13 Rich Facts About Dynasty

ABC
ABC

Glitz, glamour, and murder! The 1980s nighttime soap Dynasty captured the zeitgeist with a one-percenting oil family, the Carringtons, living large in Denver, of all places. The show, created by Esther and Richard Shapiro, premiered on January 12, 1981, to capitalize on competing nighttime soap Dallas. But what set Dynasty apart was its unabashed catfights, characters dripping with diamonds, and the progressiveness of its casting.

The show didn’t become a top 10 hit until season two, when Blake Carrington’s (John Forsythe) ex-wife Alexis (Joan Collins) strutted into town, upending the family and picking many knock-down, drag-out fights with Blake’s current wife, Krystle (Linda Evans). After becoming the number one show in America in 1985—and airing in 80 countries—Dynasty spun off into The Colbys, which only lasted two seasons.

By the spring of 1989, Dynasty’s popularity had begun to wane; after nine seasons and 220 episodes, the Carringtons were told to pack their bags. Because of the abrupt cancelation, the show returned with a two-part miniseries in October 1991. Try as they might, shows like Desperate Housewives, Empire, or any of The Real Housewives can’t hold a candle to Dynasty’s opulent legacy. Here are 13 saucy facts about the iconic TV show (which made a comeback last year).

1. THE SHOW WAS ORIGINALLY CALLED OIL.

The Shapiros wanted to make a show about the 1979 oil crisis, but they instead created an “American fantasy.” “We thought people had seen enough stories where families fell apart,” Esther Shapiro told New York magazine. “We wanted a strong, 19th-century sort of family where people were in conflict but loved each other in spite of everything. We found that the audience wasn’t very interested in the oil workers’ stories. But people were just fascinated by what was going on inside that castle.”

Dallas tapped into a similar market, but Dynasty flipped the story. “Dallas, it seems to me, is more male-oriented and rural,” Esther said. “It has a lot more to do with business wheeling and dealing than with family. The women tend to be pretty passive. Our women, though, are anything but passive … and anything but victims.”

2. ANGIE DICKINSON WAS OFFERED THE PART OF KRYSTLE.

Back when the show was still called Oil, Angie Dickinson was offered the role of Krystle, which she turned down. Without realizing Oil had become Dynasty, she asked Aaron Spelling about it at a party, a while after the show began airing. “Aaron nearly fell backwards,” Dickinson told People. “He said, ‘Well, it’s on every Wednesday at 9 o’clock, and it’s called Dynasty.’” Spelling decided to offer Dickinson another role, this time as Lady Ashley Mitchell, but she turned that part down, too. “I said, ‘I’m sorry, I just can’t. There are too many ladies already. I would want it to be my show.’”

Evans, for one, was grateful to Dickinson. “I’ve thanked God endlessly, but I owe a special thanks to Angie Dickinson for turning down the part of Krystle,” Evans wrote in her memoir. “Since then, we’ve become friends, so I was able to thank Angie myself.”

3. ALEXIS WAS THE FEMALE J.R. EWING.

“A lot of what [Alexis] was like was from [Dallas’s] J.R.,” Collins said on Watch What Happens Live. “And when I first came into the show, they compared me to J.R.” On 2006’s Dynasty Reunion: Catfights and Caviar, Collins further explained her conniving yet somewhat lovable character. “I think it was the first time that audiences saw on television a woman who could be evil and manipulating and downright nasty, and have a lot of charm and sexuality.”

4. IT FEATURED ONE OF MAINSTREAM TELEVISION’S EARLIEST GAY CHARACTERS. 

Jack Coleman as Steven CarringtonABC

Steven Carrington—played first by Al Corley, then by Jack Coleman—was Blake Carrington’s gay son (though he did have relationships with women, too). The idea of having an openly gay character on TV seemed like a good idea, but Dynasty’s producers kept Steven’s storylines rather tame and ambiguous, which didn’t sit well with Corley. The actor often complained in interviews how “Steven doesn't have any fun. He doesn’t laugh; he has no humor,” which prompted producers to replace him at the end of season two. In order to have Corley exit the show, the writers had Steven become disfigured after he was involved in an oil rig explosion. After some magical plastic surgery, Coleman reemerged as the new and improved Steven.

