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For decades, the cinematic portrayal of the family unit was remarkably uniform. From the 1950s nuclear ideal of Leave It to Beaver to the mildly dysfunctional but biologically intact clans of John Hughes’ 1980s oeuvre, the unspoken rule was clear: a "real" family consisted of two married parents and their biological offspring, living under one relatively stable roof. Divorce was a scandal; step-parents were often villains or punchlines. discuss its likely origin