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One of the greatest crime movies of all time changed how Hollywood operated forever.

The idea for 1967’s Bonnie and Clyde began in the early 1960s when two Esquire writers, Robert Benton and David Newman, came across a book called “The Dillinger Days” by John Toland. After completing their draft of the script, Benton and Newman tried unsuccessfully to land legendary French director Francois Truffaut, who turned down the film due to prior commitments.

He sent the script to Jean-Luc Godard, who also turned down the film before Truffaut was later attached to direct. Turner Classic Movies claimed “no Hollywood studio was interested in funding an American gangster film directed by a Frenchman who could barely speak English.”

Eventually, Warren Beaty got his hands on the script and produced and starred in the film while taking just a $200,000 salary – but a 40% cut of the film’s box office. Following the surprise success of the film, Hollywood production companies tightened the reigns on contracts.

‘Bonnie and Clyde’ Ranked Among Greatest Crime Movies of All Time

Collider ranked Bonnie and Clyde as the No. 10 crime movie of all time.

“The American film industry started to get more radical in the 1960s (an undeniably great decade for cinema, it has to be said), with the movement away from the Hays Code and towards auteur filmmaking ultimately giving birth to the New Hollywood movement in the 1970s. And one film that’s always mentioned as being instrumental in ushering in that era is 1967’s Bonnie and Clyde,” Collider wrote.

“Bonnie and Clyde is a stylish depiction of its titular duo’s exploits during the Great Depression, with the two falling in love and pursuing a restless life of crime, mainly through various bank robberies. For its time, Bonnie and Clyde was a shockingly violent and jarringly edited movie, but it helped redefine what the American film industry was capable of producing, and helped audiences get acclimated to a higher level of violence and more morally complex characters.”

Bonnie and Clyde also ranked No. 42 on the American Films Institutes list of the 100 greatest films of all time. It owns a strong 91% from critics on Rotten Tomatoes while audiences give the film an 88%.

The film was nominated for 10 Academy Awards and won for Best Supporting Actress (Estelle Parsons) and Best Cinematography (Burnett Guffey).

Related: 1972 Robert Redford Classic, Turned Down by Clint Eastwood, Named One of the Greatest Westerns of All Time

Just days after the hit sitcom generated excitement with a rare cast reunion, Home Improvement is quietly leaving Netflix on Aug. 1 as the series’ streaming run on the platform came to an end.

The departure comes shortly after Patricia Richardson, who played Jill Taylor throughout the show’s eight-season run, shared a photo on Instagram alongside Thomas and Taran Noah Smith, who portrayed sons Randy and Mark Taylor on the hit ABC sitcom.

Jonathan Taylor Thomas Makes Rare Public Appearance

The reunion drew particular attention because Thomas, now 44, has largely stayed out of the public eye since stepping away from Hollywood in the early 2000s.

Richardson captioned the reunion photo simply, “My other boys,” alongside a heart emoji.

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Thomas became one of television’s biggest teen stars while appearing in 179 episodes of Home Improvement. During the show’s run, he also voiced Young Simba in Disney’s The Lion King and starred in family favorites including Man of the House and Tom and Huck.

A Fan Favorite Decades Later

Premiering in 1991, Home Improvement became one of television’s defining sitcoms of the 1990s, helping launch Tim Allen into stardom.

The series continues to resonate with audiences, earning an 80% audience score on Rotten Tomatoes and remaining one of Allen’s most beloved television roles.

Centered around television host Tim “The Tool Man” Taylor and his family, the sitcom blended family comedy with Allen’s signature humor across eight successful seasons.

Unfortunately for fans inspired by this week’s reunion, Home Improvement officially left Netflix on Aug. 1, ending the show’s run on the streaming service.