17 Simpsons Cultural References Explained for Younger Viewers

Fox
Fox

The Simpsons is great for a whole slew of reasons, not least because of the near-perfect satire it's produced throughout (most of) its nearly three decades on air. Any given episode of The Simpsons is a bombardment of cultural references, some more arcane than others. The show has been on since 1989, and allusions that were once obvious may now be opaque for younger fans who are catching up via re-runs.

These 17 favorites have been hand-picked for no real reason beyond the fact that they're favorites. There are thousands more, but this should be a fun place to start.

We're sure many of these are obvious for die-hard fans who have been watching since the late '80s, and we congratulate you. Feel free to brag in the comments, Genius at Work, or take that time to find out why, in episode 2F09 when Itchy plays Scratchy's skeleton like a xylophone, he strikes the same rib twice in succession but produces two clearly different tones.

1. Billy Beer.

Homer excitedly drinks this beer in two separate episodes. In season three’s “The Otto Show,” he finds a can in his old “concert jacket” and chugs it, and in season nine’s “Lisa the Skeptic,” Homer gulps down an old can and says, “We elected the wrong Carter.”

Billy Beer was named after and endorsed by Jimmy Carter’s younger brother, Billy. This hard-drinking, down-home first sibling owned a gas station in Plains, Georgia and became a cause celebre (and a bit of a liability) during his brother’s presidential campaign.

In 1977, the failing Falls City Brewing Company wanted to capitalize on his fame, so they approached Billy Carter and offered to partner with him to sell a beer that bore his name. At first, Billy Beer flew off the shelves, but its skunky taste and Billy’s proclivity to get hammered at promotional events and admit that he still drank PBR hurt the brand, and Falls City Brewing Company closed for good in 1978.

You can still find unopened cans of Billy Beer on eBay, but check your concert jacket first.

2. Ayatollah Assaholla.

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In season seven’s “Two Bad Neighbors,” Homer looks through the attic to find things to sell at Evergreen Terrace's street sale. Marge urges him to part with his “Ayatollah Assaholla” shirt, saying, “Can we get rid of this Ayatollah T-shirt? Khomeini died years ago,” to which Homer replies, “But Marge, it works on any Ayatollah! Ayatollah Nakhbadeh, Ayatollah Zahedi... Even as we speak, Ayatollah Razmara and his cadre of fanatics are consolidating their power.”

Khomeini became Ayatollah after the 1979 Iranian Revolution and supported the hostage crisis in which 52 U.S. citizens were held captive at the U.S. Embassy in Tehran for 444 days. In America, ticked-off citizens expressed their hatred for Khomeini in many ways, including T-shirt designs (although “Ayatollah Assaholla” looks to be a Simpsons original).

Many point to Jimmy Carter’s inability to resolve this crisis as the reason his re-election bid failed. Well, that and Billy Beer.

3. "A Young Joe Piscopo."

Narrating a flashback in season four’s “Lisa’s First Word,” Marge takes us to "the unforgettable spring of 1983” when “a young Joe Piscopo taught us how to laugh.”

In 1980, SNL creator Lorne Michaels left the show and ratings plummeted due to an unpopular cast. Two standouts, however, were Eddie Murphy and Joe Piscopo, and their talent carried Saturday Night Live through its lowest years. In 1984, Piscopo was at the peak of his fame and decided to leave the show to pursue greener pastures. His career never recovered, but he did manage to appear on a couple bodybuilding magazine covers.

4. "Just ask Claus von Bulow."

In season five’s “The Boy Who Knew Too Much,” Bart witnesses an accident that results in Mayor Quimby’s nephew being wrongfully accused of assaulting a waiter. After the mayor clumsily tries to rig the trial, Bart explains, “the system works. Just ask Claus von Bülow."

Claus von Bülow is a wealthy socialite who was accused of trying to murder his wife in 1980 by administering an insulin overdose. He was convicted of murder in 1982 but appealed the ruling and earned a second trial where his high-powered defense team managed to get that original conviction reversed.

5. The Toilet Where Lupe Velez Drowned.

While giving the Simpsons a tour of Springfield’s gossipy landmarks in season eight’s “Homer’s Phobia,” new friend John (voiced by John Waters) points out the plumbing supply store where Lupe Velez “bought the toilet she drowned in."

