“If you can remember anything about the 60s, you weren’t really there.”
Welcome to the second ‘Daily Evening Randomness By Hendy,’ where each night we do a little ‘nightcap post’ that follows whatever random theme we’ve chosen for the evening.
I’m not sure what it is about the 60s, but I’ve always been fascinated by it. The fashion, the music, the lack of social media leaving people feeling awful all of the time… you know, little things.
Tonights ‘Daily Evening Randomness‘ is dedicated to the 1960s. So, pour yourself a drink, maybe throw on a record, and enjoy some old photos of a time we’ll never see again!
If you find me using my phone at any random point in the day and ask “What are you looking at?” odds are pretty good the answer is Letterboxd. Part social media, part movie database, Letterboxd lets you log, rate, and review movies you watch, and follow your friends to keep tabs on what they’re logging, rating, and watching. I check it multiple times every single day.
One of the coolest parts about Letterboxd is the fact that it gives users the ability to sort its massive film database in countless ways. Want to see every movie available on a certain streaming service? No problem. Or scroll through all the films made in 1963, listed in order of length? Easy peasy!
You can also sort their database according to user ratings, either your own or the average score compiled from the millions of Letterboxd users around the globe. And you can do that for every single year since the invention of cinema — meaning it’s very simple, with just a couple of clicks, to see the top-rated movie on Letterboxd from every dating back to the earliest days of movies, when audiences supposedly ran screaming out of the theater at the sight of a train barreling towards the camera.
That’s how I assembled the list below, which contains the #1 movie of every single year going back 100 years. Note that I excluded the occasional TV miniseries or anime or concert specials that sometimes popped up; this is a list of films and films only.
Also note now many titles, especially in the early decades of the list, are available on Criterion Collection Blu-rays and 4Ks. I s that because the Criterion Collection has impeccable taste? Or because the Collection (and the Criterion Channel streaming service) are the only access many people have to works of classic cinema?
It could be a bit of both. Like the chicken and the egg we may never get to the bottom of this question. But if you start scrolling now, you will get to the bottom of this list … eventually. (Fair warning, it’s pretty long.)
The Best Movie of Every Year for the Last 100 Years (According to Letterboxd)
According to the users of the movie website Letterboxd, here is the single best movie of every year dating all the way back to 1925.
The internet doesn’t stop just because the sun goes down.
Welcome to ‘Daily Evening Randomness By Hendy,’ a place where we can wind down, have a laugh, and enjoy whatever random sh!t I threw together for that particular evening.
When John called me about this idea, I happened to be at an airport bar in Leeds, nearing the end of a pint of something that I wished was Guinness, but wasn’t.
“Can I make one about Guinness?” I said.
“Hendy, make it about whatever the f**k you want, just make it good, and add ‘By Hendy’ to the title for the first couple of days. That way, you have to own it.” John replied.
So, here we are. I’m making this first post while plugged into my laptop at a pub in Dublin. This post will be different every evening, but this evening, it’s about John and I’s mutual love for Irish Pubs.
Relationships are equal parts love, laughter, chaos, and compromise – like accepting he may just wear his best joggers on the most important day of your relationship.
Whether it’s trying to decide what to eat for dinner, juggling kids and responsibilities, or just collapsing on the couch after a long day, couples know the routine all too well.
These memes capture the highs, the lows, and the “oh, that’s us” moments of everyday partnership. From marriage jokes to parenting chaos to the kind of tired only a couple can understand, it is all here.
Love might be patient and kind, but it is also messy, sarcastic, and sometimes brutally honest. And that’s what makes it fun.
We all have a memory of that one hangover that damn-near sent you to another realm. That’s typically followed by the memories of the days where you could drink a helluva lot more and feel fresh as a daisy the next day.
So, why exactly do hangovers get worse as we age?! It’s something that I desperately need to know, for… science reasons.
Robert Redford died on September 16, 2025 at the age of 89, after a career that spanned decades and included some of the best movies of the last 50 years.
