, the companies conceived of She-Ra, twin sister of the massively-muscled swordsman and sworn protector of Grayskull’s honor. Hop on Swiftwind and take a trip through these 12 little-known facts about the warrior princess of Etheria.  

1. Toy Stores Didn’t Know Where to Stock Her.

Despite being an offshoot of the hyper-masculine He-Man line, She-Ra was officially described as a “fashion action doll” by Mattel, a strange amalgamation of sword fighting and hair-combing. That left stores with the dilemma of whether to place her near her Barbie brethren or among the testosterone-laced aisles of action figures. While some stores situated her adjacent to He-Man, Sears put her next to dolls in their catalog; others split the difference and stocked her in both departments.

2. She Gave Barbie a Boost. 

In the toy world, “flanker” lines are created to help support a main toy product by expanding a category and raising interest. In She-Ra’s case, Mattel saw her as a way of boosting attention for their high-profile Barbie line, which had grown stale. In an interview with He-Man.org, Janice Varney-Hamlin said, “Barbie sales had flattened out at the time, so introducing a competitive fashion doll line that we owned should expand the size of the entire category and allow the Barbie business to grow.” In 1986, after surviving an onslaught from rival Jem and the Holograms, Barbie posted $350 million in sales.

3. She Was Voted Most Likely to “Hold Back Tears.”

A late 1980s study arranged by the Institute for the Study of Women and Men at the University of Southern California graded different lines based on what girls thought their toys were most or least likely to do. Barbie was expected to be “out on a date”; She-Ra was thought to be less apt to cry. She was also preferred as a mentor over Barbie, with one girl remarking, "I like her because she knows what she wants and how to get it.” (A boy who was asked his opinion said, “She-Ra's strong and really smart. All Barbie is worried about is wearing her clothes and living in her dream house.")

4. That Headdress? It’s An Upside-Down Mask. 

The original She-Ra fashion action doll issued in 1985 featured a winged headdress that could be flipped upside-down and worn as a mask, but girls in focus groups disliked this feature. Mattel strayed from the idea, buyers were rarely aware of it, and Filmation had her sporting a more conventional tiara in the animated series.  

5. Mattel Bought Out a Rival "Sheera."

Before Mattel launched the line, they took notice of author Barbara Hambly’s fantasy novel, Ladies of Mandrigyn, featuring a character called Sheera. Despite no obvious similarities, Mattel decided to purchase the ancillary rights to the books for $25,000 so no competing toy companies would muddy the waters with a competing Sheera line.

6. She Had a Lust Animation Specialist.

YouTube

For reaction shots where She-Ra needed to be overly expressive, producers counted on one female animator in particular. According to show writer Bob Forward, the woman in question “threw lust into everything … [the director] used her for everything where he wanted passion.”  

7. Mattel’s Boys' Department Blamed Her for He-Man’s Falling Sales.

Despite an aggressive marketing campaign, She-Ra was unable to duplicate the success of her cousin: According to former Mattel employee Roger Sweet, roughly $60 million worth of She-Ra merchandise was sold in 1985, a pittance compared to the $400 million He-Man brought in the following year. But sales subsequently plummeted: According to Hamlin, employees in charge of Mattel’s boy lines were adamant that She-Ra was responsible for their declining sales. (In fact, it was likely over-saturation in the action figure market that led to the character’s demise.)

8. She Made In-Store Appearances.

Hamlin, who was in charge of marketing for girls' merchandise at Mattel, hired actresses to appear in character as She-Ra for toy stores. She recalls that when she was auditioning women for the part, a sizeable number of male Mattel employees would suddenly appear in hallways.

9. She Was Supposed to be in the Masters of the Universe Movie.

Masters of the Universe, the notoriously under-budgeted 1987 feature, was originally intended to include She-Ra; concept art by production designer William Stout was even commissioned. But director Gary Goddard felt it would be best to concentrate on He-Man for the first film. (It would be the only film.)

10. She Was Nearly in a Rock Band.

Fans bemoaned a statement by onetime cartoon property owners Entertainment Rights in 2006 where it was mentioned She-Ra was being considered for a radical reinvention. “We’ll probably re-launch She-Ra featuring a rock-and-roll band and a girl with long blond hair who will have a guitar instead of a sword,” CEO Michael Heap told World Screen. The idea never went anywhere, however, and She-Ra has yet to be resurrected.

