Entertainment
10 Most Perfectly Directed Classic Movies, Ranked
One of the most important qualities of any notable movie is its visual storytelling, but some classics, such as Gone with the Wind, Sunset Boulevard, and Lawrence of Arabia, define the standard of great directing. When people talk about perfectly directed classic movies, they usually mean films where an array of elements, including camera movement, pacing, performances, lighting, and sound, work together so seamlessly that nothing feels out of place and the director’s vision is clear but never distracting.
What unites classics like Casablanca, The Good, the Bad, and the Ugly, and The Godfather, isn’t just technical brilliance or captivating performances; it’s the director’s intention. Every shot has a purpose, every silence speaks, and every choice reinforces the film’s core idea, delivering an unforgettable movie experience that embodies the escapism of cinema. From John Ford‘s Western masterpiece, The Searchers, starring John Wayne, to Orson Welles‘ iconic Oscar-winning classic Citizen Kane, these are ten of the most perfectly directed classic movies, ranked!
10
‘The Searchers’ (1956)
The Searchers is regarded as one of the greatest classic Western movies ever made and features a signature performance by the Duke as a Civil War veteran, Ethan Edwards, who, after the murder of his family, sets out to find his surviving nieces who are being held captive by Native Americans. John Ford, known for filming on location rather than on a sound stage, combines visual storytelling, thematic depth, and precise control of tone into The Searchers, which feels both epic and intimate.
The film’s pacing and structure show tight directorial control, and scenes often begin late and end early, which is a testament to Ford’s efficiency and confidence as a director. The final scene of Edwards lingering in the door frame is not only an iconic tip of the hat to Wayne’s mentor and Western legend, Harry Carey, but it’s also a purely visual resolution that captures the film’s central idea about alienation and the cost of obsession with the use of any dialogue.
9
‘Vertigo’ (1958)
Image via Paramount Pictures
James Stewart stars in Alfred Hitchcock‘s Vertigo as a retired San Francisco detective, John “Scottie” Ferguson, who is hired by a college friend to follow his troubled wife, Madeline (Kim Novak), sparking an unexpected affair that leads Ferguson down a twisted path of obsession and madness. Many people consider Vertigo to be Hitchcock’s magnum opus, and while some may argue otherwise, there’s no denying that it demonstrates the director’s impeccable control of visual storytelling in all its glory, making it one of the director’s greatest masterpieces.
One of the film’s most notable qualities is the famous dolly zoom effect, which doesn’t just look striking; it puts the audience inside Ferguson’s mind and makes a psychological condition feel physical in a way that is uncanny. Like every Hitchcock classic, everything has a purpose, even something as simple as color. Hitchcock’s use of greens, reds, and muted tones in Vertigo tracks the characters’ emotional states and identity shifts, giving the audience a chance to experience the transformation before fully understanding it.
8
‘Gone With the Wind’ (1939)
Gone with the Wind is an epic historical romance and essential classic movie based on Margaret Mitchell‘s 1936 novel of the same name, and follows the trials and tribulations of a headstrong Southern Belle, Scarlett O’Hara (Vivien Leigh), whose life is turned upside down by the American Civil War. The movie was a major success and is known today for its iconic performances, distinct use of color, and for taking the art and craft of cinematic storytelling to new heights. Although multiple directors and producers contributed, Victor Fleming is most closely associated with shaping its final form into a cohesive vision.
The film moves effortlessly between sweeping Civil War set pieces and deeply personal moments, creating a unique balance of depth and spectacle that audiences at the time had never seen before. Scenes like the burning of Atlanta are staged with massive visual impact, yet the story never loses focus on its heroine’s perspective, which demonstrates Fleming’s ability to counter epic and personal storytelling. Out of its thirteen Academy Award nominations, Gone with the Wind went on to win eight of its nominations, notably for Best Actress, Best Picture, and Best Director.
7
‘Lawrence of Arabia’ (1962)
Peter O’Toole stars in David Lean‘s epic biographical drama, Lawrence of Arabia, as a British Lieutenant who is sent to Arabia to serve as a military advisor to Bedouin forces during the Arab Revolt against the Ottoman Empire. The movie is based on the life of T.E. Lawrence and his autobiography, Seven Pillars of Wisdom, also known as Revolt in the Desert. Lawrence of Arabia is frequently cited as one of the most perfectly directed classic movies because Lean achieves a rare blend of monumental scale and a deep psychological focus by using the vastness of the surrounding desert to mirror O’Toole’s character.