When an artist of Redford’s stature passes away, it’s only natural to want to go back and revisit some of their work. For those looking to go beyond “Robert Redford 101,” I’ve assembled the following list of five of my favorite Redford performances and directorial efforts. I deliberately decided to leave out Butch Cassidy and the Sundance Kid, All the President’s Men, and Ordinary People, figuring if you’ve seen any of Redford’s work, you’ve probably watched one or all of those. These are a little less well-known, but just as good. If not better.
After you watch the five films below, there are plenty more where they came from. Redford’s career encompassed so many different styles and genres. He made romances, comedies, biographies, sports movies, and Westerns. He’s fantastic in Sneakers, a lighthearted ’90s thriller that’s become something of a cult favorite in recent years. He’s unforgettable in The Natural, even if the film drastically changed its source material’s ending.
He’s surprisingly watchable in Indecent Proposal, one of the most notorious Hollywood movies of the 1990s, in which a rich man (Redford) offers a married woman $1 million to sleep with him. Heck, he’s even good in Captain America: The Winter Soldier, where he plays as S.H.I.E.L.D. secretary Alexander Pierce, who comes into conflict with Steve Rogers and Nick Fury. He was a movie star’s movie star; bringing gravitas and passion to everything he made.
I’m guessing most people reading this have watched The Winter Soldier already. If you have not seen any of the five films below, you should rectify that oversight ASAP.
Great Robert Redford Movies Everyone Needs to See
A selection of great films starring the late Hollywood actor and icon, Robert Redford.
Cannon building is an interesting subject. How big should the barrel be? What type of muzzle? How large do you make the cascabel? All very good questions.
But canon building is something even more fascinating (not to mention far more relevant) to the readership of ScreenCrush, who are generally much more interested in famous films than the precise shape of trunnions. And while canons are typically discussed in terms of all-time of cinema masterpieces, they cut both ways — the all time masterpieces, and the all-time disasterpieces. Those are the types of movies we’ll be discussing today: The 40 worst movies of the last 40 years.
No one except for Bialystock and Bloom ever set out to make a bad movie, and as such, there is no guaranteed way to make a massive cinematic calamity. Some of the films below were taken away from their directors and recut into incoherence. Others hewed closely to their filmmakers’ original vision; alas, the filmmaker’s vision formula was abjectly horrible to begin with.
Some are unfunny comedies, others are unexciting thrillers. There are animated movies, superhero films, adaptations of classic works of literature, and even a Jerky Boy or two. You just never know how something will turn out until you make it and then people watch it. Sadly, I’ve watched all 40 of these movies. They sure do stink. (And if you do want to read more about cannon building, don’t get your chase girdle in a twist; there’s a quite lot you can learn just from reading the cannon page on Wikipedia.)
The 40 Worst Movies of the Last 40 Years (1985-2024)
Across four decades of amazing cinema, here are the films that are … not great.
Being stuck inside all day truly has us ready for adventure and the great outdoors. But since there’s still work to be done here at Chive HQ, I figured bushcraft photos were the next best thing.
We’ve compiled some of the most interesting and ingenious uses of bushcraft – not to be confused with Busch craft which is just me crushing an entire 12-pack by myself.
Perfect idea for the weekend: Enjoy these pics, then get out there and touch some grass yourself!
Last week, Brussels Art Week’s inaugural full-city edition, RendezVous, animated the Belgian capital with exhibitions, performances, screenings and talks across more than 65 venues. Founded by curators Laure Decock and Evelyn Simons, the initiative transformed the city into a walkable constellation of art spaces spanning downtown, uptown and midtown neighborhoods. The week pulsed with ambition and wit, balancing international names with local voices and institutional heft with grassroots initiatives. And while many of the art week exhibitions remain open through October, the concentrated energy of the opening days set the tone for the city’s autumn art season, shaking off the summer lull.
Decock and Simons’ manifesto captures the ethos behind the project: “For us and for many, Brussels is a unique place. Conveniently central, discreetly humble—surrounded by big sisters such as London and Paris, but brimming with a creative energy that is ferocious… A city defined by an enriching diversity, a charming chaos, an avant-garde that has been going steady for over 100 years and where new trends inscribe themselves onto a canvas of strong art historical traditions.”
