The Apple

A 1980 dystopian, sci-fi, biblical-allegory rock opera about an evil, all-powerful media mogul, the young starlet fallen under his corrupting influence and the all-Canadian baby-faced hero determined to get her back out of his evil clutches. Trying to follow the success of Saturday Night Fever and Grease, it's outlandish premise probably has more in common with Brave New World, Nineteen Eighty-Four, All That Jazz and Xanadu, with a little Godspell thrown in hastily at the last minute. It proved a major flop concurrent with the sharp decline of Disco.

Despite some rather heart-pumping music and dance numbers, the prosaic lyrics, trippy aesthetic, and off-the-wall script place it squarely in Camp territory.

""Meet an actual actual actual vampire!""
 * Aerith and Bob: Bibi and Alphie
 * Big Bad: Mr. Boogalow
 * Big Good: Mr. Topps.
 * Depraved Bisexual: Shakes, implicitly Boogalow as well
 * Deus Ex Machina: A-near literal example with Mr. Topps, who is not only a seemingly all-powerful Messianic Archetype, but is never mentioned until moments before he arrives to rescue the heroes.
 * The Dragon: Shakes
 * Corrupt the Cutie: BIM's efforts to control Bibi.
 * Evil Brit: Bibi's bodyguards/captors are the thuggish, Cockney-esque type.
 * Evil Is Stylish: In universe at least.
 * Fire and Brimstone Hell: An entire (imagined) musical number takes place there.
 * High Heel Face Turn: Bibi
 * Louis Cypher: Mr. Boogalow
 * Lyrical Shoehorn:


 * Mega Corp: BIM. Eventually they become so powerful, the government requires everyone to wear their logo and stop all activity to listen to their music for an hour each day.
 * New Age Retro Hippie
 * Jewish Mother: Alphie's landlady.
 * Rape as Redemption: Bizarrely inverted.
 * Sissy Villain: A huge portion of Shake / Buoogalow's inner circle fits one overblown Camp Gay stereotype or another. Unfortunate Implications abound.
 * Slipping a Mickey: happens at least once.
 * Twenty Minutes Into the Future: Made in 1980, set in the future Dystopia of 1994.
 * World of Ham