By Monday, August 16, 1926, Rudolph Valentino’s private medical crisis had become a national spectacle. Newspapers carried his condition on their front pages, thousands of anxious admirers overwhelmed the Polyclinic Hospital with telephone calls, and crowds gathered outside seeking the latest bulletin about the screen idol’s survival. Yet even as Valentino tried to reassure family members, friends and Pola Negri that he would recover, another drama was taking shape beyond his hospital room. Conflicting stories about his final night began spreading through New York—stories involving nightclubs, showgirls, alcohol and a gathering at Barclay Warburton’s apartment. As Valentino fought for his life, those who had been with him struggled to explain exactly where he had gone, whom he had seen and what had happened before he collapsed.

On August 14, 1926, Rudolph Valentino was still one of the most famous men in the world, being a film star whose looks, romantic stories, and every public appearance captured the interest of millions. However, despite the glamour of his last evening in New York, there were clear signs that serious troubles were affecting him. His friends observed that he had an unwell appearance, Valentino himself mentioned having indigestion, and he remained ill from dinner through to the theatre and then to a late meeting at a friend's apartment. His manager, George Ullman, advised him to go back to his hotel room and rest. "Why, I feel wonderful!" Rudy answered. "I don't need rest." The exact details would afterwards differ depending on who was telling the story, but all the versions pointed to the same tragic climax: within a few hours the seemingly invincible "Great Lover" would be struggling to stay alive.

HOLLYWOOD, Calif. — Hollywood Forever Cemetery will commemorate the 100th anniversary of the death of screen legend Rudolph Valentino with the 99th Annual Valentino Memorial Service and a special centennial screening of Valentino’s final film, The Son of the Sheik (1926) on Sunday, August 23, 2026.

Few motion-picture stars have been written about as often as Greta Garbo, yet she remains trapped inside a handful of familiar clichés. She was “the Divine,” the mysterious Swedish beauty, the reluctant celebrity who supposedly wanted only to be left alone. Over time, the legend became so powerful that it nearly erased the woman herself. Scott Reisfield’s Greta Garbo and the Rise of the Modern Woman attempts to restore that woman to the story. His Garbo is not merely an elusive star or a face designed for the camera. She is a disciplined actress, an ambitious professional, a forceful negotiator, and a cultural figure whose screen performances helped redefine how modern women could be represented.

On the 23rd of August, at about the time when Rudolph Valentino died in 1926, Hollywood takes a moment—briefly and with respect—to pay tribute. The event is small when measured against the scale of celebrity gatherings but huge in historical terms since it is not a premiere nor a nostalgic exhibition; it is a memorial service—the oldest annual tradition in Hollywood, and for nearly twenty years the consistent emcee has been Tracy Ryan Terhune: an author, collector, and guardian of a legacy which would otherwise vanish into myth, cliché, or silence.

The summer movie season may be winding down, but theaters aren't giving up yet. Friday, August 14, brings an eclectic assortment ranging from big-screen dinosaurs and an offbeat Matthew McConaughey crime drama to stoner comedy, Cold War history and a Broadway phenomenon. Here's a quick look at what's new and whether it's worth leaving the house for.

Very few people who visit Hollywood Forever Cemetery know that an important individual in Rudolph Valentino's early years in Hollywood is interred just a few feet from the famous crypt of the silent film idol. Although thousands go there every year to pay their respects to Valentino, they usually fail to recognize the crucial part that Maxwell Karger played in launching the career of one of cinema's first international superstars.

In 1956, thirty years after Rudolph Valentino's death, his name could still draw a crowd. This time there was no movie premiere, memorial service, or anniversary observance. The attraction was a room in a doomed Hollywood landmark and the ordinary furniture being auctioned from inside it.

Emily Wortis Leider, a highly respected author and cultural historian who had written biographies of Rudolph Valentino, Mae West, Myrna Loy and Gertrude Atherton in order to examine the complex human beings underlying the carefully crafted public images of these individuals, died in San Francisco on July 16, 2026, and was 88 years old.

After multiverses, alternate realities, collapsing dimensions, celebrity cameos and universe-threatening catastrophes, Spider-Man: Brand New Day does something that almost seems revolutionary for a modern Marvel movie: it remembers that Peter Parker is most interesting when his problems are personal. And I loved it. The film isn't perfect—it occasionally tries to carry more characters and storylines than it needs—but director Destin Daniel Cretton has given Tom Holland's Spider-Man exactly what he needed after the enormous spectacle of Spider-Man: No Way Home: room to grow up.

On August 23, 1926, Hollywood suffered the loss of its first genuine superstar. Thousands of sorrowful fans gathered on the streets outside New York's Frank E. Campbell Funeral Chapel. Some women collapsed, men scaled the cars in order to get a better view, and the police had great difficulty in managing the growing crowd. Reporters were sent by the newspapers to report on the event as though it were a national emergency. The man who had died was not a president, a military hero, or an industrial giant. He was an actor. Yet no film star had previously aroused such devotion, and maybe no silent-screen idol has ever held a position so prominent in the public mind. A hundred years after his death, Rudolph Valentino is still one of Hollywood's most lasting legends—a man whose fame was so great that it contributed to the formation of the modern idea of movie stardom.

After a busy July dominated by blockbuster releases, the first weekend of August offers a more eclectic mix of films. Comedy fans finally get a long-awaited sequel to a beloved cult favorite, romance enthusiasts are treated to an unconventional love story with a science-fiction twist, and horror devotees can indulge in Eli Roth's latest nightmare. While none of these films is expected to dethrone Spider-Man: Brand New Day at the box office, each offers something distinctly different for moviegoers looking for an escape from the summer heat.