Following a “brief battle with cancer,” it was announced late last month that the Queen of Country herself, Dolly Parton, had passed away aged 80. This sadly came just one year after her husband of 59 years, Carl Thomas Dean, had also passed away. The loss of a legendary songstress, movie star, and philanthropist, who dedicated her life to good causes and her passion for music, has left a huge hole in the hearts of millions.
Parton’s on-screen career began with a bang in 1980, as she starred alongside Jane Fonda and Lily Tomlin in her breakout film role in 9 to 5. Directed by Colin Higgins, who wrote the screenplay with Patricia Resnick, 9 to 5 was the perfect early showcase of Parton’s glowing screen presence as she stole the show as Doralee Rhodes. A hit with critics and a big success at the box office, becoming the second-highest-grossing film of 1980 worldwide, 9 to 5 laid the groundwork for a successful on-screen career for Parton, which arguably peaked 9 years later in the brilliant Steel Magnolias.
A feel-good romance that will leave you smiling through your tears, Steel Magnolias was one of the final directorial credits in the prolific career of Herbert Ross, who himself passed away in 2001. The 1989 movie featured an all-star cast alongside Parton, including Julia Roberts,Shirley MacLaine, Sally Field, Olympia Dukakis, and Daryl Hannah. It was Roberts who stole the show, even earning an Academy Award nomination for Best Supporting Actress for her performance as Shelby Eatenton-Latcherie. Following the passing of Parton, fans have been paying their respects by streaming this tear-jerking gem, with Steel Magnolias the second-most-watched movie on Paramount+ in the U.S. at the time of writing.
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Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
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🐦Birdman
🪙No Country for Old Men
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01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
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02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
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03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
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04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
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05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
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06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
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07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
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08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
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09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
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10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
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The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
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Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
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Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
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Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
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Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
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No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
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How Much Did ‘Steel Magnolias’ Make at the Box Office?
A huge hit with critics as an Oscar nominee and a fond favorite of fans, could Steel Magnolias capitalize on its positive reception by proving a financial hit too? The answer is yes, with the film earning just shy of $100 million worldwide against a reported budget of $15 million. Steel Magnolias opened in U.S. theaters on November 17, 1989, and maintained its presence in the domestic top ten until March the following year.
Steel Magnolias is the second-most-watched movie on Paramount+ in the U.S. Stay tuned to Collider for more streaming stories.
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