Known as a meticulous director, Lean gave O’Toole the complete freedom to define his character, trusting that he would bring the kind of energy and complexity to the role that the director desired. The infamous scene where Lawrence uses his knife to see himself in his new all-white attire was not only entirely improvised by O’Toole but also earned immense praise from Lean. Today, it is easily one of the most iconic moments in classic cinema history. Lawrence of Arabia dazzled audiences and critics around the world and went on to win seven Academy Awards, including Best Picture, Best Director, and Best Cinematography.
6
‘2001: A Space Odyssey’ (1968)
Stanley Kubrick‘s 2001: A Space Odyssey marked a major milestone in visual storytelling with its innovative special effects, authentic depiction of space travel, and cryptic story structure. The epic sci-fi classic follows Dr. Dave Bowman (Keir Dullea) and a group of astronauts who are sent on a mysterious mission into space with an advanced computer system known as HAL as their guide. When HAL begins to exhibit strange behavior that isn’t in his programming, a face-off between man and technology ensues, sending Bowman into a life-changing experience through space and time.
Kubrick exercises extraordinary control over every element of filmmaking in 2001: A Space Odyssey and ultimately creates an experience for audiences that is as much philosophical as it is cinematic. Each frame and shot is carefully composed, with symmetry and stillness, and the use of practical effects and model work gives the space sequences a realism that still holds up today. Despite its initially mixed reception from critics, 2001: A Space Odyssey earned four Academy Award nominations, notably for Best Director and Best Original Screenplay, and won Best Special Visual Effects.
5
‘Sunset Boulevard’ (1950)
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The legendary Billy Wilder fuses sharp storytelling, visual style, and tone into his 1950 film noir classic, Sunset Boulevard, in a way that makes it both a gripping drama and a biting critique of Hollywood itself. Recognized as the best classic film noir movie of all time, Sunset Boulevard stars William Holden as an aspiring screenwriter, Joe Gillis, who agrees to write a comeback script for a former silent film star, Norma Desmond (Gloria Swanson), but as Desmond’s infatuation with Gillis turns into an obsession, the writer starts to realize that he’s potentially made a deal with the devil that could cost him more than his career.
Wilder strategically alternates between noir, dark comedy, and tragedy in Sunset Boulevard without letting any element overpower the others, resulting in a cinematic experience that feels cohesive even as it shifts from cynical humor to genuine pathos. While Wilder’s expertise and masterful eye are the main source of the film’s brilliance, the alluring cinematography by John Seitz is another one of the film’s greatest strengths. His use of high contrast lighting, shadows, and expressive compositions effectively reflects the decay that lies beneath the glamour of Hollywood, essentially reinforcing the film’s themes without needing explicit explanation.
4
‘Casablanca’ (1942)
The 1942 romantic war drama Casablanca earns its place on this exclusive list because of Michael Curtiz‘s flawless direction, which brings story, performances, and an uncompromising atmosphere together with such clarity that every element feels effortless and unified. Set during World War II, Humphrey Bogart stars as an American, Rick Blaine, who is forced to choose to either be with the woman he loves (Ingrid Bergman) or help her husband, a Czechoslovakian resistance leader (Paul Henreid), escape the city of Casablanca before he can be apprehended by enemy forces.
Using classic Hollywood lighting and composition, Curtiz creates an atmosphere of intimacy and tension, especially in Rick’s Café, where shadows, smoke, and crowd movement reflect the uncertainty of life during wartime and Rick’s internal predicament. The camera often frames characters in ways that emphasize emotional distance or connection and balances romance, political drama, and suspense without losing focus. Initially, almost everyone involved in production felt the film would fail, but to everyone’s surprise, Casablanca was a massive success that went on to win three of its eight Academy Award nominations, including Best Picture and Best Director.
3
‘The Good, the Bad, and the Ugly’ (1966)
The Good, the Bad, and the Ugly is a signature spaghetti Western directed by Sergio Leone, who transforms a simple treasure-hunt story into an operatic, visually driven experience through precise control of style, rhythm, and tone, making it one of the most perfectly directed classic movies ever. Clint Eastwood stars in his iconic role as the Man With No Name, who reluctantly teams up with a conniving outlaw (Eli Wallach) to search for a golden fortune that was buried by Confederate soldiers in a graveyard, and eventually find themselves in a race against time after learning that a ruthless mercenary (Lee Van Cleef) is also after the hefty prize.