11. She’s Become a Gay Icon.

According to Filmation’s Erika Scheimer, daughter of president Lou Scheimer, She-Ra has emerged in recent years as a gay icon due in part to some subversive references made in the series by writers. (One episode featured male sidekick Bow in a dress.) Scheimer also says the She-Ra animated feature theme song, "I Have the Power," has been played at several gay weddings.   

BONUS: A woman named She-Ra Once Robbed a Store.

She-Ra Batey, a cashier in the United Kingdom, was arrested in 2014 for stealing over $5000 US from her employers at a Derby-area supermarket so she could go on vacation in Mexico. Batey pled guilty and was ordered to pay restitution.  

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Shout! Factory
10 Surprising Facts About Mr. Mom
Shout! Factory
Shout! Factory

John Hughes penned the script for 1983's Mr. Mom, a comedy about a family man named Jack Butler (Micheal Keaton) who loses his job. To ensure their three kids are taken care of, his wife, Caroline (Teri Garr), goes back to work—leaving Jack to fight off a vacuum cleaner and learn why it's never a good idea to feed chili to a baby.

In 1982, Keaton turned in a star-making role in Ron Howard’s Night Shift, but Mr. Mom marked the first time he headlined a movie, and it launched his career. Hughes had written National Lampoon's Vacation, which—oddly enough—was released in theaters the weekend after Mr. Mom. But Hughes himself was still a relative unknown, as it would be another year before he entered the teen flick phase of his career, which would make him iconic.

In the meantime, Mr. Mom hit home for a lot of viewers, as the economy was on the downturn and more and more women were entering (or reentering) the workforce. But some people think that the movie's ending—which sees the couple revert to traditional gender roles—sidelined the movie's message. Still, on the 35th anniversary of its release, Mr. Mom remains an ahead-of-its-time comedy classic.

1. IT'S BASED ON A TRUE STORY.

Mr. Mom producer Lauren Shuler Donner came across a funny article John Hughes had written for National Lampoon. Based on that, she contacted him and the two became friends. “One day, he was telling me that his wife had gone down to Arizona and he was in charge of the two boys and he didn’t know what he was doing,” Donner told IGN. “It was hilarious! I was on the floor laughing. He said, ‘Do you think this would make a good movie?’ And I said, ‘Yeah, this is really funny.’ So he said, ‘Well, I have about 80 pages in a drawer. Would you look at it?’ So I looked at it and I said, ‘This is great! Let’s do it!’ We kind of developed it ourselves.” In the book Movie Moguls Speak, Donner mentioned how Hughes “had never been to a grocery store, he had never operated a vacuum cleaner. John was so ignorant, that in his ignorance, he was hilarious.”

The players involved with the movie told Donner and Hughes they thought it should be a TV movie. Hughes had a TV deal with Aaron Spelling, who came aboard to executive produce. “Then the players involved were upset because John was writing out of Chicago instead of L.A.,” Donner said in Movie Moguls Speak. “They fired John and brought in a group of TV writers. In the end, John and I were muscled out. It was a good movie, but if you ever read John’s original script for Mr. Mom, it’s far better.”

2. JOHN HUGHES REJECTED THE IDEA OF DIRECTING MR. MOM.

Stan Dragoti ended up directing the film, but only after Hughes turned it down, because he preferred to make his movies in Chicago, not Hollywood. “I don’t like being around the people in the movie business,” Hughes told Roger Ebert. “In Hollywood, you spend all of your time having lunch and making deals. Everybody is trying to shoot you down. I like to get my actors out here where we can make our movies in privacy.” Hughes remained in Chicago and filmed his directorial debut, Sixteen Candles, there.

