“Twilight” actress Dakota Fanning is reflecting on how massive and intense the franchise’s fandom became.

In a recent interview, she revealed that lead actors Kristen Stewart, Robert Pattinson, and Taylor Lautner initially thought they “did some little vampire movie,” only to be left shocked by how colossal it grew.

Speaking about her experience, she explained that her lower-pressure role allowed her to enjoy the “super intense” fandom, adding that she never auditioned for the lead role.

Dakota Fanning reflected on how her smaller role in the “Twilight” franchise allowed her to enjoy everything that came with it, including its super “intense” fandom, unlike the franchise’s lead stars.

Speaking during an episode of the “Happy Sad Confused” podcast, the actress looked back on playing Jane, a high-ranking member of the villainous Volturi vampire coven, across three installments of the hit film series.

She revealed that having a recurring supporting role gave her a front-row seat to the madness without the burden of carrying the films on her shoulders.

“I got like, kind of just all the good parts of it. ‘Cause I was just a little character that was popped in, popped out, popped in, popped out,” she told host Josh Horowitz.

The former child star acknowledged that she “didn’t really have any of the pressure” that came with leading the movies, adding that she “just got the kind of fun experience” and that the setup was “ideal” for her.

‘Twilight’ Stars Thought They Made ‘Some Little Vampire Movie’

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Much of the pressure and intense media circus fell on the shoulders of the lead trio: Robert Pattinson, Kristen Stewart, and Taylor Lautner.

Fanning, who joined the series in 2009’s “The Twilight Saga: New Moon” while balancing her acting career with a regular high school schedule, recalled how truly “obsessed” the public was with the story at the time.

Yet, when the original trio signed on for the first film, none of them had any idea what was coming or how massive it would become.

“They had no idea. They just had no clue it was going to be that,” the actress said of Pattinson, Stewart, and Lautner. “They thought they did some little vampire movie.”

She added, “Then going to that Comic-Con and being like, hit with the wave of the fans was super intense.”

How ‘Twilight’ Gifted Dakota Fanning Her Closest Friend

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The “Twilight” films were a global box office juggernaut, raking in more than $3.3 billion across five installments. Fanning told the host that it was a huge phenomenon at the time, noting that it dominated conversations among her high school classmates, who were completely obsessed with it.

Elsewhere during her appearance on the show, the “Man on Fire” actress spoke about how the franchise gifted her one of her most enduring friendships in Stewart.

While Fanning clarified that she never auditioned for Stewart’s lead role of Bella Swan because she was “just a bit young for it” at the time, playing Jane gave her the opportunity to form a lasting bond with the star.

“Getting to play Jane was amazing,” Fanning said, “and it’s where I met Kristen, who you know is one of my closest friends.”

Kristen Stewart Correctly Recalls Picturesque Scene Of The Movie

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A new “Twilight” animated series is reportedly in the works at Netflix, based on Stephenie Meyer’s 2020 companion novel, “Midnight Sun.”

Meanwhile, fan favorite Stewart recently revisited a dramatic behind-the-scenes memory from the set of the franchise.

While promoting her project “The Wrong Girls” alongside co-star Alia Shawkat, she was asked to identify the filming locations of specific scenes from her past films.

When presented with a photo of a beach locale, Stewart correctly identified it as Brazil. The setting served as the backdrop for Bella’s honeymoon with Pattinson’s character, Edward Cullen, in 2011’s “The Twilight Saga: Breaking Dawn – Part 1.”

The Actress Recalled Massive Storm That Hampered Production

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Stewart went on to describe how a massive storm struck the set during filming, leaving the cast and crew stranded.

“Everyone got stuck in this house actually and couldn’t leave,” she recalled. “Yes, the whole crew was truly, like rubbing two peanuts together and like being really infuriated and pissed that like production couldn’t get them out of there.”

The actress noted that she was offered an early evacuation, humorously comparing the situation to how women and children were prioritized on lifeboats in Titanic.

“And there was like, one little boat and they were like, ‘We can get the cast out just for the night,’” Stewart explained. “And I was like, ‘This is the Titanic.’”

She added, “I’m like, ‘I’m not gonna get on that, right?’ … They’re like playing violins, and I’m like, ‘I love you guys so much. I consider myself like a blue-collar actress. So, I’m like, super with you, but I’m out of here.’”

More than 100,000 of the late Dolly Parton’s fans have signed a petition calling for Nashville International Airport to be renamed in her honor.

A Change.org petition originally started in January 2025 has gained renewed support amid the announcement of the country music icon’s death at age 80 following a brief battle with cancer on Tuesday, August 25.