Leone contrasts extreme wide shots of barren landscapes with intense close-ups of faces, creating tension through scale and detail. The camera lingers longer than expected, stretching moments until they become almost unbearable, then releases that tension in bursts of action. He constructs each scene like a musical composition and gradually builds layers of anticipation, which is heightened by Ennio Morricone‘s masterful musical score. The final scene of the cemetery showdown is the clearest example of this as the cutaways, framing, and timing, combined with Morricone’s distinct work, turn a simple standoff into a prolonged, almost mythic climax.
2
‘The Godfather’ (1972)
Francis Ford Coppola‘s The Godfather redefined the traditional gangster film and is, without question, one of the most important films in American cinema, but the manner in which Coppola combines intimate family drama into an intense crime saga is what makes The Godfather one of the most perfectly directed classic movies ever. Based on Mario Puzo‘s best-selling novel, Marlon Brando stars as an aging mob boss, Vito Corleone, whose youngest son and decorated war hero, Michael (Al Pacino), reluctantly steps up to protect his father and their family during an intense civil war with the other families.
The visual style, shaped with the work of cinematographer Gordon Willis, is a defining aspect of Coppola’s immaculate direction in The Godfather. The use of low lighting and shadow creates a sense of secrecy and moral ambiguity, while carefully composed interiors give the film a rich, vibrant quality. Coppola carefully builds tension over time, leading to moments of release that feel both inevitable and powerful, most famously in the baptism sequence, where cross-cutting ties together personal and violent acts with thematic precision. Overall, Coppola’s knack for weaving performances, tone, and visual storytelling together brings a cohesive vision to life in The Godfather, giving audiences a timeless classic that is both grand in scope and deeply human.
1
‘Citizen Kane’ (1941)
Orson Welles made his directorial and feature film debut in the Oscar-winning classic Citizen Kane, which was both a cinematic and technical achievement that changed the film industry forever. The film tells the story of a newspaper tycoon, Charles Foster Kane (Welles), whose cryptic dying last words, “Rosebud,” lead a young reporter (William Alland) on a search to find out the meaning behind them. As the reporter interviews Kane’s friends and associates, a fascinating portrait of a man begins to emerge, detailing his journey from essentially nothing and the events and efforts that elevated him to staggering heights of wealth, influence, and power.
Instead of a traditional linear narrative, Kane’s life unfolds through fragmented perspectives of the reporter’s investigation, each revealing different sides of his character. The non-linear structure, built around the mystery of “Rosebud,” reflects Welles’ confidence in trusting the audience to piece it all together. Welles’ combination of groundbreaking filming techniques and his unified artistic vision in Citizen Kane ultimately reshaped what film direction could achieve. His innovative use of low-angle shots, long takes, and expressive compositions creates a sense of power, isolation, and psychological depth that sets Citizen Kane apart from other dramatic films at the time.
Citizen Kane
- Release Date
-
April 17, 1941
- Runtime
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119 minutes
- Writers
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Herman J. Mankiewicz, Orson Welles, John Houseman, Roger Q. Denny, Mollie Kent
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Halle Berry has never been one for flashy logos or trend-chasing accessories. Instead, the Oscar winner gravitates toward timeless pieces that make everyday outfits look effortlessly expensive. Her latest handbag choice is a perfect example, and it’s exactly the kind of elegant neutral tote rich moms have been carrying for years.
On May 29, Berry stepped out in New York City wearing a slouchy cream blazer, relaxed blue jeans, neutral sneakers and oversized sunglasses. The casual outfit was chic on its own, but the structured taupe top-handle tote on her arm instantly elevated the entire look. It delivered the kind of polished, wealthy-woman energy that makes even denim feel more sophisticated.
Get the Newbella Top Handle Tote Bag for just $50 at Amazon! Please note, prices are accurate at the date of publication, June 2, 2026, but are subject to change.