Velez was a Mexican actress who killed herself in 1944 by swallowing 75 sleeping pills. An urban legend propagated by a 1959 book about Hollywood states Velez’s initial suicide attempt failed when she became sick, so she stumbled to the bathroom to vomit and, as the rumor goes, plunged her head into the toilet and drowned. While proven categorically untrue, the story is still often retold as if it were fact.

6. Gerald Ford’s Clumsiness.

In “Two Bad Neighbors,” Homer and Bart clash with their straight-laced new neighbor, George H.W. Bush. After Bush moves out, Gerald Ford replaces him, and he and Homer get along swimmingly, their bond highlighted when they trip in unison while walking to get nachos.

Even though he was an accomplished athlete at the University of Michigan, Gerald Ford’s presidential term was full of highly publicized examples of physical ineptitude. He fell on a ski slope, hit his head on a train’s door frame after a speech, and, most famously, slipped down the slick stairs of Air Force One in Austria.

7. “It's you! You're him! You're Tony Randall!”

In season ten’s “Maximum Homerdrive,” the family dines at a steakhouse that features a promotion where you can eat for free if you finish “Sir Loin-a-Lot,” a 16-pound steak “the size of a boogie board." On the restaurant’s wall of fame, only two men are listed as having successfully taken down Sir Loin-a-Lot: Tony Randall and trucker Red Barclay, who Homer challenges to an eating contest (after mistaking him for the tuxedo-wearing Randall).

Tony Randall was a stage and screen actor, most famous for his role as the persnickety Felix Unger in The Odd Couple. The svelte Randall is an unlikely Sir Loin-a-Lot conqueror, but you can’t argue with the wall of fame.

8. "I Ordered a Zima, Not Emphysema."

Actor Troy McClure and Marge’s sister Selma become an unlikely couple in season seven’s “A Fish Called Selma.” When the two have dinner at a swanky restaurant, Selma smokes a cigarette, which causes a commotion and prompts a yuppie diner at the next table to say, “Excuse me, I ordered a Zima, not emphysema.”

In 1993, Coors introduced Zima, a “clearmalt” beverage meant to compete with wine coolers in the non-beer market. Zima didn't catch on, as it was perceived to be a gimmicky, effeminate drink—one that would frequently be ordered in establishments that “don’t serve contemporary California cuisine in your lungs.”

9. The Twirl King Yo-Yo Champions.

At the start of season three’s “Bart the Lover,” the Twirl King Yo-Yo Champions perform during a Springfield Elementary assembly and spark a yo-yo craze at the school.

In the ‘80s and ‘90s (primarily), yo-yo companies like Duncan would send one or more skilled “yo-yo professionals” on school tours to perform for students and drum up excitement for their product. If any questions about the academic value of these performances arose, they could always say “check out this centripetal force” while performing an around the world.

10. Laramie Slims.

In “Homer’s Phobia,” Homer tries to “cure” Bart of his supposed homosexuality by making him stare at a billboard for Laramie Slims that features two women smoking and having a pillow fight. When Homer returns, Bart asks him for a cigarette. Excited that his plan may be working, Homer asks Bart what kind of cigarette he wants, to which he replies, “anything slim,” thoroughly disappointing his father.

Laramie was an actual American cigarette company that went out of business in the 1950s, and the brand serves as The Simpsons' catchall device to lampoon the tobacco industry. Their Menthol Moose is a parody of Joe Camel, and Laramie Slims are a takeoff of Virginia Slims, a type of cigarette that was marketed to lure female smokers.

11. Red Tick Beer.

When Homer wants to depart from his usual Duff in season eight’s “The Springfield Files,” he orders a Red Tick Beer (slogan: “Suck One Dry”) at Moe’s Tavern. After Homer wonders what tastes different about it, there is a cutscene to the Red Tick brewery where dogs swim around in the beer.

Red Tick is an overt parody of Red Dog, a beer made by Miller that featured an English bulldog on its label. Red Dog was introduced in the mid-nineties and faded into obscurity before the decade was over.

12. "Don't Look at Me, I'm on Sugar Busters."