At the heart of the 2025 programming was The Tip Inn, a temporary salon conceived by Zoe Williams as artwork and gathering point. Equal parts dive bar, nightclub and installation, the venue had candlelit tables, satin curtains and an atmosphere pitched between decadence and parody. A monumental print of Jan Sanders van Hemessen’s Prodigal Son (1536) presided over the room, while sausages hung like garlands and a video loop showed a girl casually relieving herself among glasses of champagne. Visitors ordered the artist’s signature whiskey-Montenegro cocktail, pocketed lighters inscribed with “Can I show you my portfolio?” and drifted between conversations, poetry readings, screenings and DJ sets.
The Tip Inn, a salon-style installation by Zoe Williams. Courtesy the artist
Williams, a Marseille-based British artist, has long explored the performative dimension of hospitality. By staging a bar, she foregrounded the dynamics of service, consumption and rebellion, while The Tip Inn itself captured Brussels humor and irreverence, reminding everyone that art weeks need not be confined to white cubes.
RendezVous unfolded across three main zones. Downtown, centered around the city center and Molenbeek, there was a strong mix of historical reflection and contemporary experimentation. At Harlan Levey Projects, Amélie Bouvier’s exhibition “Stars, don’t fail me now!” (on through December 13) examined humanity’s enduring fascination with the cosmos. Working with archival solar images from the Observatoire de Paris-Meudon, the Brussels-based artist transformed deteriorating glass plate negatives into meticulously drawn “photodessinographies.” Graphite and ink captured both celestial forms and the fragile material traces of scratches and fingerprints. Hanging textiles such as Astronomical Garden #1 and #2 extended this investigation into fictionalized landscapes, oscillating between scientific observation and poetic imagination.
Nearby, Galerie Christophe Gaillard opened “Le Contenu Pictural,” Hélène Delprat’s first solo show in Belgium (on through October 31). Borrowing its title from René Magritte’s irreverent ‘période vache,’ the exhibition highlighted Delprat’s own commitment to risk-taking and play. Alongside new works, rarely seen gouaches from the late 1990s testified to a two-decade hiatus in her practice, their intensity sharpened by that rupture. The presentation follows her major retrospective at Fondation Maeght and precedes a forthcoming exhibition at Centre Pompidou-Metz in 2027.
Grège Gallery offered a different model altogether. Founded in 2021 by Marie de Brouwer, the initiative bridges art, design and architecture, and twice annually it hosts site-specific exhibitions in extraordinary locations—from medieval farmhouses to brutalist landmarks—while its Brussels space functions as a showroom and meeting point. For RendezVous, the gallery highlighted this nomadic, cross-disciplinary ethos, underscoring how entrepreneurial visions are reshaping Brussels’ cultural landscape.
Galerie Greta Meert revisited the late career of Sol LeWitt with “Bands, Curves and Brushstrokes” (through October 25). The works on paper from the 1990s and 2000s charted his shift from rigorous geometry to more fluid gestures, balancing spontaneity with systematic logic. Upstairs, the gallery previewed an online viewing room devoted to British artist James White. His forthcoming series “Indoor Nature” features photorealist paintings on aluminum, presented in plexiglass boxes, capturing domestic interiors where plants introduce subtle tension between artifice and vitality.
Kenny Scharf, JUNGLENIGHTZ, 2025. Oil, acrylic & silkscreen ink on linen with powder-coated aluminum frame, 213.4 x 243.8 x 7.6 cm. Courtesy of the artist and Almine Rech. Photo: Hugard & Vanoverschelde photography
Ixelles, the heart of uptown Brussels, was buzzing. At Almine Rech, Kenny Scharf’s “Jungle jungle jungle” (on through October 25) presented the artist’s unmistakable universe of cartoonish ecologies and consumerist critique. Scharf, a veteran of the New York Downtown Scene that saw Keith Haring and Jean-Michel Basquiat rise to fame, continues to expand his cosmic pop language. Works such as JUNGLENIGHTZ (2025) exemplified his lush, frenetic engagement with nature, nightlife and dystopian exuberance.
Johanna Mirabel’s “I Wish,” at Galerie Nathalie Obadia through October 25, highlights the tradition of ex-voto painting. Drawing on both European and Latin American precedents, the French artist of Guyanese descent wove together sacred motifs and secular imagery. Scenes of disaster and recovery conveyed gratitude, anchoring her first Brussels solo exhibition in a rich cross-cultural lineage.