“Since her passing, tens of thousands of additional supporters have visited and signed this petition,” petition organizers Lydia Popovich and Dan Dion wrote on Tuesday. “The outpouring of support has reinvigorated our mission — to rename the Nashville International Airport to Dolly Parton International Airport. A key decision maker, has responded to this petition; Tennessee State Senator Todd Warner has pledged to introduce legislation to make this change happen. We are so very grateful for his support and for ALL of the support coming in.”

Their statement concluded, “Dolly deserves to be remembered and celebrated. What a wonderful way to share her light and magic across Tennessee and the world.”

Related: Dolly Parton Made Surprise Appearance at Ribbon-Cutting 2 Months Before Death

Dolly Parton made a surprise appearance at a ribbon-cutting ceremony two months before her death at age 80. The “Jolene” singer made the rare public outing at the opening of Dolly’s Tennessean Travel Stop, a travel center inspired by her decades as a touring musician, in Cornersville, Tennessee, in June. “I wanted to welcome all […]

As mentioned, Tennessee state Rep. Warner promised in the comments section of the petition that he would “definitely introduce legislation to rename the BNA airport Dolly Parton International Airport.”

The renaming of Nashville International Airport also has the backing of City Councillor Russ Bradford, who acknowledged that “few have done more to define what this city means to the rest of the world” than Parton.

“I want to be clear about what this resolution does and doesn’t do: it’s a statement of support from Metro Council, urging MNAA [Metro Nashville Airport Authority] to take up the idea,” Bradford clarified. “The final decision on any name change rests with the Airport Authority, not with Council. I hope that this resolution sends a strong signal of how much our community would welcome this change, and that MNAA will give it serious consideration.”

As of publication, the petition has gained more than 117,000 supporters — many of whom penned impassioned pleas backing the concept of Dolly Parton International Airport.

“Tennessee should definitely change the airport name to memorialize Dolly Parton for everything that she has done,” one commenter wrote.

Another added, “Dolly Parton has paved a way for so many artists and especially women! She made a lot of contributions to the music industry and gave back with the blessings she had. The airport should be renamed in her honor without a doubt!”

Tennessee House Deputy Speaker Jason Zachary confirmed to local Nashville station WKRN on Wednesday, August 26, that lawmakers are working on a way to honor Parton once their legislative session begins in January 2027. (Zachary did not directly comment on the petition to rename Nashville International Airport.)

“Last night we already began to have those discussions again. How do you honor someone that is so worthy and beyond anything of a statue, a bust? Anything that we could do, she’s so beyond that,” he said. “Somebody like Dolly, I don’t know how you honor her well enough to really meet what she actually did during her life, but we’re going to do our best to do that.”

Republicans and Democrats in the Tennessee House of Representatives plan to work together on a plan to celebrate Parton’s life since she “was not a divisive figure,” per Rep. John Ray Clemmons.

“I think we’ll all get together, work with my colleagues across the aisle, and figure out what’s best,” Clemmons vowed. “Of course, we’ll consult with her family and friends and decide what’s the most appropriate way, or what they feel is the most appropriate way to honor her.”

Tennessee currently has a lasting monument to Parton’s life and legacy with the Dollywood theme park, which she opened in 1983 in Pigeon Forge, Tennessee. Parton created the park as a way to attract tourism to the Smoky Mountains, where she grew up.

In the wake of her death on Tuesday, Dollywood executives confirmed that they would keep the park open as a testament to Parton’s legacy.

“In her spirit, Dollywood will be open Wednesday as Dolly wanted, always reminding everyone with her signature sparkle — ‘the show must go on,’” a statement from Dollywood read. “Together, we honor her by carrying forward her message of love, perseverance, and hope. Those wishing to give in honor of Dolly may consider making a gift to the organization she was so deeply passionate about, Dolly Parton’s @imaginationlibrary.”

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Related: Dolly Parton’s Team Reveals What She Was Working On ‘Until the Day She Died’

Dolly Parton’s team is honoring her legacy by revealing the projects that were in development prior to her death. In a Wednesday, August 26, press release, Parton’s team shared that she was actively working on the following projects: Dolly’s Tennessean Travel Stops (celebrating National Truck Driver Appreciation Week beginning September 13), Dolly Parton’s SongTeller Hotel […]

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Dollywood president Eugene Naughton also pledged that the park will continue to live up to the high standards of its late “Dreamer-in-Chief.”

“A lot of people are concerned that things are going to change without Dolly being present here,” he said in an Instagram video on Tuesday. “I want to assure you, it’s not. Just know we’re all going to keep her alive here. It’s hard, right?”