When Homer produces a tobacco/tomato hybrid—“tomacco”—in season 11’s “E-I-E-I-(Annoyed Grunt),” executives of the aforementioned Laramie Cigarette Company steal his secret formula. As they helicopter away from Homer’s farm, a sheep mutated by the plutonium Homer used to make the tomacco sneaks onboard. When the pilot says, “We seem to be carrying a little extra weight,” one of the executives responds, “Don’t look at me, I’m on Sugar Busters.”

Sugar Busters was a self-published diet book from the mid-nineties that was re-released by a larger publishing house and skyrocketed to the top of the New York Times bestseller list in 2001. The weight-loss plan in Sugar Busters! Cut Sugar to Trim Fat is pretty self-explanatory.

13. Hooray for Everything.

In season two’s “Bart vs. Thanksgiving,” Homer listens to a football game on the radio, and a cheery group of youngsters called Hooray for Everything perform a “salute to the greatest hemisphere on earth…the western hemisphere!” during halftime. In “Selma’s Choice” from the following season, Hooray for Everything is seen at Duff Gardens performing a kids’ version of “Take a Walk on the Wild Side” with the lyrics, “And all the races sing, doo bee doo, shoo bee doo bee doo!”

Hooray for Everything makes fun of Up With People, a traveling singing group that rose to fame in the 1970s. The troupe sprouted from the Moral Re-Armament movement, and its members sang cheesy songs about love and happiness with smiles plastered on their faces. Amazingly, Up With People performed at four separate Super Bowl halftime shows. (Their "Salute to the Big Band Era" from Super Bowl XIV is above.)

14. I & S Productions Logo

In season four’s “The Front,” Lisa and Bart submit an Itchy & Scratchy script using Grampa Simpson’s name. At the end of an Itchy & Scratchy episode, there’s an involved sequence where Scratchy pulls a sheet of paper from a typewriter and throws it in the air, forming an “I & S Productions” logo.

That sequence is a faithful recreation of the Stephen J. Cannell Productions logo bumper that came at the end of television shows like The Greatest American Hero, The A-Team, Hardcastle and McCormick, and many others.

15. Dolph’s Apple Newton

At a school assembly during season six’s “Lisa on Ice,” Kearney tells fellow bully Dolph to take a memo to beat up Martin on his Apple Newton. When Dolph writes “Beat up Martin” with the device’s stylus, it changes to “Eat up Martha,” so Kearney just hurls the Newton at Martin’s head.

Apple released the Newton in 1993 during a period of time when Steve Jobs was not with the company. The overpriced handheld computer proved to be a massive flop, and its lousy handwriting recognition software was just one of the reasons for its failure.

Years later, Apple's iPhone development team used the Simpsons reference as a mantra to get their keyboard perfect. "In the hallways and while we were talking about the keyboard, you would always hear the words 'Eat Up Martha,'" Apple engineer Nitin Ganatra told FastCo. "If you heard people talking and they used the words 'Eat Up Martha,' it was basically a reference to the fact that we needed to nail the keyboard. We needed to make sure the text input works on this thing, otherwise, 'Here comes the Eat Up Marthas.'"

16. "Remember ALF? He’s back...in POG form!”

Comic Book Guy is shown as a buyer and seller of Pogs in at least two episodes. When Bart wins $500 after suing Krusty the Clown in season six’s “‘Round Springfield,” Bart thinks about buying the “Steve Allen Ultimate Pog” from Android’s Dungeon. Also, when Bart sells his soul in season seven, he writes “Bart Simpson’s Soul” on a piece of paper and trades it to Milhouse for $5. When Bart seeks to get this back from his best friend, Milhouse tells him he traded it to Comic Book Guy for some ALF Pogs.

Pogs were part of a popular game in the 1990s. In it, players would stack cardboard discs (“Pogs”) and then hit with a heavier disc (a “slammer”), which would cause the Pogs to scatter. POG is a fruit drink that's popular in Hawaii, and it’s name is an acronym meaning passionfruit, orange, and guava. The original Pogs were caps from actual POG bottles.

And, while we’re at it, ALF was a popular TV show about an alien who lives with a suburban family (ALF means “Alien Life Form”), and Steve Allen was Steve Allen, former host of The Tonight Show, The Steve Allen Show, I’ve Got a Secret, What's My Line, and more.