Bernier/Eliades Gallery showcased Martina Quesada with “If This Is a Space” (through October 25). Her geometric wall sculptures and pigment-on-paper works established rhythmic systems of variation and resonance. Pieces like The verge was always there (2025) interacted with shifting sunlight in the gallery, blurring distinctions between material presence and atmospheric suggestion.
At Xavier Hufkens, Charline Von Heyl’s debut exhibition in Brussels affirmed her reputation as one of the most inventive painters working today. The canvases danced between exuberance and rigor, improvisation and discipline. Rather than resolving into answers, they insisted on painting as an open-ended inquiry—a dialogue as mischievous as it is profound.
Moving toward midtown neighborhoods like Sablon, Forest and Saint-Gilles, Gladstone Gallery presented “In the Absence of Paradise,” Nicholas Bierk’s contemplative still lifes and portraits. Drawn from personal photographs, the Canadian artist’s oil paintings addressed grief, transformation and memory with understated intensity.
At Mendes Wood DM, Julien Creuzet unveiled “Nos diables rouges, nos dérives commotions,” his first Brussels solo show, on through October 25. Anchored by the figure of the Red Devil from Martinican carnival, the immersive installation combined films, wallpapers, sculptures and sound. Creuzet reimagined the masked body as a fluid, untamed entity traversing mythologies and diasporic histories. Rice, tridents and fragmented limbs recurred as potent symbols, layering ancestral spirituality with contemporary politics. His cosmology was unsettling yet emancipatory, opening unexpected pathways of imagination.
Design also had a strong presence. Spazio Nobile staged a joint exhibition by Kiki van Eijk and Joost van Bleiswijk, curated by Maria Cristina Didero. Celebrating two decades of collaboration, “Thinking Hands” highlighted the duo’s whimsical yet precise approach, rooted in Eindhoven’s design culture. Furniture, lighting and installations demonstrated how their practice resists mass production in favor of intuition and shared invention.
Institutional programming added depth. At WIELS, the group exhibition “Magical Realism: Imagining Natural Dis/order” explored ecological precarity through myth and dream. Curated by Sofia Dati, Helena Kritis and Dirk Snauwaert, it assembled more than thirty artists. Highlights included Gaëlle Choisne’s Ego, he goes, a talking fridge filled with decaying goods that critiqued consumer waste while invoking Creole cosmologies. Works by Marisa Merz, Cecilia Vicuña and Jumana Manna reinforced the exhibition’s call for alternative ways of inhabiting the planet.
Amélie Bouvier’s “Stars, don’t fail me now!” at Harlan Levey Projects. Courtesy of the artist & Harlan Levey Projects. Photo credit: Shivadas De Schrijver
Outside, Sharon Van Overmeiren’s The Farewell Hotel transformed the WIELS garden into an inflatable castle open to children and adults alike. Referencing pre-Columbian motifs, museological displays and Pokémon, the installation invited visitors to bounce, explore and reconsider what art can be. Its playful verticality epitomized the week’s spirit of porous boundaries between seriousness and delight.
RendezVous demonstrated how Brussels’ art scene thrives on contrasts—between the polished and the raw, the historical and the experimental, the institutional and the independent. It unfolded not just as a showcase of exhibitions but as a lived experience of the city itself, weaving fluidly through neighborhoods and communities. Far from another entry in the crowded calendar of art weeks, RendezVous affirmed Brussels’ singular position in the cultural landscape: cosmopolitan yet intimate, grounded in tradition yet insistently forward-looking. With this momentum, anticipation for next year’s edition is already mounting.
“Magical Realism: Imagining Natural Dis/order” at WIELS. Photo: Eline Willaert
Credit where credit is due. ArtButMakeItSports has cracked the code. The account’s creator LJ Rader has found success beyond just going viral. He has built an audience, and kept it.
Rader spent quite a bit of time in art museums growing up. He now keeps a massive digital folder handy, filled with works of art. So when inspiration strikes in the sporting world, all he has to do is flip through and his memory retention does the rest.