Eva Longoria just reminded Us that sometimes the chicest summer outfits are also the simplest. The actress recently stepped out in white capris that made the classic cropped silhouette feel polished, rich-looking and very South of France. Even better? You can recreate the look for just $30 on Amazon. At the 79th annual Cannes Film […]
Berry’s elegant tote comes with a designer price tag, but Amazon’s Newbella Top Handle Tote Bag captures the same expensive-looking aesthetic for less than $50. Available in a similar taupe shade, the versatile carryall also comes in classic neutrals like black, cream and brown, making it easy to pair with everything from workwear to weekend outfits.
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The best neutral totes don’t scream for attention — they quietly make everything else look better. That’s exactly what Berry’s bag accomplished with a simple blazer-and-jeans outfit. Whether styled with denim, tailored trousers or a breezy summer dress, a sophisticated tote like this is the kind of wardrobe staple you’ll reach for again and again.
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Martha Stewart has spent decades proving that great style doesn’t have to be complicated. While plenty of celebrities rely on statement pieces and head-turning trends, Stewart keeps coming back to wardrobe basics that simply work. Her latest courtside outfit is a perfect example — and it all came down to one easy layer. On May […]
Brooks Nader has swapped her signature string bikini looks for a one-piece swimsuit in preparation for her starring role in the “Baywatch” reboot.
The model shared details about her new preference during a recent interview, where she also discussed her favorite swimwear brand.
Brooks Nader, who will play Selene in the upcoming series, has previously spoken about how she “manifested” the opportunity despite her limited acting experience.
Later this year, Sports Illustrated Swimsuit model Brooks Nader will appear on the small screen as part of the lead cast of the upcoming Baywatch reboot.
In preparation for the role, Nader has embraced a wardrobe change by trading her iconic bikinis for one-piece swimsuits.
She revealed to Page Six that she is now “100% into one-pieces” and particularly loves Tropic of C, a sustainable swimwear and clothing brand known for its eco-conscious designs.
Even before making her debut in the new series, the model has already been showcasing the look in public appearances.
During the Sports Illustrated Swimsuit Runway Show last Saturday night, she walked the runway in a black one-piece featuring a daring thong back.
That same evening, she posed for a shot with other models wearing a red one-piece, which she paired with an oversized white belt.
Brooks Nader’s Role In ‘Baywatch’ Reboot
Nader was announced as part of the cast for the highly anticipated Baywatch revival in March and is set to share the screen with “Arrow” star Stephen Amell.
They will be joined by a number of fellow cast members, including Jessica Belkin as Charlie Vale, Hassie Harrison as Nat, and Thaddeus LaGrone as Brad.
In the series, Nader takes on the role of Selene, who is described as the “sharp-tongued” Captain of the Zuma Beach lifeguard team.
Nader’s character is also said to be exceptionally skilled at her job, though her methods often clash with those of Baywatch captain Hobie Buchannon, played by Amell.
Their contrasting philosophies on rescue operations are expected to create ongoing tension and rivalry throughout the show.
The latest reboot will span 12 episodes and is set to premiere on Fox in Fall 2026 as part of its 2026–2027 television season.
Brooks Nader Claims She ‘Manifested’ Her ‘Baywatch’ Role
Nader’s casting in the reboot may have come as a surprise to some fans, but the model believes the opportunity was years in the making.
“When I shot my Sports Illustrated cover in the red one-piece, I picked that one off the rack because I was like, ‘This is so Baywatch. I have to shoot in this,’” she revealed to the outlet.
She added, “Lo and behold, it became the cover, which was amazing. It’s kind of a full-circle moment … and that dream became a reality. … My superpowers are scaring me!”
Nader also revealed that spending more time living in Los Angeles and recognizing the city’s strong connection to the iconic series also played a role in her “manifesting” her role on the show.
“I don’t know, I feel like I have been hoping for that one for a really long time, and it finally came true,” she added.
The Reality Star Got Advice From An OG ‘Baywatch’ Star
Preparing for the role was no easy task for Nader, but she did receive some valuable advice from original Baywatch star Carmen Electra.
Electra first portrayed Lani McKenzie in the original series beginning in 1997 and would not be reprising the role in the upcoming reboot despite earlier speculations.
“She’s so kind and sweet, and was so complimentary of the series and the new cast. She’s excited for it,” Nader told People Magazine about meeting Electra.
“So that was really special because she’s an icon, obviously,” the model added.