The executive fought back tears as he addressed the future of Dollywood, saying, “[We plan to] show kindness, don’t be afraid to love big, don’t be afraid to dream big, don’t be afraid to care more about others ‘cause that’s exactly what we’re gonna do. That’s exactly what she’d want us to do. The show must go on.”

Aflutter with civil rights movements, anti-war protests, the sexual revolution, and the rebellious vitriol of the young rejecting old rules, the 1960s were a time of profound social evolution, and the art of the era reflects this. Cinema, in particular, underwent a drastic transition throughout the decade as the Hays Code’s gradual diminishment and the collapsing studio system collided with these cultural shifts to produce a spectacular array of groundbreaking movies that pushed boundaries and broke rules while ushering in a new status quo of harsh, realistic drama.

The greatest screenplays of the ‘60s delved into this changing worldview with total conviction. Rom-coms entertained more serious and sensual ideals. Crime sagas were suddenly laced with graphic violence. And drama went from being purely an exploration of character to a dissection of societal pillars. Even comedy and horror capitalized on this age of upheaval and turmoil. With their ability to capture this zeitgeist of revolution while adhering to the foundations of storytelling, these screenplays of the ’60s stand tall among the greatest cinema has ever seen.

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‘Harakiri’ (1962)

Image via Shochiku

Widely regarded as being one of the greatest samurai movies ever made, Harakiri spins a simmering mystery-revenge thriller into a piercing deconstruction of notions of honor and justice that surround institutional power. It follows aging warrior Hanshiro (Tatsuya Nakadai) as he requests that a feudal lord allow him to commit seppuku in his palace. As the ceremony begins, Hanshiro shares his past, including his connection to Chijiiwa Motomoe (Akira Ishihama), who attended the same feudal lord’s palace months prior, also asking to commit seppuku.

Through intricate non-linear storytelling, Harakiri presents an enthralling enigma of kinship, tragedy, and hidden motives that unfurls with masterful precision. Shinobu Hashimoto’s screenplay excels at making Hanshiro’s recounting of his past not just a poignant story of desperation, but a gripping psychological duel as well. Hashimoto commands dread and tension, building up to what is the greatest and most rewarding final duel in samurai cinema before landing one final blow with an ending of grim realism that meditates on the nature of corruption and deceit in halls of power.

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‘Bonnie and Clyde’ (1967)

Image via Warner Bros.

Beginning in the late 1960s, American New Wave cinema saw Hollywood films pivot towards gritty and more confronting stories steeped in cynical realism. Released in 1967, Bonnie and Clyde was a driving force in the early days of this artistic movement. David Newman and Robert Benton’s hard-edged screenplay went a long way in shattering studio conventions and industry taboos by mixing extreme violence, anti-hero ferocity, and visceral anti-establishment sentiment.

Not only did it reinvent Hollywood norms, but the crime classic also delivers an arresting immersion in the folklore hysteria that engulfed Depression-era America surrounding the infamous crime spree of Bonnie Parker (Faye Dunaway) and Clyde Barrow (Warren Beatty). In 1960s America, Bonnie and Clyde catered to a fantasy of rebellion and freedom. In today’s world, it is a pioneering classic that has influenced the medium for nearly 60 years. Its screenplay is as paramount to this as its unflinching depiction of violence and its two iconic lead performances.

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‘The Graduate’ (1967)

Image via Embassy Pictures

Acidic, ferocious, and brilliant at turning the alienation and aimlessness of youth into a challenging revolt against the old world, The Graduate is an ageless masterclass of satire and groundbreaking writing. It also does a fascinating thing with its protagonist, making Benjamin Braddock (Dustin Hoffman) a vessel of inertia, uncertainty, and passive angst. In stark contrast to most cinematic lead characters who drive the story with their wants and needs, The Graduate uses Ben’s inactivity as a catalyst.

It follows the recent college graduate as his drifting existence of career indecision is jolted when he is seduced by Mrs. Robinson (Anne Bancroft), a bored housewife and family friend. Their troublesome tryst grows increasingly complicated when Ben starts to fall in love with Mrs. Robinson’s daughter, Elaine (Katharine Ross). Written by Buck Henry and Calder Willingham as an adaptation of Charles Webb’s novella, The Graduate captures the striking generational divide between youths and their parents in 1960s America with stunning naturalism. The ending is iconic, pondering what reality awaits when the fiery fantasy of youthful rebellion ends.

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‘Psycho’ (1960)

Image via Paramount Pictures

Many of the great screenplays of the ‘60s are renowned for their groundbreaking impact regarding thematic ideas and graphic content. While Psycho has all of this in spades, the film’s story is even more well known for its revolutionary structure that sees the protagonist killed at the midpoint and the second half of the film become a creeping detective thriller. More than just a great exponent of a plot twist, however, Joseph Stefano’s screenplay is also a masterclass in audience manipulation, subversion, and narrative pacing.