17. Ravi Shankar

In season six's "Bart of Darkness," Bart breaks his leg and has to spend summer inside. The Krusty the Clown Show episode he watches is a re-run from the 1970s, and the special guest is Ravi Shankar, who plays "what you've been waiting for, another long raga."

Shankar was an Indian sitar player who famously inspired George Harrison's love of the instrument and taught him how to play it in 1966. The Krusty appearance is most likely inspired by the above clip from a 1971 episode of The Dick Cavett Show.

Amazon's Under-the-Radar Coupon Page Features Deals on Home Goods, Electronics, and Groceries

Stock Catalog, Flickr // CC BY 2.0
Stock Catalog, Flickr // CC BY 2.0

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

Now that Prime Day is over, and with Black Friday and Cyber Monday still a few weeks away, online deals may seem harder to come by. And while it can be a hassle to scour the internet for promo codes, buy-one-get-one deals, and flash sales, Amazon actually has an extensive coupon page you might not know about that features deals to look through every day.

As pointed out by People, the coupon page breaks deals down by categories, like electronics, home & kitchen, and groceries (the coupons even work with SNAP benefits). Since most of the deals revolve around the essentials, it's easy to stock up on items like Cottonelle toilet paper, Tide Pods, Cascade dishwasher detergent, and a 50 pack of surgical masks whenever you're running low.

But the low prices don't just stop at necessities. If you’re looking for the best deal on headphones, all you have to do is go to the electronics coupon page and it will bring up a deal on these COWIN E7 PRO noise-canceling headphones, which are now $80, thanks to a $10 coupon you could have missed.

Alternatively, if you are looking for deals on specific brands, you can search for their coupons from the page. So if you've had your eye on the Homall S-Racer gaming chair, you’ll find there's currently a coupon that saves you 5 percent, thanks to a simple search.

To discover all the deals you have been missing out on, head over to the Amazon Coupons page.

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The 25 Greatest Vampire Movies Ever Made

Christopher Lee in Horror of Dracula (1958).
Christopher Lee in Horror of Dracula (1958).
Warner Bros. Home Entertainment

Filmmakers have been making movies about vampires almost since the inception of motion pictures, and our public fascination with these creatures of the night has not yet dimmed. Throughout the decades we've seen vampire stories ranging from psychological dramas to comedies to all-out monstrous terrors, using these bloodsucking characters as metaphors for everything from wealth to sin to drug addiction to sexual taboos. Along the way, some truly great movies have come along. Here are our picks for the 25 greatest vampire films of all time (in chronological order).

1. Nosferatu (1922)

F.W. Murnau's legendary silent classic is famously a Dracula adaptation with the serial numbers filed off, but what's lasted about this gorgeous nightmare of a movie is not its reliance on the Dracula structure. Even if you've never seen it you know the image of Max Schreck as the needle-fingered, wide-eyed vampire Count Orlok, and Murnau never misses an opportunity to maximize the raw power of Schreck's performance. Even now, nearly a century after it was made, the image of Schreck simply walking into a dark bedroom at night is enough to leave you chilled.

2. Dracula (1931)

There's a reason you can ask almost anyone to do a Dracula impression and you'll still usually hear Bela Lugosi's accented, almost otherworldly cadence, and it's not just because a Sesame Street character picked it up and ran with it. While some viewers have come to prefer other versions of the Count—including the Spanish-language Dracula shot alongside the Lugosi version—the pure, spooky aura of Tod Browning's original Universal Pictures adaptation still casts a strange spell. The eerie, scoreless silence; the subtle touches of spookiness lurking around the main plot; and Lugosi's earnest power all still work all these decades later.

3. Vampyr (1932)

Carl Theodore Dreyer's moody masterpiece might move a little slowly for modern audiences, but if you let its shadowy world creep into your psyche just a little bit, it'll never leave again. Shot with minimal dialogue and often nonprofessional actors (the star is the guy who funded the movie), Dreyer makes excellent use of mood-setting visuals to convey an overall tone of dread. From shots of clouds moving behind weathervanes to the way the light hits a skull to the simple, slow turning of a key in a lock, Dreyer's film creates an atmosphere that's very similar to a nightmare that you don't quite understand until you've woken up.