“My feeling was that I was in a kind of a situation where I was expected to be a spokesman, and I was never comfortable being a spokesman,” Coleman told the Los Angeles Times. “It’s just the kind of position you wind up in when a character is long-running. You not only have to defend the character but the situation to the entire country. Ultimately I saw Steven as a man who was unsure of his sexuality and from time to time was attracted to women. He was caught between worlds.”

Despite his mixed feelings about playing a conflicted gay character, Corley felt like he made a difference. “I had no idea how important this character was to a lot of people,” Corley said on the Dynasty Reunion. “The letters that I got that said, ‘This is the first thing I’ve ever seen where I can actually go to my parents and I can tell them, hey, look, there’s somebody else. There’s a face to all of this.’”

5. THE SHOW’S COSTUME DESIGNER, NOLAN MILLER, RESURRECTED SHOULDER PADS.

Joan Crawford’s 1940s attire of hats, slim-fitting dresses, and gloves was a big inspiration on Dynasty’s costume designer, Nolan Miller. “Everything was coordinated: Each dress had its own particular hat, purse, gloves, shoes, and it never varied,” Esther Shapiro told New York magazine. “Joan Crawford didn’t mix and match. We decided to take it one step further: Alexis would never wear the same thing twice. In fact, no one on Dynasty would.” Miller had a weekly wardrobe budget of $35,000, and designed 3000 outfits during the show’s run.

Collins suggested to Miller that he needed to copy haute couture designers like Yves Saint Laurent “and have high style, and so they started doing that with me, which is when they started bringing out the big shoulder pads, early in 1983,” Collins told PBS. “When I started getting very dressed up for every single scene, even in the boudoir, they loved it so much that every actress also was dressed up to the nines.”

6. DYNASTY MERCHANDISE GROSSED MORE THAN $400 MILLION.

A show about moneyed people wearing nice things translated into the public being able to purchase some of the show’s glitz. A line of Dynasty merchandise was released, which included $3 pantyhose, $150 Forever Krystle perfume, $500 tuxedos, $800 ball gowns, $10,000 handmade Alexis and Krystle dolls, and a $200,000 chinchilla coat. Crafty fans of the show could also buy Miller’s patterns through McCall’s Pattern Co. and make the fancy dresses themselves.

7. THE CAST DIDN’T KNOW THE OUTCOME OF THE MOLDAVIAN MASSACRE.

More than 60 million people tuned in to watch Dynasty’s season five finale, on May 15, 1985. The cliffhanger involved a Game of Thrones Red Wedding-like massacre in Moldavia, where terrorists crashed Amanda’s (Catherine Oxenberg) wedding to Prince Michael—whom she did not want to marry—and unleashed bullets onto the unsuspecting wedding attendees. “We had no idea who was going to live or die. None of us knew,” Collins said during the Dynasty Reunion. “Because we knew if you were really bloodied up, that was it. Might as well call your agent and say, ‘I need a job’ … It was very funny, actually.”

Fans had to wait until the sixth season premiered on September 25, 1985 to learn that none of the main cast died—just supporting characters Lady Ashley Mitchell (the second role that Dickinson turned down, which Ali MacGraw played) and Luke Fuller (Billy Campbell). The stunt was so popular, T-shirts imprinted with “I survived the Moldavian Massacre” were sold.

8. ROCK HUDSON’S APPEARANCE GENERATED SOME CONTROVERSY.

In 1985, there were still a lot of misconceptions about AIDS, with many people believing you could catch the virus from saliva. Between 1984 and 1985, Rock Hudson appeared on nine episodes of Dynasty as Evans’ lover, Daniel Reece. During filming, the producers didn’t know Hudson had AIDS (he died on October 2, 1985). The characters shared an open-mouth kiss, and Evans couldn’t understand why he didn’t lay it on her. “Instead of passionately kissing me, Rock just barely brushed his lips over mine and then backed away,” she said.