It should never be overlooked that Stefano’s screenplay offers the perfect platform for Alfred Hitchcock to exhibit his trademark mastery of suspense, a point that should also be attributed to Robert Bloch, the author of the original novel. Also delivering one of cinema’s all-time best villains and serving as a faultless example of how information can be revealed and hidden to maximize tension, Psycho is a phenomenal, genre-defining triumph that soars off the back of its sometimes-underappreciated screenwriting.

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‘Lawrence of Arabia’ (1962)

Image via Columbia Pictures

The grandeur and glamour of epic cinema had been well established in Hollywood long before Lawrence of Arabia was released in 1962. However, the biographical war drama brought an intimacy and complexity to the genre that is as timeless as it was groundbreaking. Written by Robert Bolt and Michael Wilson, it dramatizes the WWI exploits of T. E. Lawrence (Peter O’Toole), an English soldier who unites the feuding Arab tribes to fight as one force against the Ottoman Empire.

It is famous for its picturesque cinematography depicting sweeping desert landscapes with elegant beauty and imposing scale. Yet it also thrives by using the sheer scope of its 227-minute runtime to explore Lawrence with depth, making for a gripping descent into the psychology of a brilliant though flawed man. Additionally, many of the scene transitions and actor directions are explicitly stated in the screenplay, meaning that Bolt and Wilson deserve at least some of the credit that has long been attributed almost exclusively to director David Lean and the phenomenal ensemble cast.

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‘To Kill a Mockingbird’ (1962)

Image via Universal Studios

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The nature of adaptation brings with it a certain pressure to honor the source material while making intelligent changes that allow the story to translate to the screen. This pressure is amplified when the adaptation is of a recently released, universally admired instant classic. Horton Foote mastered the art all the same, however, with his screenplay based on Harper Lee’s To Kill a Mockingbird, which would see him win Best Adapted Screenplay at the Academy Awards.

By maintaining the soul of the book, sharpening essential thematic ideas, and respecting the child’s perspective of the world, Foote excels at reconfiguring the story for the screen while staying true to its core. Such is the magnificence of the screenplay. To Kill a Mockingbird remains not only one of the greatest courtroom dramas of all time, but an enduring dissection of systemic racism in American society complemented by the wisdom and rhythm of the dialogue and the puncturing poignancy of the story.

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‘Butch Cassidy and the Sundance Kid’ (1969)

Image via 20th Century Studios

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By the late 1960s, Westerns had been a dominant force in Hollywood for over 30 years, and while the genre would soon enter a temporary decline, many filmmakers were releasing masterpieces through subverting its traditional form. The Wild Bunch is an example of this that deserves acknowledgment (and could easily have appeared on this list), but the very best might just be Butch Cassidy and the Sundance Kid.

Defined by the excellence of William Goldman’s Oscar-winning screenplay, it transforms the stoic heroism of the genre into a pioneering triumph of buddy-movie charm through its emphasis on the friendship of its titular duo. Furthermore, the biographical tale never seeks to idolize the titular duo, instead depicting them as struggling outlaws on the run whose efforts to flee a relentless “super-posse” work beautifully in tandem with a meditative exploration of the final days of the Old West. The narrative pacing, memorable dialogue, and litany of iconic scenes only enhance the screenplay’s endeavor to reinvent Western drama and innovate buddy-action cinema forevermore.

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‘High and Low’ (1963)

Image via Toho Company

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Many of the great screenplays of the 1960s are tied to the groundbreaking edge of New Hollywood cinema, but, like the aforementioned Harakiri, High and Low is ample proof that the decade saw great screenplays in the international scene as well. Directed by Akira Kurosawa, who also worked on the screenplay with Hideo Oguni, Ryūzō Kikushima, and Eijirō Hisaishi, the 1963 crime classic is a brilliant deconstruction of class divides and morality revolving around a wealthy executive forced to decide between saving his business or paying the ransom for his chauffeur’s kidnapped son.

A masterclass in structure, the first half of High and Low operates as a taut chamber drama as the hostage situation unfurls mostly in just one room. The second half then shifts gears to operate as a sprawling, fast-paced police procedural following detectives as they try to apprehend the culprit. Faultless pacing, strong social commentary, and rich visual symbolism compound the brilliance of the plotting, allowing the premise of a ransom negotiation to serve as an unforgettable case study of the human condition.

