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Quotes / Two Decades Behind

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Aww, isn’t that cute, Mr. Dithers #gets #hashtags now! Unfortunately, the Blondie creative team doesn’t really #get that Twitter is not a texting or instant messaging service.

Kasem's appearance is presumably there to give the first episode a big celebrity ratings push, with the logic “You know who the kids love? Men in their late fifties!” Incidentally, his hair is so badly dyed, he looks like a seabird that's been rescued from the wake of an overturned tanker.
Stuart Millard, So Excited, So Scared: The Saved by the Bell Retrospective

It is never entirely clear whether it arrived too early or too late, but it never really felt like a show that should have been airing in early 2001.

John Carter became the biggest bomb in history in part because Andrew Stanton, the movie's director, mistakenly believed that we were as into Edgar Rice Burroughs as he was. Next time you waste $250 million shooting and reshooting a terrible movie based on obscure source material, ask around first. Not everyone is frothing for a Captain Koala movie, my friend.
Drew Magary, "The 25 Least Influential People of 2012"

Storywise, the fact that Vamp and Naomi Hunter both use some failhard Japan-only cellphone is downright silly, considering that the setting is supposed to be years into the future, and both of them are on the cutting edge of technology research. Are we supposed to believe that average people are 'loading up on nanos' to control their constipation, while super-secret agents of the most elite operation in the world are using a piece of shit like that to talk to each other? It would be more believable if they were using telepathy!
Terry Wolf, "Metal Gear Soldout"

I mean, seriously, it’s like the seamstress went straight to Vince and said, “What would a rock and roller wear?” and Vince, being his 20 year out of touch self, screamed at the top of his lungs, “TYE DYE, IDIOT! WHAT ELSE?

You know, I can totally see that happening.
Wrestlecrap on Maxx Payne's many costume changes

So, Barack Obama give it up. You're stuck with The '60s' battles. Even you acceptance speech tonight is on the 45th anniversary of Dr. King's "I Have a Dream" speech, the very movement of the Earth around the Sun is keeping you in the 60s. (Sun actually goes around Obama) We stick with these 40-year-old battles because they are comfortable and familiar. We know how to take sides in these arguments. Besides, if we didn't, we'd have to address the problems of the present, and who wants to do that? Those things are monsters! (Created in Cheney's lab)

So, let us keep fighting the culture wars of our grandparents, never mind that 50 percent of today's Americans weren't even born when these arguments mattered. (Less Hanoi Hilton, more Paris Hilton) They are still relevant today, the 60s are a political gift that keeps on giving because they are wounds our country can never heal. (As long as we keep picking at it)
Stephen Colbert, The Colbert Report, "The Word: Acid Flashback", on the 2008 Democratic National Convention

But there’s an even bigger problem with being a copy of a copy of a show that premiered in 1987: you end up completely disconnected from everything happening on primetime TV in the 2000s. I’m not saying Enterprise should have made misguided attempts at being "contemporary", with shaky hand-held cameras, or multiple scenes unfolding in split screen, or plot threads lasting for years (though, when the show was circling the drain, they did experiment with a season-long arc). But the simple fact is, the medium constantly evolves, and viewers constantly want something fresh and original. And it’s getting harder and harder to do a TNG-style show with self-contained episodes that still feels fresh and original.
The Agony Booth's recap of Star Trek: Enterprise, "A Night in Sickbay"

"Step 5: The violin, the drums, and the kjvynabyrsk might make it all feel a little bit old-fashioned, but this can easily be fixed by adding a DJ who pretends to scratch. In real life, of course, this is thirty years old, but in Eurovision it will give your number a contemporary feel."
Petra Mede, in "Love Love Peace Peace", the interval act of the Eurovision Song Contest 2016

"The ’50s. Y'know, back when everything was like a sitcom from The '70s."
Phineas Flynn, Phineas and Ferb


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