4. Dracula's Daughter (1936)

In the opening minutes of Dracula's Daughter, the title character literally sets the body of her father on fire. It's a bold statement, especially considering how much the Count would come back to Universal Pictures in later years, and the first of many daring moves in this subtly progressive sequel. Gloria Holden is mesmeric in the title role as a woman trying to free herself from her father's curse; the lesbian overtones of the story are surprisingly progressive for their time; and the film has a lot of rather compelling things to say about being part of such a horrific legacy.

5. Horror of Dracula (1958)

Tod Browning's Dracula is a moody, quiet, understated exercise in otherworldly terror, which is why Hammer Studios's first attempt to bring the bloodsucking Count to life runs in almost entirely the opposite direction. Horror of Dracula, the first of several films to star Christopher Lee in the title role and Peter Cushing as his nemesis, Van Helsing, is hot in all the ways that Lugosi's Dracula is chilling. Vibrant, sexy, and led by two iconic performances, it remains a bloody good time, and inspired more than a few solid sequels.

6. Let's Scare Jessica to Death (1971)

The delicate dance of ambiguous horror can backfire on a filmmaker if the audience is eager to see genuine monsters onscreen, but John Hancock's film about a woman who retreats to a secluded country home after a traumatic event—only to find that something horrific might already be there—is an example of ambiguity going as well as it possibly can. With notes of The Turn of the Screw and Carmilla woven into its psychological terror, Let's Scare Jessica to Death is a film that manages to make you question everything while still ultimately delivering the horror goods. The scene in which the townspeople reveal the wounds on their necks remains one of the most unnerving moments in all of 1970s horror.

7. Blacula (1972)

If you haven't seen Blacula, you might be forgiven for thinking that the film is a joke based on its title alone, but it's in that very concept that the first note of brilliance comes from this exploitation classic. See, "Blacula" is a joke. It's a cruel joke told at the expense of the title character, who's made a vampire after refusing to allow slave trading to be done in association with his proud African nation. In that way, the film is much about an African leader reclaiming his personal and national pride in modern America as it is about a bloodsucking, seductive monster, and star William Marshall makes sure you walk away feeling both.

8. The Blood Spattered Bride (1972)

If Dracula is the most-adapted vampire story ever, then the second most-adapted is Carmilla, Sheridan Le Fanu's tale of a lesbian vampire preying on a young woman. Of all the various adaptations, though, Vicente Aranda's The Blood Spattered Bride stands out as the most impactful and the most haunting. Thanks to wonderful leading performances from Maribel Martín and Alexandra Bastedo, and a series of unforgettable image choices, Aranda's film captures both the alluring, dreamlike power of the story and the bloody eroticism of some of the best '70s horror films.

9. Ganja & Hess (1973)

Ganja & Hess is a film that takes its time, building its own pace and thematic weight brick by brick until it's finally ready to unleash the full horror of its story. At its core, Bill Gunn's film uses vampirism as an addiction metaphor, telling the story of the title characters—played by the incredible Marlene Clark and Duane Jones, who is best known for his role as Ben in George A. Romero's Night of the Living Dead—with patient, concentrated emotional energy. It's a film capable of being so laid back at times that you almost forget the horror is about to hit, then when it does it's an unforgettable explosion of brutality, sin, and raw acting power.

10. Nosferatu the Vampyre (1979)

The image of Max Schreck as the pale, pointy-eared monster known as Count Orlok was an indelible piece of pop culture for decades before Werner Herzog decided it was worth picking up again for his own purposes, and against all odds Herzog managed to produce a second all-out classic using Schreck and director F.W. Murnau's core cinematic concepts and pushing them just a bit further. This Nosferatu is a little sexier, a little more subtle, and propelled by magnificent performances from Klaus Kinski, Isabelle Adjani, and Bruno Ganz. Plus it's got pitch-perfect Herzog dialogue, including lines like "Time is an abyss profound as a thousand nights."