"Is it possible," asked one reporter, "that Rock Hudson transmitted AIDS to actress Linda Evans during love scenes [on Dynasty]?” To protect actors, the Screen Actors Guild wrote a letter that “recommended against kissing that involves the exchange of saliva with members of the AIDS high-risk groups—homosexuals, intravenous drug users, and hemophiliacs.”

9. DIAHANN CARROLL HOPED THE SERIES WOULD BREAK THE COLOR LINE. 

ABC

Diahann Carroll joined the cast as Dominique Deveraux during season four, and at the time was the only African-American with a recurring role on a nighttime serial. “Our intention is to play the characters in 1984 with an emphasis on character, not color,” Esther Shapiro told People. Carroll had attended a Golden Globes party where she met Dynasty's executive producer Aaron Spelling. He liked her so much, “We virtually closed the deal that night while having a drink at the bar,” Spelling said. 

Carroll felt the time was right for not only a black actress to appear on a mainstream soap, but also for a storyline of interracial romance to manifest. “They’ve done everything,” she said. “They've done incest, homosexuality, murder. I think they’re slowly inching their way toward interracial. I want to be wealthy and ruthless. I want to be the first black b*tch on television.” Carroll played the role for another season on Dynasty and two seasons on The Colbys before briefly returning to Dynasty in season seven.

10. YOU CAN VISIT THE DYNASTY MANSION.

The show was based in Denver but parts of it were filmed near San Francisco. The Filoli Estate in Woodside, California was a stand-in for the Carrington’s gigantic home. The specs: 36,000 square feet, 43 rooms, 17 bathrooms, and 17 fireplaces. This May, the estate’s 16-acre garden will host the Filoli Flower Show, which will display 50,000 tulips and 15,000 daffodils for the public to marvel at. If you’re a member of Filoli, you can visit the premises at any time—not just once a year.

11. THE LILY POND SCENE OCCURRED IN SHALLOW WATER.

Dynasty’s most famous catfight is one that took place in a lily pond and entailed Krystle and Alexis ripping each other to shreds—while wearing gowns! Evans wrote that they filmed the scene at an estate in Pasadena, in shallow water. “It looked like we were in six feet of water but in reality we were in only two and a half feet, and fighting on our knees! It felt absurd and we struggled all day to make it look authentic. When at the end of the day the director yelled ‘cut and print,’ we stood up looking like a couple of drowned rats. The crew spontaneously broke out in applause and laughter … Joan loved the verbal fights—I hated them. I loved the physical confrontations—she loathed them. We did them all—for nine years!”

12. A DYNASTY MOVIE WAS IN THE WORKS.

In 2011, the creators of Dynasty announced they were working on a script for a prequel set in 1961, to be released in theaters in 2012. That didn’t happen, clearly, but the plot surrounded a younger Blake Carrington. “We’re taking Blake Carrington back to his young manhood and when he met Alexis, and setting the movie in the Mad Men-era of the 1960s,” Esther Shapiro said. “It will give us the opportunity to start fresh, without the constraints that television placed on our characters in the series.”

“Our intention is, if this works, to make this a franchise because people want to see the others,” co-creator Richard Shapiro told ABC. “People are asking about Krystle and so forth.”

13. IT JUST GOT A SMALL-SCREEN REBOOT.

In May 2017, the CW announced that it would be bringing a reboot of the series back to the small screen, courtesy of Gossip Girl creators Josh Schwartz and Stephanie Savage. The series made its premiere in October 2017, and will return to complete its first season on January 17, 2018.

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.

Sign Up Today: Get exclusive deals, product news, reviews, and more with the Mental Floss Smart Shopping newsletter!

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.