***No kidding, this was a trend for many a hit film in 1988. I think the yuppie-esque dream must have been on a decline or something.

In Bull Durham, Nuke ultimately gets called up to the limelight of the majors, but the big winner is Crash, who ends up with Annie. In Big, Josh was becoming a successful executive living the high life, but ultimately opted to go back to being an awkward kid, in part to assuage his mother's grief and his own guilt for causing it. In Rain Man, Charlie forgoes a massive monetary settlement in favor of furthering the connection he made with his brother. In Working Girl, Tess' satisfying outcome was not cashing in on the idea that was stolen from her, but rather landing the mid-level position in the company that she rightfully should have had in the first place. And even in one of the great schlocky releases of the year, Cocktail, the main character ends up in a very modest bar in his old neighborhood, but dammit, he committed to being a father and husband – so we're supposed to pump our fist at this!

(The wife is Elisabeth Shue. He did fine.)

Of course, it was still the 1980s: money still informed many plot resolutions. Sure, in Field of Dreams, Ray finally connects with his father but the day is saved when we see that Terrence's prediction came true: a line of cars lines up for miles, each with some sap willing to pay money to see the new field. In Twins, Vincent finally does the right thing for the first time in his life by returning the valuable contraption and the seven-figure bounty on it – only to reveal to the audience that he gave back $4 million, not $5 million as had been established at the end of the first act. So hashtag capitalism, bitches.