11. The Hunger (1983)

The Hunger is one of the sexiest, most stylish vampire films ever made. It's so distinct in its costuming, pacing, and cinematography that there's a temptation to place style over substance when talking about Tony Scott's dark romance. But look beyond the beautiful visuals and you'll see that Catherine Deneuve, David Bowie, and Susan Sarandon are actually weaving a devastatingly beautiful tale of fading love, regret, and loss. It's a story about an eternally young woman who would rather hide her past away than confront it, and it's that thematic core that takes the film from sexy supernatural drama to all-out horror in the final minutes.

12. Fright Night (1985)

Just as the Hammer Dracula films took everything pop culture had learned about vampires from the 1920s onward and poured it into films made for a new audience, Fright Night took everything pop culture had learned about vampires since the Hammer era and poured it into one endlessly entertaining movie about the vampire next door. It's basically a film about a kid who has grown up watching all of those vampire movies on television, only to find that a creature from one of them has walked off the screen and into his life. It's got all the things you want from a classic period vampire flick—a little comedy, a little seduction, some amazing creature effects, even a washed up vampire hunter character—but it puts them all in the house next door to great effect. It also has Chris Sarandon, and honestly what more do you need?

13. The Lost Boys (1987)

Lots of vampire stories focus on the monster entering an otherwise peaceful community and slowly consuming. The Lost Boys, directed with wit and visual power by the late Joel Schumacher, flips that convention to instead tell the story of a family who moves to a seemingly peaceful beach town, only to find that the monsters are actually sort of running the place. The result is a film that's funny, fierce, and a perfect metaphor for the often horrifying challenges of adolescence. Plus, it's the film that features the internet's favorite saxophone player.

14. Near Dark (1987)

The legend of the vampire is so cemented in popular culture that it can function as a kind of shorthand for just about any viewer, which means some of the best films in the subgenre are the ones that take it as a given that you know the basic rules, then go out of their way to reinvent them. Kathryn Bigelow's Near Dark is a masterclass in vampiric reinvention. You know the basic idea, the movie knows you know, and so you're plunged immediately into a dark Western dreamscape where a lonely young man is pulled into a world of hyperviolent predation lurking just beneath the sleepy surface of the land he thought he knew. Bill Paxton and Lance Henriksen give all-time great performances, and the film still packs some of the most memorable visuals any vampire movie has ever delivered.

15. Vampire's Kiss (1989)

Many of the greatest vampire stories ever told lean heavily on the metaphor of aristocracy as vampirism, of the upper class literally and figuratively sucking the life out lower classes. So it's no surprise that in the 1980s someone had the idea to take that metaphor and apply to rich single white dudes living the executive life in New York City. Vampire's Kiss, led by Nicolas Cage in one of the all-time great scenery-chewing Cage performances, is about both the sneering apathy of the wealthy in 1980s America and about the scourge of toxic masculinity in office spaces across the country, all with a black comedy twist. And if that doesn't do it for you, it's got Cage reciting the alphabet like a lunatic.

16. Bram Stoker's Dracula (1992)

The last Dracula adaptation on this list is one that hoped to take the familiar pop cultural aura of Bram Stoker's story and twist it in ways no one had ever seen on the big screen before, and the result is what might be the least subtle Dracula adaptation ever made—we mean that in a very good way. Francis Ford Coppola's take on the Count (played with relentless intensity by Gary Oldman) is soaked through with the kind of voracious appetites the legendary vampire himself would appreciate. This film is hungry for sex, hungry for stylized violence, hungry for lavish costumes, hungry for practical effects, for accents, for melodrama, for all of it. It's a film that invites you to drink deep, and the result is something unforgettable.

17. Cronos (1993)

Guillermo del Toro's feature directorial debut is already packed with many of his eventual hallmarks. The story of an antiques dealer who stumbles upon a mysterious device that induces vampirism, it's packed with memorable visual choices, a beautiful design for the central McGuffin, and of course, aching sympathy and even love for the central monster. In del Toro's hands, the legend of the vampire becomes a powerful, singular meditation on faith, love, and mortality that only he could deliver.