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‘Dr. Strangelove’ (1962)

Image via Columbia Pictures

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Few genres are as difficult to write as comedy. The complexity of the genre only grows when the story in question is aiming at humanity’s gravest nightmares and most terrible qualities. Perhaps no comedy movie excels in this regard as well as Dr. Strangelove, which, written by Terry Southern, Peter George, and director Stanley Kubrick, unfolds as an acidic and barbed political satire. It revolves around the U.S. President’s shambolic efforts to avert calamity when a general goes rogue and sanctions a nuclear attack on the Soviet Union.

Interestingly, Peter George’s source material—the 1958 novel Red Alert—runs as a hard drama. Kubrick’s decision to pivot to dark comedy is inspired as it transforms the high-stakes political tension into a ferocious critique of power, bureaucracy, and the illusion of order when the burden of responsibility arises. It also juxtaposes its grounded, deadpan tone with inflections of absurd mockery, allowing the movie to occupy an air of madness that is as infectiously hilarious as it is phenomenally written. It remains the greatest political comedy screenplay cinema has ever seen.

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‘The Apartment’ (1960)

Image via United Artists.

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The latter part of the 1960s generated so many great screenplays, but it is at the dawn of the decade that the best screenplay of the era is found. Written by I. A. L. Diamond and Billy Wilder (who also directed), The Apartment excels as a razor-sharp and biting satire of corporate culture and a heart-melting romantic comedy laced with charm and tenderness, all while delivering incredibly efficient storytelling and faultless, subtext-rich dialogue.

Its ability to mix a wholesome love story with bitter dramatic punch is exceptional, mastering the art of shifting between tones with elegance and fluidity. The story oscillates between Baxter (Jack Lemmon) and Fran’s (Shirley MacLaine) heartwarming romantic playfulness and poignant beats of loneliness, workplace misconduct, and even attempted suicide with astonishing grace. Additionally, the set-ups and payoffs, the character designs and dynamics, and even the premise itself are all brilliantly handled, making The Apartment the very best movie of the 1960s, screenplay-wise.

Harry Styles kicked off his record-breaking 30-night residency at Madison Square Garden in New York City on Wednesday, August 26, with the most electric show of his career.

For the latest leg of his Together, Together tour, Styles, 32, introduced an entirely revamped show full of surprises for his sold-out crowd, including a completely different setlist than the one he performed in Amsterdam, London, São Paulo and Mexico City earlier this year.

After English DJ Jamie xx warmed up the audience, Styles and his band sauntered onto his in-the-round stage immediately, marking a seamless but unconventional transition that gave fans zero time to refresh their drinks or use the bathroom in between the artists’ sets.

Not that anyone seemed to mind. From the moment Styles made his arrival in a white tuxedo jacket and black pants until he took his final (and much sweatier) bow nearly two hours later, deafening screams and applause filled the world’s most famous arena.

Related: Harry Styles Through the Years

Harry Styles has had quite the transformation since the early days of his career. The Brit entered into the spotlight in 2010 after trying out for The X Factor UK. During Styles’ time on the show, creator and judge Simon Cowell paired him with fellow contestants Niall Horan, Liam Payne, Louis Tomlinson and Zayn Malik […]

Styles opened his concert with a party-starting rendition of “Dance No More,” the current single from his fourth album, Kiss All the Time. Disco, Occasionally., before singing “Carolina” from his self-titled 2017 debut for the first time in years. His electric energy carried through “Music for a Sushi Restaurant” and “Cinema,” both from 2022’s Harry’s House, followed by “Adore You” and “Watermelon Sugar,” two of his singles from 2019’s Fine Line.

“I had the great privilege of playing this building for the first time when I was 18 years old,” the former One Direction member told the crowd early on. “There’s a gentleman who was working here then who shared with me [today] that when I got out of the car that day, I kissed the floor and said, ‘I made it to Madison Square Garden.’ … Since then, we’ve learned a lot about germs, so I wouldn’t be caught dead kissing the floor these days with my pathetic immune system. However, it is not lost on me what it means to play here, and I am truly honored to be back here.”

As the night continued, Styles played fan favorites such as “Satellite” and “American Girls,” in addition to hit singles including “As It Was” and “Sign of the Times.” The biggest reaction, though, came during “Kiwi,” which had been a staple on all of his solo tours until it was shockingly omitted from Together, Together. For its grand return, Styles introduced a funky remix of the rock track that swelled even more than the original. Fans embraced the updated arrangement, all but ensuring that it will have a permanent place in the set once again.