Brooks Nader Says She Has Gotten ‘So Close’ To The Female Cast Of ‘Baywatch’
Nader’s experience on the set of ‘Baywatch’ is one that will remain etched in her memory, thanks to the strong bond that developed among the cast and crew.
“I think all the ladies and the males of the cast have a great, great bond and an amazing workflow together. The girls and I are all so close,” she said in her chat with People.
Nader continued, “It’s easy to get along with these girls…. So it’s like a little sorority.”
By Chris Snellgrove
| Published
Right now, something unthinkable has happened: the latest blockbuster Star Wars movie is getting trounced at the box office by a pair of low-budget horror movies (Obsession and Backrooms). It was already bad enough when The Mandalorian and Grogu earned less in its opening weekend than Solo, making it the weakest opening for a live-action film in the franchise’s entire history. But then its box office dropped by over 69 percent in its second weekend, with audiences overwhelmingly deciding they’d rather see possessed girls and haunted spaces than Baby Yoda. For diehard sci-fi fans, this left only one real hope: that the next Star Wars movie will be much more successful.
That next movie is Star Wars: Starfighter, which has a stacked cast of major Hollywood names like Ryan Gosling, Amy Adams, Mia Goth, and Matt Smith. Those big names might be enough to put butts in theaters, and audiences seem generally excited to see a movie that takes a new approach to the franchise. However, the box office for Starfighter is likely to dwindle once moviegoers realize that it has the same basic plot as The Mandalorian and Grogu: namely, a stern pilot bonding with a Force-sensitive child whom he must protect.
It Was The Best Of Yodas, It Was The Worst Of Yodas
In some ways, the best thing about The Mandalorian and Grogu was also the worst thing. The film is a spinoff of The Mandalorian, the biggest breakout Star Wars show on Disney+. The series has plenty for franchise diehards to love, including a protagonist who looked like Boba Fett and a plot that revealed more of what happened after the events of Return of the Jedi. But what made mainstream audiences really fall in love with this new show was the growing father/son relationship between the titular stoic warrior and a little Baby Yoda. Whether someone knew their X-Wing from a TIE Fighter, this cute pairing made the show worth watching.
Unfortunately, you can only get so much mileage out of cutesy critters. Hype for The Mandalorian had already dwindled after its lackluster third season. Furthermore, everyone’s collective mania for all things Baby Yoda had already died out years before The Mandalorian and Grogu came out. Even the movie’s biggest fans agree that it was just like a few episodes stapled together into a film, and that’s a problem: mainstream audiences wanted more than just the reheated leftovers of a show that came out seven years ago, but all this new movie could offer everyone was more of the same.
The Next Star Wars Film Is Already Doomed
How does the failure of The Mandalorian and Grogu potentially doom Starfighter? Disney has done their best to keep the details of this new movie secret, but it has long been rumored that the core plot involves Ryan Gosling playing a pilot who must escort Flynn Gray’s Force-sensitive character to safety. Recently, X user @FivesWalker leaked more alleged details about the movie, claiming that (and beware possible spoilers, kids!) Amy Adams’s character is Force-sensitive and gets killed early on, instructing her Force-sensitive son (played by Gray) to find his uncle (played by Gosling). The grumpy pilot uncle must then protect the kiddo from Mia Goth’s Force-wielding mercenary and Matt Smith’s conniving warlord.
Some of this sounds interesting, and with this much talent, the movie is likely to have some great performances. But at its core, Starfighter is going to have the same plot as The Mandalorian and Grogu: a gruff pilot must protect a Force-sensitive child from mysterious bad guys. That was also the core plot of The Mandalorian, which focused heavily on how villains wanted to capture Grogu for their own nefarious purposes. Plus, @FivesWalker claims that while the uncle and nephew “don’t exactly get along at first,” they eventually bond “in classic Star Wars fashion.”
The Mandalorian and Grogu was the first new Star Wars film in seven years, and it failed because it didn’t offer audiences anything new. Now, Starfighter is meant to take this franchise in a brand-new direction, but it sounds like this movie will also shamelessly copy the core narrative of The Mandalorian. Sadly, it has become increasingly clear that the writers, directors, and producers of this venerable sci-fi franchise are simply incapable of coming up with new ideas. Given that Dave Filoni, the king of recycling old ideas and characters, is now the man in charge of Star Wars, the current state of the franchise can best be summed up by C-3PO: “We’re doomed!”
