Articles

  • 1 month ago | plastermagazine.com | Izzy Bilkus |Sam Moore

    5 min read Sam Moore dives deep into the cultural heft of the diva – its comedy, tragedy and enduring mystique – from RuPaul to the V&A I’ve noticed a shift in how the references in RuPaul’s Drag Race work. As the show has gone on to become more of a cultural monolith – from the ‘All Stars’ spin-off to a seemingly endless number of international offshoots – it has become less interested in referencing other aspects of queer life, and has increasingly begun referencing itself. As if Drag Race...

  • Dec 9, 2024 | wallpaper.com | Sam Moore

    The title of Louis Fratino’s Satura at the Centro Pecci comes from a term in Latin, Satura Lanx. This was a plate of fruits that were intended for the Gods. It’s in this context that Fratino’s engagement with queer history, Italian landscapes, and the body itself, seem best understood.

  • Sep 22, 2024 | menshealth.com | Sam Moore

    The following story contains spoilers for Tulsa King season 2, episode 2, "Kansas City Blues."THE VULTURES ARE swirling around Dwight Manfredi in “Kansas City Blues”, episode 2 of Tulsa King’s second season. The flamboyant Mafioso and his burgeoning empire are on the verge of fighting wars on multiple fronts, and that’s without “The General’s” mounting legal crisis as he awaits trial for bribing former lover and ATF agent Stacy Beale (Andrea Savage) with information on his enemies.

  • Sep 15, 2024 | menshealth.com | Sam Moore

    TULSA KING SEASON 1 climaxed with a full-on Western saloon shootout that left Irish biker boss Waltrip (Ritchie Coster) very dead at the hands of Sylvester Stallone’s Dwight Manfredi. Shortly afterwards, he was arrested by occasional lover and full-time ATF agent Stacy Beale (Andrea Savage) on charges of bribery, just as the Mafioso appeared to have completed the sooner state equivalent plot of Grand Theft Auto: Vice City, with his weed business booming and casino newly opened.

  • Aug 8, 2024 | thequietus.com | Robert Barry |Sam Moore

    Electronic music duo Kashaiof take their name, from the Hebrew word Kishoof, meaning ‘sorcery’. This ethos – the creation of something strange, almost otherworldly through their music – is everywhere in Days, a collection of songs which, at their best, seem to capture not just the sound of an apocalypse, but gesture towards what might come after it. The vocals that are scattered across the album (usually chants), feel like a genuine surprise when they emerge, in songs like ‘Clay’.

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