18. Interview with the Vampire (1994)

The first film adaptation of Anne Rice's legendary Vampire Chronicles novels remains a classic thanks to Neil Jordan's sumptuous direction and blistering lead performances from Tom Cruise (who Rice famously thought was miscast until she saw the film), Brad Pitt, Kirsten Dunst, and Antonio Banderas. Rice's stories often focus on the existential dread not of the humans surrounding the vampire, but of the vampire itself, living as an outsider in a world they once thought they understood. Jordan's film is thick with the emotional and thematic weight of that metaphor, but he and Cruise also ensure that the narrative around it never stops being a blast to watch.

19. The Addiction (1995)

Abel Ferrara's black-and-white film about a graduate student who becomes a vampire is a masterclass in how to absolutely pack 90 minutes of genre filmmaking with meaning while never letting go of the horror. Lili Taylor is stunning in the lead role, holding our eyes as Ferrara builds out the metaphors of the titular addiction, the philosophical underpinnings of each decision that drives the plot, and the slow-burn build to a literal blood feast at the end. It's a gritty, visceral gem of a film with a crystal clear understanding of what it wants to do with the vampire myth.

20. Blade (1998)

Blade is a film that begins with a shower system in an underground club raining blood down on dozens of dancing bodies, and that's pretty much all it needs to make this list. Seriously, though, Stephen Norrington's big-screen version of the Marvel Comics character of the same name, played with undeniable swagger by Wesley Snipes, is a supernatural action film that also manages to get vampires right. They could be disposable monsters for Blade to swipe at. Instead, they become a diverse array of characters who are often frightening, sometimes sympathetic, and always compelling.

21. Let the Right One In (2008)

"What if you were the one who got to be close to a vampire?" was done before Let The Right One In, but it was never done so beautifully before Tomas Alfredson's film about a lonely boy and his budding friendship with a strange new neighbor. From the way the camera sits, often distantly, to watch a child on a playground alone to the way the film is able to pivot from emotionally devastating scenes of isolation to sudden explosions of violence, it's a masterclass in tone, pacing, and feeling that's often as heartwarming as it is harrowing.

22. Thirst (2009)

No one on Earth shoots violence quite like Park Chan-wook, which means no one has ever made a vampire film quite as brutal and unpredictable as Thirst. But, as with all of his films, the violence is only part of the story. With the thematic weight of sin at the heart of this story of a priest who indulges in an affair around the same time as he's indulging his thirst for blood, Chan-wook anchors the film in the beautiful performances given by Song Kang-ho and Kim Ok-bin (credited here as Kim Ok-vin) to deliver a tragic, often strangely funny, tale of love gone wrong. The final act of this film is one of the most powerful and brutal of any vampire story you're ever likely to see.

23. Only Lovers Left Alive (2013)

Leave it to Jim Jarmusch to deliver one of the most straightforwardly gorgeous, deceptively simple takes on vampirism as loneliness, even when it's the story of who you get to share that loneliness with. Starring the relentlessly bewitching duo of Tom Hiddleston and Tilda Swinton, with unforgettable work by the great John Hurt thrown in for good measure, Only Lovers Left Alive works as an intimate, perfectly focused study of eternal love amid a changing world that's passed you by.

24. What We Do in the Shadows (2014)

The prevalence of vampire stories across pop culture means that spoofs were always inevitable, and the popularity of mockumentaries means that someone was probably bound to do one like this eventually. What sets What We Do in the Shadows apart, and takes it beyond its goofy premise into the realm of classics, is the sense of sincerity that hovers over the whole thing. The film doesn't attempt to poke holes in vampire tropes we love, and it earnestly avoids any sense of "Isn't this stupid?" mean-spiritedness. There's something so genuine about the whole thing, and that makes everything from the performances to the plot work so much better as not just a good comedy, but a good vampire movie, full stop. (We'd be remiss not to make mention of its TV series spinoff, which follows a different group of vampires living in New York.)

25. A Girl Walks Home Alone at Night (2014)

Ana Lily Amirpour's A Girl Walks Home Alone at Night is an unnerving, sensuous dream of light and shadow, anchored by a spellbinding performance from Sheila Vand in the title role. Rather than attempt to anchor her film to a clear sense of time and place, Amirpour's tale of a lonely vampire prowling a fictional city instead exists in its own, unmoored bubble, like a vampire who's forgotten how old they are or how far they've wondered. The result is a film that's as magical as it is unsettling—a fairy tale with fangs.