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The “Casino” director is working as an “advisor” to the AI company Black Forest Labs, and is experimenting with how to use the company’s tech to generate storyboards.
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“America's Got Talent” judges repulsed by contestant's hot dog act, give him first X's of the season
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Judge Simon Cowell hit his buzzer first in the premiere, after Sofia Vergara teased the contestant.
Kristin Cavallari has some wild stories in her archive!
The on-air personality, as usual, opened up on her podcast, and this time, it was about her date with “a famous,” mystery man a few years ago, which left some vivid scenes in her memory.
Kristin Cavallari ended a 10-year marriage to her ex-husband and former NFL player Jay Cutler in 2020 and recently dated former hockey player Nate Thompson, although they eventually split.
The reality star recalled her unexpected dating experience, and while she kept the name of her date private, she did not hold back on her feelings during and after the encounter. On the recent episode of her “Let’s Be Honest” podcast, she noted that the date happened roughly four years ago, and the two dates started on a very encouraging note.
Admitting that they were one of the best dates she has ever been on with “a very famous man, first at the Sunset Tower Hotel, then at the Beverly Hills Hotel.” The two acquaintances at the time got a suite, swam all day, showered separately, and settled for a nice dinner on the patio for their second date.
Everything seemed to be going well until the conversation took an unexpected turn and the man began discussing the physical insecurities people often feel when getting to know someone new. The guy, in the spirit to quickly get over that phase, informed her about the mole on his private part, asking if she would like to see it.
Cavallari revealed that the moment caught her off guard and completely shifted the atmosphere of the date. In hindsight, the reality star questioned whether the interaction may have been something the man routinely did as a way to create intimacy early on.
The Reality Star Was Glad She Ended Things Very Early
Cavallari continued that she discovered why he was insecure about his private part because it was a direct contrast to the reputation he has held over the years about the size of his manhood. However, the reality star uncovered another layer of turn-offs as soon as her date got out of his swimsuit.
The former E! television personality recalled the famous personality having “the flattest ass and horrible bacne scars,” making her realize his insecurities were probably much more than she thought. Cavallari declared that things changed after that second date, and she never saw the mystery man again.
She was especially grateful not to have gone overboard with him when it came to the physical intimacy aspect of their meeting. The reality star continued that her date later unraveled to be a full-blown narcissist who wanted to control, making her even happier that she dodged a bullet.
Cavallari insisted that her personality has never been listed as part of anyone on her dating history list, and she would keep it that way.
Inside Kristin Cavallari’s Expansive Dating History
The author’s major public relationship was with Stephen Colletti while they were in high school on “Laguna Beach.” The relationship and the love triangle with castmate Lauren Conrad were one of the show’s signature storylines and brought Cavallari before a national audience.
As stated by PEOPLE, Cavallari went on to become involved with a number of public figures, such as Matt Leinart and Brody Jenner, after “Laguna Beach.” Her most notable relationship was with Cutler, whom she began dating in 2010 and married in 2013 after a split.
The duo welcomed three children, and after their divorce, Cavallari admitted that it was a difficult decision, but it had to happen because it had been weighing her down for years. After her divorce, she was rumored to be in a romance with comedian Jeff Dye, who also appeared with her in public and posted affectionate remarks on Instagram.
Recently, Cavallari was also rumored to be dating popular social media personality Mark Estes. Their relationship was discussed due to their age difference, but Cavallari later stated that the breakup was not about controversy; it was about timing, priorities, and being at different stages of life.
She also went on to confirm a brief romance with former NHL player Thompson, saying it was one of the deeper relationships in her life. Cavallari admitted that their connection was based on intellectual compatibility and emotional chemistry; however, she decided not to make it more serious because she wanted to invest in herself and her career.
Cavallari Picked Out A Few Relationship Red Flags
Back in March, The Blast reported that Cavallari shared her thoughts on social media behavior in relationships, noting that a male partner hitting the like button on random women’s posts may be a cause for alarm. She believes that regular interaction, particularly by liking someone’s posts regularly, can at times be more deliberate.
Cavallari advised women not to be too controlling of who their partners follow online, since that should not be enough to raise red flags. Meanwhile, she also noted that there is a difference between being followed and going out of one’s way to sustain attention by communicating with followers repeatedly.