3. MICHAEL KEATON GOT THE ROLE BECAUSE OF NIGHT SHIFT.

In 1982’s Night Shift, Keaton’s character works at a morgue and starts a prostitution ring with co-worker Henry Winkler. Donner had an agent friend, Laurie Perlman, who represented the not-yet-famous actor. She contacted Donner and pitched Keaton to her. “’Look, I represent this guy who is really funny. Would you meet with him?’" Donner recalled of the conversation. "So I met with him. Usually I don’t like to do this unless we’re casting, but I met with him because she was my friend. And then she said, ‘You have to see this movie Night Shift that he’s in.’ So I went to see Night Shift, and midway through I couldn’t wait to get out of that theater to give Mr. Mom to Michael Keaton. Fortunately, he liked it."

Keaton told Grantland that he turned down one of the main roles in Splash to play Jack Butler. “I just remember at the time thinking I wanted to get away from what I’d just done on Night Shift,” he said. “I thought if I do it again, I might get myself stuck. So then Mr. Mom came along. So I said no [to Splash] so I could set up this framework right away where I could do different things.”

4. THE FILM BROKE NEW GROUND.

Teri Garr, Michael Keaton, Taliesin Jaffe, Frederick Koehler, and Martin Mull in Mr. Mom (1983)
Shout! Factory

In 1983, more women stayed at home than worked, so it was a novelty for a man to be a stay-at-home dad. Today, an estimated 1.4 million men are stay-at-home dads, and 7 million men are their children's primary caregiver. “Mr. Mom became part of the vernacular,” Donner told Newsweek. “Mr. Mom represented a segment of men who were at home dealing with the kids who, up until then, really hadn’t been heard from. That’s what really told me about the power of film, because it spoke for a lot of men. It also helped women, because I think that women sometimes, if you’re a housewife, you’re not really appreciated for what you do. This sort of made women feel better about what they did because they knew that men were understanding it.”

5. TODAY, “MR. MOM” IS CONSIDERED A PEJORATIVE TERM.

More than 30 years after the film’s release, stay-at-home dads feel the term “Mr. Mom” should die. The National At-Home Dad Network launched a campaign to terminate the phrase and instead have people refer to men as “Dad.” In 2014 Lake Superior State University voted to banish “Mr. Mom” from the lexicon.

“At least, the pop-culture image of the inept dad who wouldn’t know a diaper genie from a garbage disposal has begun to fade,” wrote The Wall Street Journal, after declaring “Mr. Mom is dead.”

6. TERI GARR DIDN’T KNOW IT WAS A MESSAGE MOVIE.

The movie redefined gender roles, but when the producers pitched the premise to Garr, they hid the plot reversal. “They just told me it was about a guy who does the work that a woman does, because it’s so easy,” she told The A.V. Club. “And I went, ‘Oh, yeah. Ha ha.’ It’s so easy. All the women I know who stay home and take care of their kids, they go, ‘Oh yeah, this is easy.’ Hmm.”

7. MARTIN MULL IMPROVISED THE “220, 221” LINE.

The quote everyone remembers from the movie comes from Jack, holding a chainsaw, standing next to Ron Richardson (Martin Mull) and discussing what kind of wiring Jack will use in renovating the house: “220, 221, whatever it takes,” Jack says.

“We’re doing the scene and it was okay,” Keaton told Esquire. “And I remember saying to the prop guy, ‘Go find me a chainsaw.’ When he comes back with it, he says, ‘You wanna wear these?’ And he holds up some goggles. I go, ‘Yeah.’ You know, they make me look crazy. And when Martin shows up, I know I should look under control, I’m not sweating it. I’m a dude. So we’re standing there, Martin pulls me aside and says, ‘You know what you ought to say? When I ask about the wiring, you oughta just deadpan: ‘220, 221.’ I died. It was perfect. I may have added ‘whatever it takes.’ But it was his.”

“That was a little ad-lib that we just threw in, but every carpenter or construction person I’ve ever worked with, they’re always quoting that line from Mr. Mom,” Mull told The A.V. Club.

8. MR. MOM OUTGROSSED HUGHES’S OTHER 1983 SUMMER MOVIE—VACATION.

Mr. Mom only opened on 126 screens on July 22, 1983, but managed to gross $947,197 during its opening weekend. Once the film went wide a month later to 1235 screens, it hit number one at the box office and spent five weeks at the top. By the end of its run, the film had grossed just shy of $65 million, making it the ninth highest-grossing film of 1983 (just between Staying Alive and Risky Business). National Lampoon’s Vacation, Hughes’s other film that summer, came out July 29 and ended its theatrical run with $61,399,552 (at its height, it showed on 1248 screens). Vacation finished the year in 11th place.