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Toward the end of the evening, Styles took a moment to thank his musical idols, including Dolly Parton, who died a day earlier at age 80. He then played a live recording of the country legend’s “I Will Always Love You” over the speakers and watched as the crowd lit up the Garden with their cellphone flashlights and sang along. Moments later, Styles closed out his show with Kiss All the Time lead single “Aperture,” complete with a laser show so bright that Parton surely could see it in heaven.

Styles may have once kissed the Garden floor because he couldn’t believe he’d made it, but on Wednesday night, he looked like a showman who knew he belonged there.

There is a reason why, seven years after its divisive conclusion, Game of Thrones still holds viewers in a vice grip. Audiences will always return to Westeros, just as they return to a galaxy far, far away. Game of Thrones and Star Wars may seem as though they could not be further apart, but put them together, and fans get one of the greatest space operas put on the big screen.

Streaming on HBO Max, Denis Villeneuve’s two-part sci-fi series, Dune, is the perfect combination of some of the most recognizable franchises in modern entertainment. Like previous fare, Dune takes place in a fascinating world that is impossible to look away from. The characters of the space epic exist in the Galactic Imperium, an Empire that hinges on the success of spice production on the desert planet Arrakis. This is only the setup for one of the best space operas that became so influential that it is impossible not to see its fingerprints on everything that came after.

‘Dune’ Influenced Some of the Most Beloved Franchises

Dune feels like a perfect combination of Star Wars and Game of Thrones, particularly because without the Frank Herbert novel, there would be no Tatooine or Ned Stark. The impressive world-building of these epic franchises all started with the complexities of the Imperium and a futile power struggle that threw space into chaos.

The trouble begins when the charismatic and beloved Duke Leto Atreides (Oscar Isaac) of Caladan is tasked with taking ownership of Arrakis. The planet is instrumental, as the spice mélange allows the Spacing Guild to make calculations necessary for interstellar travel. Leto understands that this is a death sentence he can’t get away from. He is set up to fail by the Emperor and the Harkonnens, a setup similar to Ned Stark’s elevation to Hand of the King. Both men are idealistic and unable to stray from doing the right thing.

Their demises are inevitable and set off a war that there is no coming back from. Desert planets are a common occurrence in Star Wars, as is the discourse surrounding spice, which acts as a drug in George Lucas’ world. Denis Villeneuve’s recent saga honors the pages from Herbert’s novel and translates it into a modern cinematic masterpiece.

The best years of Star Wars and Game of Thrones have passed, but Dune represents the best of both worlds. It is even more complex in its thematic resonance and the depiction of its main character. There are certainly protagonists to root for in Dune, but Villeneuve’s films act as a cautionary tale that is more relevant than ever. Paul (Timothée Chalamet) heads to Arrakis with good intentions, and after his father’s death, he intends to help the Fremen win their planet back.

However, Herbert posits that charismatic leaders are often drawn to the worst parts of leadership. Though initially unintentional, Paul becomes the very thing that he had hoped to fight against. Star Wars and Game of Thrones operate on a certain level of optimism in comparison to this bleak outlook. The main character of Dune wins, but that in itself is a tragedy since the entire Imperium suffers because of it. Dune represents all the best parts of fans’ favorite franchises while telling the most important story of them all.

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Release Date

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September 15, 2021

Runtime

155 minutes

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Director

Denis Villeneuve

Writers

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Denis Villeneuve, Eric Roth, Jon Spaihts, Frank Herbert

Producers

Herb Gains, John Harrison, Joseph M. Caracciolo Jr., Mary Parent, Richard P. Rubinstein, Cale Boyter, Thomas Tull, Brian Herbert, Byron Merritt, Kim Herbert, Joshua Grode

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Back-to-school season just so happens to coincide with Labor Day sales, so it’s the optimal time to shop for children’s clothes. Carter’s is making sure babies, toddlers and kids are covered by offering 50% off sitewide (no code needed!) through September 8. Plus, you can snag an extra 20% off starting on September 3 with code LABORDAY. The school year is off to a good start, eh?

For babies, parents can’t go wrong with stocking up on two-way zip-up sleep-and-play onesies. The dinosaurs and sports designs are so cool and “ very soft and keep your baby warm,” according to a shopper, and the bunnies and flowers are the sweetest addition to a little one’s closet. Don’t forget to make sure they’re covered for Halloween with this festive onesie!

Take 50% off sitewide at Carter’s!

We know how tricky it can be to get out the door with opinionated toddlers in the morning, so make it easy on yourself with already-put-together outfits. This navy set comes with comfy pants and two long-sleeve top selections, and they can get fancy with a plaid button-up set. Whether she’s headed to preschool or the playground, she’ll be cozy in a two-piece sweatshirt and pants outfit, and this dress layered over a top ensures there’s an option for more elevated occasions. The key with toddlers is to make sure they have options — but not too many.