We’ve compiled another batch of sports moments that are completely imitating art. Enjoy!
Kunle Adeyemi, Traditional Sekere Players Ensemble, 2013. Deep Etching and Block Print, 24.5 x 19 in. Courtesy the artist and Fobally Art World Africa
Across West Africa, a quiet yet seismic shift is redefining the arts and museum culture. Once cast by Western critics and mainstream media as static repositories of colonial-era artifacts, the region is now overturning those narratives and reshaping what it means to create, preserve and present African art. This transformation is not limited to new expressions of cultural authenticity; focusing on both past and present, it challenges the very foundations of how African art is interpreted and valued. And as institutions reclaim narrative authority and place cultural identity at the center, they are asserting an unmistakable presence in a global discourse long dominated by Western institutions.
A vivid example of this transformation is the recently closed exhibition “The Eight Printmaking Grandmasters Exhibition,” which opened at Fobally Art World Africa in Lagos, Nigeria, in early August. The show convened some of the region’s most influential printmakers and paid tribute to the revolutionary vision of Uche Okeke, Solomon Wangboje and Bruce Onobrakpeya—trailblazing members of the Zaria Rebels who, in the 1950s, defied colonial art norms and rewrote the course of modern African art. At the time, colonial art schools privileged European styles, perspectives and realism, but the Zaria Rebels rose by rejecting the idea that African art had to mimic European standards to be deemed legitimate. They resisted curricula designed to sever them from their own cultures and visual traditions. Onobrakpeya, for instance, infused his work with abstract motifs drawn from Nigerian folklore, including Urhobo mythological figures and uli or nsibidi symbols. Through their defiance, printmaking was transformed from an act of imitation into one of cultural affirmation, a legacy carried forward today by contemporary artists who continue to expand African visual identity.
“The Zaria Rebels preached on the use of natural synthesis, which experiments with different forms, motifs and patterns; these materials are often sourced locally,” printmaker Dr. Kunle Adeyemi told Observer. The processes and methods championed by the rebels remain visible today in West African modern art, which draws heavily on local culture and environments and, as Adeyemi notes, is not created for the Western gaze. “My work is to document and tell the stories of who we are by using locally sourced materials, which gives it a unique and traditional essence.”
Kunle Adeyemi, Bountiful Harvest, 2010. Deep Etching and Block Print, 28 x 34 in. Courtesy the artist and Fobally Art World Africa
His practice embodies a broader generational continuity—one that is equally evident in the work of the emerging artists featured in the exhibition. This cultural shift places African perspectives at the center of art, printmaking and cultural production, opening the door for a new wave of contemporary artists deeply rooted in African expression. Among them is Adedamola Onadeko, a printmaker whose work reflects evolving narratives shaped by local heritage. “Like the Zaria Rebels, I employ vibrant, bold colors, moving away from colonial art norms to embrace a dynamic African-inspired palette. The incorporation of natural elements such as flora and fauna is a direct nod to the Rebels’ emphasis on indigenous themes and cultural identity. Ultimately, my works embody the spirit of innovation and cultural exploration championed by the Zaria Rebels, celebrating and amplifying African voices.”
At the heart of this cultural awakening is a renewed commitment to local storytelling. Institutions such as the Museum of Black Civilizations in Dakar and the Musée Théodore Monod are embracing community-led exhibitions and multi-language labels, dismantling long-standing hierarchies between curators and audiences. Nigeria’s soon-to-launch Edo Museum of West African Art (EMOWAA) in Benin City, led by Nigerian-born architect Sir David Adjaye, is positioned to challenge Eurocentric exhibition models and elevate African storytelling. EMOWAA is conceived not as another repository of objects but as a stage for narrative-driven exhibitions that mirror the ways art lives in festivals, oral traditions and communal rituals. Artifacts will no longer sit as inert relics in vitrines stripped of context; they will serve as vessels of performance, memory and identity. Institutions like the Nubuke Foundation in Accra and the Centre for Contemporary Art in Lagos are already pioneering these alternative approaches to exhibition and education—frameworks that reject the Western gaze in favor of local perspectives.
