Porcelain dolls, dressed in colonial wear, lie on a chair. Some ancient tea kettles and a frame sit on a desk. Stevie dances in a white dress inside a crystal ball. Nicks, lying a split, stretches her arms. She looks into the mirror and views herself spinning. It changes to an early 20th city, filmed through a sepia filter.
Steam blows from a factories. A little boy carries a cup. She walks outside, hugging her chest and smiles as two little girls skip past her. A man rolls a tire. A homeless man sits by a car. Two businessmen lean against a building. A woman breathes into her fist to warm herself. She looks down as she waits by the street light.
In black-and-white, Stevie and Lindsey dance in a 1920s speakeasy. A spotlight shines on the various couples. Christine and John salute to one another with a glass of champagne at their table. Christine, holding her long cigarette, smirks at Stevie’s discomfort.
On the sidewalk, a couple runs underneath their umbrella in the rain. Stevie races out to the street. The moment was captured in a photograph sitting on her table. Lindsey watches her spin.
Back in color, Stevie dances in a mythical forest, fairy dust sprinkling over her as she moves. She walks to the edge of the cliff, viewing the bubblegum pink sky. Christine, John, Mick and Lindsey lie on the grass, singing. A lavender shower of fairy dust covers Stevie as she spins. A couple leaps in the air, holding hands. Three little girls, wearing white dresses, walk to Stevie and dance in a circle around her.
In black-and-white, the couples from the speakeasy dance in the rain.
Stevie Nicks has led many lives. At the turn of the 20th century, she was a single woman, taking care of her child and scrounging for food to eat. Her husband worked long hours at the factory. As she washed dishes, he coughed and coughed, the particles from the factory caught in his throat. She searched for work when she could. Her little boy sold newspapers on the corner. People in the city were starving. Children were begging for change. A homeless men rested by a car for warmth.
In the 1920s, she was an aristocrat, attending galas and spending weeknighst at the speakeasy. However, she was in a loveless marriage. She watched as women like Christine judged her for staying, knowing her husband was cheating on her with every young dancer who performed at the club.
Through each life, she encounters Christine and John. They only seem to be ones to live with the ageless secret. She visits a mythical forest to maintain her youth. Christine and John, now loving hippies, sing with their band.
Three little girls join her and dance around her. The oldest one is weary, representing her life in the 18th century. She had been a peasant then, escaping from the plague and falling victim to a creature of the night. She closes her eyes and enters 1940s America, writing to her husband who is off fighting the war.
Director: Russell Mulcahy Year: 1982
Pam Avoledo’s love of pop culture began in 1999 with the message boards dedicated to shows on the CW (then WB). She graduated from Oakland University in 2006 with a Bachelor’s degree in Journalism.
When she is not debating whether Dawson should’ve ended up with Joey, she looks at cute dog memes on social media.