These next couple of months are going to have some unpredictable weather, so make sure your kiddos have different outerwear. He’ll be able to get away with a zip-up jacket before moving to a midweight puffer for when temperatures begin to really drop. And she’ll get plenty of use out of a denim jacket and a raincoat — that actually “withstands the rain,” according to a buyer — during the fall months.

Whether you need pajamas, clothes, outerwear or accessories, Carter’s is filled with options for children sizes preemie to kids 14. And the 50% off Labor Day sale will seriously make an impact, especially if you’re shopping for multiple children. Make sure their school year is off to a fresh start — in style, of course.

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There’s nothing quite like a well-made thriller. After all, few film genres can be this irresistibly entertaining, this effectively tense, or this potently suspenseful. Throughout Hollywood’s Classical period in particular—generally agreed to span between 1930 and 1960—, many American thriller movies were made which have gone down in history as some of the greatest films the genre has ever seen.

Whether it’s a groundbreaking noir classic like Touch of Evil or a paragon of Hitchcockian filmmaking like Vertigo, the best thrillers from Hollywood’s Golden Age are undeniable classics which only keep getting better with age. They’re powerfully directed, well-written, impeccably shot, and all-around masterclasses in every department of thriller filmmaking.

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‘The Killing’ (1956)

Over a quarter of a century after his passing, many would still confidently say that Stanley Kubrick is perhaps the greatest filmmaker in history. That wasn’t always the case, however, seeing as Kubrick’s first two feature films were barely modest successes. But though The Killing, Kubrick’s third feature, was a box office flop, it was a tremendous critical hit and has aged as one of Kubrick’s greatest movies.

One of the most timeless classic noir movies of Hollywood’s Golden Age, The Killing employs a non-linear plot that completely revolutionized the heist film genre back in 1956, combined with razor-sharp dialogue and striking black-and-white visuals. As filmmakers were getting more and more experimental with Hollywood’s Classical period coming to its final years, The Killing came out as one of the most freshly distinct thrillers the town had seen up that point.

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‘Touch of Evil’ (1958)

Image via Universal Pictures

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Orson Welles remained one of Hollywood’s most boundary-pushing and groundbreaking directors throughout its entire Golden Age, and from that delectably ahead-of-its-time auteurial voice came Touch of Evil, another one of the era’s best noirs. Loosely based on Whit Masterson‘s novel Badge of Evil, it’s probably one of the most Hitchcockian movies ever not directed by Alfred Hitchcock, even if that isn’t by design.

Everything that follows one of the most perfect opening movie shots of the 20th century also happens to be one of the most perfect motion pictures of 1950s Hollywood. Welles transforms a delectably pulpy B-picture concept and turns it into a visually dazzling, morally complex, perfectly written masterpiece whose profound tehmatic grit and faultless pacing make it a must-see from top to bottom.

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‘North by Northwest’ (1959)

Image via Metro-Goldwyn-Mayer

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Alfred Hitchcock is widely regarded as the Master of Suspense, and that’s all thanks to masterpieces like North by Northwest, one of the director’s most idiosyncratic and unique films. It’s an action-adventure classic that’s among the most perfect cat-and-mouse thriller movies ever made, written by Ernest Lehman as “the Hitchcock picture to end all Hitchcock pictures.” There aren’t many cinephiles who would say he failed in that endeavor.

On the one hand, North by Northwest is easily one of Hitchcock’s most entertaining films, full of iconic set pieces and bolstered by Cary Grant’s timeless lead performance. On top of that, the way the film builds suspense, toys around with the “wrong man” trope (one that Hitchcock helped popularize and re-define), and balances witty humor with dramatic tension makes it one of the greatest thrillers of the entire 20th century.

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‘Vertigo’ (1958)

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Who, if not Hitchcock, could possibly be worthy of being counted not just once, but twice when talking about the greatest thriller films of Hollywood’s Classical period? And which Hitchcock masterpiece, if not Vertigo—his magnum opus, according to a good number of his fans—, could possibly be more deserving of being counted among the greatest thrillers ever made?

Vertigo is one of the heaviest psychological thriller movies ever, aggressively pushing the limits imposed by the Hays Code with its complex themes, narrative structure, and dark tone. This is no standard mystery thriller, but rather a masterfully character-driven drama about obsession and grief and a powerfully metatextual masterpiece about the desire to control reality, directed by one of the most notorious creative control freaks in the history of Hollywood.