Adedamola Onadeko, Adesewa’s Dreams, 2025. Digital Collage and Painting, 27 x 36 in. Courtesy the artist
The push for restitution of looted African artifacts—galvanized by initiatives like the 2018 Sarr-Savoy report—has reignited calls for accountability and cultural sovereignty. While headlines have spotlighted high-profile returns such as the Benin Bronzes, the deeper movement reaches far beyond physical objects. At stake are questions of ownership, memory and power. This shift no longer hinges on European approval. African curators, scholars and activists are building their own museums, archives and digital repatriation platforms. New academic programs and pan-African cultural policies are embedding restitution into broader movements for justice, education and economic empowerment. Together, these efforts signal a systemic commitment to reclaim narrative power, not merely possession.
Digital tools are propelling this transformation forward. Projects such as Savama-DCI’s digitization of the Timbuktu manuscripts and the Museum Futures Africa platform are prying open access to cultural heritage once locked in colonial archives or left dormant in under-resourced collections. By digitizing and documenting African artifacts, these initiatives equip museums to share collections across borders, engage communities in storytelling and reshape curatorial practice. This approach undermines the traditional gatekeeping of African history while fostering decentralized, collaborative networks of knowledge. It also allows institutions to virtually exhibit traditional works that might otherwise be dismissed or excluded, drawing in new audiences and expanding connections.
As the global art world continues to wrestle with its colonial past, West Africa has already moved on. Conditional returns and long-term loans from European institutions too often framed restitution as a favor, not a right, while imposing restrictions on ownership, display and conservation—mechanisms designed to retain control under the guise of generosity. Today, West African institutions are charting their own course, pursuing something more enduring: the radical reintegration of tradition, innovation and sovereignty. Restitution is no longer a question of returning what was taken. It is about shifting the very center of art’s identity and entrusting African voices—artists, historians and storytellers—to decide how culture is shared, curated and lived.
Adedamola Onadeko, Born in the Wild, 2025. Digital Collage and Painting, 27 x 36 in. Courtesy the artist
Listen, I don’t make the rules. All I know is Alice Murphy is one of the greatest supporting characters to ever grace our TV screens.
The fearless leader of TelAmeriCorp has a no nonsense policy – unless it’s on her own terms. Over the course of 7 seasons we saw actress Maribeth Monroe take complete control of the character.
Alice is like if Michael Scott from The Office was actually good at his job. She’s driven, determined, and doesn’t f*ck around. Let’s just call her watch she is; a boss bitch. Here are some of Alice Murphy’s funniest moments.
To adapt a Stephen King book is to set yourself on one of two paths: Eternal adulation or crushing ridicule. For an author as prolific and beloved as King, whose work is, for the most part, pretty cinematic even in its written form, there are tons of terrible movies based on his oeuvre of short stories and novels that almost make you wonder if the source material is bad, too. And then there are the good ones, even great ones, that remind you that not only is King a master of his craft, but when a director and their crew of actors really get it, they get it.
There are few things in life better than a great King adaptation, and there’s probably a reason why so many great directors have tried their hand at his work. His writing style, while firmly his own, lends itself to unique cinematic visions: the likes of Brian De Palma, David Cronenberg, John Carpenter, Rob Reiner, Frank Darabont, Mike Flanagan, and, of course, Stanley Kubrick have all brought his work to terrifying life and more than satisfied the fans. (Even King eventually admitted Kubrick’s version of The Shining was all right.)
So, while the list of bad Stephen King movies is frightfully long, the list of great ones is slowly catching up, and includes a few titles that are considered the best movies ever made, period. These run the gamut from blood-and-guts horror flicks and dread-inducing thrillers to understated family dramas and nostalgic tales of young friendship, capturing the range of an author that never wasn’t in his prime and a filmic universe led by some of the greatest actors and directors that ever lived. Not bad for a guy from Maine.
The 12 Best Stephen King Movies
Most of these are already cinema classics, and the rest are criminally underrated.
When it comes to unwritten rules, there’s no real guideline since.. you know… they’re unwritten. You just kind of know not to do certain things. I suppose it’s like an extension of common courtesy.
Some people got it, some people don’t. Here are a handful of ‘unwritten rules’ that people absolutely swear by.