Drawing from her own experiences, Cavallari revealed that she has received attention from men on social media who she claimed were already in committed relationships. She singled out married men who have regular contact with stories or posts and maintain a public image of a family life online.
The TV personality remembered one example where a married man had his wife on his profile, but went on to repeatedly interact with her posts. Cavallari acknowledged that the actions were frustrating and that sometimes she would like to see partners be more conscious of those interactions.
She subsequently attacked what she calls performative loyalty online, stating that some people act one way in public and another way in private. While Cavallari said that, admittedly, everyone has their own personal limits with their relationships, she made note that sometimes, the repeated online engagement might say more than somebody intends.
Kristin Cavallari Reflected On Her Early TV Days
While Cavallari was basking in the glow of the ninth anniversary of her jewelry brand Uncommon James, she also brought back a bit of the past with a revisit to her days on “Laguna Beach” days later.
The group discussed their pay for Season 1 on the game of “First We Feast” on TikTok with former Season 1 cast members Conrad and Colletti. Cavallari surprised her castmates after recalling earning a slightly higher amount per episode, prompting reactions from both Conrad and Colletti.
Cavallari revealed that she always thought everyone was paid the same and joked that she would have filmed the show for free anyway. However, the producers subsequently increased their pay to become equal, although it was not significantly higher.
It arrived as a result of renewed interest in “Laguna Beach” after the reunion special, and served as a reminder of how far the now-famous rivals Cavallari and Conrad have come, as they are now best of friends.
What wild story will come from Kristin Cavallari next?
By Robert Scucci
| Published
Back in the ’80s, conservative parents had it out for bands like Twisted Sister, Motley Crue, anything Ozzy Osbourne had his name attached to, and Dungeons & Dragons. By 1985, we had the Parents Music Resource Center (PMRC), spearheaded by Washington wives Tipper Gore and Susan Baker, and thanks to them, we got the supremely badass “PARENTAL ADVISORY” sticker on every album deemed explicit, which only made kids want to buy them more. Which leads us to 1988’s Black Roses, a film billed as horror but playing more like a horror-adjacent satire about Satanic Panic, mass hysteria, and the kind of preemptive damage control groups like the PMRC injected into communities “for their own good.”
Black Roses holds up decades later because it completely subverts the whole idea of Satanic Panic in the most hilarious way possible. Here, we have a cool and conscientious high school teacher who doesn’t buy into the doom-speak, actually witnesses the titular Satanic band and all the damage they’re causing to his class and everybody else, only for every other concerned parent to brush off his reservations about letting them complete their three-day stint in Mill Basin. The result is a small town successfully destroyed before the band moves on to the next stop.
It’s a direct-to-video outing that leans into the parental insecurities of the time, simultaneously taking shots at helicopter parents and more level-headed authority figures alike for not quite being able to read the room in any meaningful way.
Dressed To Impress
Right off the rip, we’re supposed to like Matthew (John Martin), the hip and down-to-earth high school teacher we spend most of Black Roses following. He encourages his students to hold forums in the form of open-ended discussions about the day’s lesson, and he’s the last person who would ever succumb to Satanic Panic because he thinks his students are smart enough to make their own informed decisions about the media they consume and how it influences them. Everybody in his class, and the entire school, though, is obsessed with Black Roses, the controversial band coming to town that has parents in an uproar.
Here’s where Black Roses gets kooky. Matthew is right not to panic like the rest of the parents. Town hall meetings are held ahead of the band’s upcoming three-show run, and every adult resolves to show up and see a Black Roses concert for themselves before making a final decision. Everybody attends, and the band is dressed nicely, respectful to the crowd, and puts on the kind of goodie-two-shoes performance that would put even the most conservative parents at ease.
The problem is that the members of Black Roses knew concerned parents were going to show up and suss them out, so it was all a ruse. They are, in actuality, a Satanic group, and the second the parents dip out after the early show, the fog machine fires up, everybody onstage is wearing leather bondage outfits, and it’s painfully obvious that their goal is to hypnotize an auditorium full of impressionable teenagers into doing their bidding. Now that those pesky parents hellbent on censorship are out of the equation, they can reveal their true demonic nature and wreak havoc.