9. THE MOVIE LED TO HUGHES BEING CALLED “A PURVEYOR OF HORNY SEX COMEDIES.”

During a 1986 interview with Seventeen magazine, Molly Ringwald asked the writer-director why he never showed teen sex in Sixteen Candles or The Breakfast Club. “In Sixteen Candles, I figured it would only be gratuitous to show Samantha and Jake in anything more than a kiss,” he said. “The kiss is the most beautiful moment. I was really amused when someone once called me a ‘purveyor of horny sex comedies.’ He listed The Breakfast Club and Mr. Mom in parentheses. I thought, ‘What kind of sex?’ Yes, in Mr. Mom there’s a baby in a bathtub and you see its bare butt.”

10. MR. MOM WAS MADE INTO A TV MOVIE AFTER ALL.

In the beginning, producers wanted Mr. Mom to be a TV movie, not a feature film. But a year after the film came out in theaters, ABC produced a TV movie called Mr. Mom, with the same characters and premise. Barry Van Dyke played Jack and Rebecca York played Caroline. A People magazine review of the movie stated: “They and their three kids are immediately likable … But it goes downhill from there as the script lobotomizes all its characters. Here’s a textbook case in how TV takes a cute idea—and a script that does have some good lines—and leeches the wit out of it.”

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Hulton Archive/Getty Images
The Star Trek Theme Song Has Lyrics
Hulton Archive/Getty Images
Hulton Archive/Getty Images

The Star Trek theme song is familiar to pretty much anyone who lived in the free world (and probably elsewhere, too) in the late 20th century. The tune is played during the show's opening credits; a slightly longer version is played, accompanied by stills from various episodes, during the closing credits. The opening song is preceded by William Shatner (as Captain Kirk) doing his now-legendary monologue recitation, which begins: "Space, the final frontier ..."

The show's familiar melody was written by respected film and TV composer Alexander Courage, who said the Star Trek theme's main inspiration was the Richard Whiting song "Beyond the Blue Horizon." In Courage's contract it was stipulated that, as the composer, he would receive royalties every time the show was aired and the theme song played. If, somehow, Star Trek made it into syndication—which, of course, it ultimately did—Courage stood to make a lot of money. And so did the person who wrote the lyrics.

WAIT... THERE WERE LYRICS?

Gene Roddenberry, the show's creator, wrote lyrics to the theme song.

"Beyond the rim of the star-light,
my love is wand'ring in star-flight!"

Why would Roddenberry even bother?

The lyrics were never even meant to be heard on the show, but not because the network (NBC) nixed them. Roddenberry nixed them himself. Roddenberry wanted a piece of the composing profits, so he wrote the hokey lyrics solely to receive a "co-writer" credit.

"I know he'll find in star-clustered reaches
Love, strange love a star woman teaches."

As one of the composers, Roddenberry received 50 percent of the royalties ... cutting Alexander Courage's share in half. Not surprisingly, Courage was furious about the deal. Though it was legal, he admitted, it was unethical because Roddenberry had contributed nothing to why the music was successful.

Roddenberry was unapologetic. According to Snopes, he once declared, "I have to get some money somewhere. I'm sure not gonna get it out of the profits of Star Trek."

In 1969, after Star Trek officially got the ax, no one (Courage and Roddenberry included) could possibly have imagined the show's great popularity and staying power.

Courage, who only worked on two shows in Star Trek's opening season because he was busy working on the 1967 Dr. Doolittle movie, vowed he would never return to Star Trek.

He never did.

THE WORDS

If you're looking for an offbeat karaoke number, here are Roddenberry's lyrics, as provided by Snopes:

Beyond
The rim of the star-light
My love
Is wand'ring in star-flight
I know
He'll find in star-clustered reaches
Love,
Strange love a star woman teaches.
I know
His journey ends never
His star trek
Will go on forever.
But tell him
While he wanders his starry sea
Remember, remember me.

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