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‘Witness for the Prosecution’ (1957)

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Billy Wilder was a filmmaker far ahead of his time, an auteur who was always entirely unafraid of challenging the Hays Code and the rest of the guidelines set throughout Hollywood’s Golden Age. Few cinematic gems display his quality as a director better than Witness for the Prosecution, a courtroom melodrama based on the play of the same name by Agatha Christie.

One of the best legal thriller movies of all time, Witness of the Prosecution incorporates elements of noir, dark comedy, and mystery thriller into its narrative in order to deliver a powerful tale about justice and loyalty. Witty, delectably twisty, impeccably directed by one of the best filmmakers in Golden-Age Hollywood history, and complete with some of the best acting performances of the era, it’s a must-see for all fans of old-school Hollywood thrillers.

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‘The Third Man’ (1949)

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The British-American Carol Reed masterpiece The Third Man is one of the best noir thrillers of the last 80 years, visually inspired by the German Expressionist movement and intensely similar in tone and atmosphere to the films directed by star Orson Welles. It’s far and away one of the greatest dramas of the post-WWII era, which produced several of the best movies of Hollywood’s Golden Age.

On the one hand, there’s the film’s groundbreaking visual style, blending a gleeful amount of Dutch angles with a delightful black-and-white aesthetic. On the other hand, there’s the gritty post-war realism that makes this one of the most essential cornerstones of the era’s cinematic production. And on the third hand of this mutated metaphor, there’s the impeccable, morally complex writing that further makes this one of its time’s greatest classics.

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‘The Night of the Hunter’ (1955)

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Actor Charles Laughton decided to sit in the director’s chair for the first time to make The Night of the Hunter. Alas, the film was an all-out critical and commercial failure, leaving Laughton heartbroken and discouraging him from ever directing a movie again. Today, that’s seen as one of the biggest tragedies in the history of Classical Hollywood; because today, The Night of the Hunter is widely recognized as one of the greatest thriller films to have ever come out of the United States.

One of those 1950s classics that only keep getting better, Night of the Hunter is part psychological thriller, part horror drama, and part noir gem, working equally well in all of those dimensions. Blending hugely expressionistic visuals, one of Golden-Age Hollywood’s most memorable villains, exceptional performances, and timeless thematic meditations, it has aged as one of the best films of the ’50s.

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‘Double Indemnity’ (1944)

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Who, if not Billy Wilder, could possibly be behind the film that’s generally recognized as the greatest noir film of Hollywood’s Golden Age? It is, of course, Double Indemnity, co-written by Wilder and Raymond Chandler and based on James M. Cain‘s hard-boiled novel of the same name. It’s pulpy filmmaking at its most irresistibly entertaining, and easily one of the best film noir masterpieces of the 1940s.

There are a myriad of reasons why Double Indemnity is considered the gold standard of both film noir and hard-boiled mystery thrillers, from its stunning visuals to its perfectly-paced narrative to its having the most legendary femme fatale in film history. Well-acted, well-written, and flawlessly directed by Wilder at his very best, it’s a must-see for all those who care to understand and appreciate Classical Hollywood cinema.

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‘Rear Window’ (1954)

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There are those who may point to Rear Window, based on Cornell Woolrich‘s short story It Had to Be Murder, as their favorite Alfred Hitchcock movie, and for good reason. It really is one of the most suspenseful thriller movies ever made, a masterpiece which proves that even when confined to a single location, well-made thrillers can still ooze pure tension and suspense right through the screen.

What’s not to love about Rear Window? Jimmy Stewart and Grace Kelly‘s performances aree perfect, the pacing is engrossing, Hitchcock’s mastery over camerawork and tone is absolute, and the story is nothing if not deeply compelling from opening scene to credits. There has never been any thriller filmmaker quite like Hitchcock, and few movies demonstrate why better than Rear Window.

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‘Psycho’ (1960)

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It had to be Hitchcock. If there’s any one genre that was absolutely dominated by the Master of Suspense throughout the entirety of Hollywood’s Golden Age—and even beyond—, it was undoubtedly thrillers. And as far as thrillers from Hollywood’s Classical period go, it doesn’t get much more culturally impactful, hugely influential, or high-quality than Psycho, based on the novel by Robert Bloch.

One of the best psychological thriller movies of all time, Psycho is a horror masterpiece that completely revolutionized every genre that it can be labeled with. It also happens to be a groundbreaking work of subversive art that could have only possibly been made right at the very end of Hollywood’s Golden Age, because there is no way that Hitchcock could have gotten away with things like the middle plot twist, grim tone, or provocative ending anytime before. As such, Psycho is easily the greatest and most essential classic American thriller.

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Psycho

Release Date

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September 8, 1960

Runtime

109 minutes

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Writers

Joseph Stefano, Robert Bloch

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