Molly Ringwald and 12-Year-Old Daughter Adele Are Pretty in Pink Outfits on Red Carpet

Molly Ringwald and 12-year-old daughter Adele Georgiana are pretty in pink! The mother-daughter duo posed together in matching pink ensembles while attending the American Ballet Theatre’s Fall Gala at David H. Koch Theater at Lincoln Center in New York City on Tuesday night. While Ringwald went for a classic slip dress, Adele looked trendy with her furry pink jacket and matching pastel hair. 

Ringwald, who is also mom to 18-year-old Mathilda and Adele’s twin, 12-year-old Roman Stylianos, is of course known for her 1980s films, including Pretty in Pink (1986), Sixteen Candles (1984) and The Breakfast Club (1985), but she admitted on SiriusXM’s Radio Andy earlier this month she’s hesitant to watch those movies with her younger kids due to many topics and moments that haven’t exactly aged well.

“It definitely is a different time. People ask me if I’ve watched them with my kids, and I did watch the first one … with Mathilda. And it was such an emotional experience that I haven’t found that strength to watch it with my two other kids,” she explained. “My 12-year-old daughter Adele is the most woke individual that you’ve ever met, and I just don’t know how I’m gonna go through that, you know, watching it with her and [her] saying, ‘How could you do that? How could you be part of something that….’”

While Ringwald acknowledged there are “troubling” aspects of her famous films, she added, “On the other hand, they’re also about people that felt like outsiders. They speak to a lot of people. They’re complicated. I feel like that’s what makes the movies really wonderful.” Ringwald would want to “change” those parts of the films moving forward, but she doesn’t “want them to be erased.” The actress explained, “I’m proud of those movies, and I have a lot of affection for them. They are so much a part of me.”

Amid the #MeToo movement, Ringwald addressed similar feelings about her iconic movies in an essay for The New Yorker, using the scene in which Judd Nelson’s character looks up her skirt in The Breakfast Club as an example of the “glaring blind spot” filmmaker John Hughes had at points.  

“John’s movies convey the anger and fear of isolation that adolescents feel, and seeing that others might feel the same way is a balm for the trauma that teenagers experience. Whether that’s enough to make up for the impropriety of the films is hard to say,” Ringwald wrote in 2018. “Even criticizing them makes me feel like I’m divesting a generation of some of its fondest memories, or being ungrateful since they helped to establish my career. And yet embracing them entirely feels hypocritical.”