As the concerts escalate, Matthew catches wise to their nefarious intentions and becomes the hysterical authority figure who wants Black Roses out of town forever. He doubles down on his claims when one of his students, Julie (Karen Witter), now possessed, murders his ex-girlfriend Priscilla (Carla Ferrigno) because she’s romantically interested in her teacher and feels the need to eliminate the competition. Matthew voices his concerns to Mayor Farnsworth (Ken Swofford), but the mayor saw what he saw and has deemed the band harmless, even though the band’s leader is named Damian and looks like he’s seconds away from performing a human sacrifice onstage at any given moment.
Well, That Ended Poorly
Black Roses holds up today because it doesn’t really take a side in the Satanic Panic debate, which is where most of its humor comes from. On one hand, you have a gaggle of concerned, out-of-touch parents who only want what’s best for their kids but only know how to get upset over rock music and offer misguided advice. Then there’s Matthew, who represents the “cool” teacher we all had growing up, the one you’d want to grab a beer with when you’re old enough. He’s the last person to buy into Satanic Panic because he knows art is just art and that, as long as you have open, healthy discussions about it, you’ll be fine.
In between is the band itself, a group of literal demons who win over the parents while scaring the daylights out of Matthew. It’s the ultimate role reversal, and so much fun to watch play out because it’s one of the rare instances where the mob is wrong and the voice of reason is right in the worst possible way.
Black Roses takes great pleasure in subverting genre conventions, and it doesn’t hurt that glam metal band King Kobra contributed a healthy amount of music for the fictional band playing onscreen. If you want to explore your dark side and get possessed by Black Roses’ infectious melodies, you can stream the film for free on Tubi as of this writing.
President Donald Trump is backing congressman Tom Kean Jr., who has been missing for the past three months.
“Congressman Tom Kean is a Great Representative for the People of New Jersey’s 7th Congressional District!” Trump, 79, wrote via Truth Social on Monday, June 2. “A Tremendous Advocate of our America First Agenda.”
The president continued, “Tom is working tirelessly to Keep our Border SECURE, Stop Migrant Crime, Grow our Economy, Cut Taxes and Regulations, Champion Small Business, Unleash American Energy DOMINANCE, Support our Brave Military and Veterans, and Protect our always under siege Second Amendment.”
Trump added that Kean, 57, has his “complete and total endorsement” and encouraged his supporters in New Jersey to go vote for the missing congressman on Election Day, Tuesday, June 2. (Kean is running unopposed in the Republican primary and will face off against the winner of the Democratic primary race in the November general election.)
President Donald Trump is throwing his support behind Spencer Pratt in the Los Angeles mayoral race. “I’d like to see him do well. He’s a character,” Trump, 79, told reporters on Wednesday, May 20, per a video shared via social media. “I assume he probably supports me.” Trump asked a person off-camera whether they knew […]
“GET OUT AND VOTE FOR TOM — HE WILL NEVER LET YOU DOWN!” the president concluded.
Kean reshared Trump’s message of support via X writing, “Thank you for your support, President Trump! Primary Election Day is tomorrow – get out and vote! 🇺🇸.”
Trump’s endorsement for Kean comes after the congressman made headlines for his lack of public appearances and a slew of missing votes. Kean cast his last vote on March 5. One month later, Kean claimed via social media that he has been MIA because he is dealing with a “personal medical issue.”
“My doctors continue to assure me that my recovery will be complete and that I will be back to the job I love very soon,” Kean wrote via X in late April. “I expect to return to a full schedule and be at 100 percent.”
Kean also addressed that he had missed multiple votes that occurred during those two months.
“I take my responsibilities seriously and have a strong record of showing up and delivering, which makes this absence all the more difficult,” he continued. “I am especially proud of my Congressional team, who have kept constituent services and legislative work moving forward without interruption, and my political team for ensuring the campaign continues to run strong.”
Kai Trump is giving some insight into how often her grandfather, President Donald Trump, calls her on the phone. “My grandpa’s calling me,” Kai, 19, told her 1.49 million subscribers in a YouTube video shared on Friday, May 22, in celebration of her high school graduation. The newly-minted graduate then picked up the phone while […]
Since that statement, Kean has not been present in person on Capitol Hill and has missed more than 100 votes.
Last month, Kean provided an update on his return via a telephone interview with the New Jersey Globe.
“My doctors are confident that I’m on the road to a full recovery,” he told the outlet. “I understand the need for public transparency, and I appreciate the support of my constituents.”
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