The Curve Magazine

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March 29, 2026April 6, 2026 The Curve Magazine

Frankenstein (2025): a love letter to Shelley’s monster

August 23, 2025August 25, 2025 The Curve Magazine

Superman has always been “Superwoke”: What the hero’s immigrant legacy teaches us today

May 15, 2025June 29, 2025 The Curve Magazine

Severance Season 2: Resisting dehumanisation in the corporate machine

March 10, 2025 The Curve Magazine

Nosferatu Re-imagined: Seduction or Violation?

December 6, 2024December 6, 2024 The Curve Magazine

The Substance: A Gruesome Dive into Beauty, Ageism, and Self-Perception

October 30, 2024October 31, 2024 Susanna Borio

A Christmas in Paris: The Ultimate Winter Wonderland Guide

May 5, 2023 The Curve Magazine

The “Barbie” movie casting proves Hollywood ageism is alive and well

April 17, 2023April 29, 2023 The Curve Magazine

How Succession Explores the Emotional Fallout of Toxic Family Dynamics

April 13, 2023April 29, 2023 Susanna Borio

Celebrating 15 years of East London’s Unique Electric Star Pubs

April 10, 2023September 8, 2023 Susanna Borio

Undiscovered: A conversation with Seek Harbour

April 7, 2023April 29, 2023 The Curve Magazine

From Book to Screen: Ranking 5 Sam Claflin Character Adaptations

April 4, 2023April 29, 2023 The Curve Magazine

The Banshees of Inisherin review – is legacy more important than kindness? 

March 25, 2023April 29, 2023 Susanna Borio

A conversation with Leatherette: unpretentious italian post-punk

March 23, 2023April 29, 2023 The Curve Magazine

How Netflix’s ‘You’ questions the ethics of true crime media

March 21, 2023April 29, 2023 Susanna Borio

IMMERSE concert review: pop-punk meets heavy metal

March 17, 2023April 29, 2023 The Curve Magazine

The Last of Us is a breakthrough in queer media representation

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