“Grease 2” follows a similar story beat as the original, with an updated feminist lens. Choreographer Patricia Birch was promoted to the director’s chair, and her influence is inescapable. For one, the dance sequences are truly remarkable, but more importantly, thanks to her vision and Ken Finkleman’s script the Pink Ladies are presented with far more power and influence, and the T-Birds are eggheaded goofs in leather jackets.

“It was dreamy, because it is, admittedly, a fantasy version of high school,” said Caulfield. There’s no male power fantasy to be found in “Grease 2” the way there was in “Grease,” and despite the archaic gender roles constantly trying to impact the world of the film, the women are clearly in charge.

“But at the same time, it’s also the very best of American high school because of the rivalries, the teen angst, the camaraderie, the factionalizing on campus,” he continued. “Everybody’s trying to develop their cool, because you’re at that age where you’re pretty awkward, and self-conscious.”

These anxieties are displayed far more prominently than in the original, with characters like Rhonda (Alison Price) struggling with the shape of her nose, Dolores (a very young Pamela Adlon) annoyed at having to live in the shadow of her older sister Paulette (Lorna Luft), T-Birds leader Johnny Nogerelli (Adrian Zmed) incapable of accepting that he’d been dumped by Pfeiffer’s Stephanie Zinone, and Caulfield’s Michael Carrington (cousin of Olivia Newton-John’s Sandy) worried that Stephanie would never see him as anything more than a British brainiac.