Portside

Food, housing, health—is what the revolution fought for. A drowsy old sugar island whose slaves’ descendants were now mostly farmers and fisher-folk became vibrant with people crowding revolutionary rallies to dance and chant slogans that sounded like reggae songs and were affixed to brightly colored signs around the island: “Forward Ever, Backward Never”; “It takes a revolution, to make a solution”; “Not a second, without the people.”

Kathryn Bigelow's film about 1967 Detroit riots grapples with a harsh legacy of racism in America.

People seem to think that a movie or a television show or a book is "diverse" when there are "one or two black people or brown people, or one girl or a couple of girls," DuVernay says. "Inclusion is really half—half of the cast, half of the directors, half of the writers are women or girls, half of the room, more than half of the room is of color," she says. "I think we get really satisfied with less.

The French comic series Valérian and Laureline, newly adapted into a summer blockbuster, gave the genre one of its first protagonists to powerfully own her womanhood.

Classism, racism, and sexism in the age of (Ivanka) Trump are on full display in the film's clash of sage-burning touchy-feely types versus captains of industry.

Beyond a reliance on disproved claims about race and genetics, the Gadot controversy has quite simply lost sight of the fact that race is primarily a function of place.

Wonder Woman doesn't just subvert superhero movie gender tropes, it does it in clever ways.

"As a Jew, and even more as a human being, I feel morally comfortable and politically responsible in calling upon Israel to dismantle its apartheid regime." - Richard Falk

Most fascinatingly, the film's coda features footage of the now 23-year-old Elian who still lives in Cuba and reveres the late Castro. Articulate and self-assured, he seems none the worse for his childhood trauma. Talking about the current state of relations between the two countries, he comments that Barack Obama’s history-making trip to the island country was important, but that it also “left much to be desired.”

The film's creators may have the best of intentions, but their plea for greater understanding will likely fall on deaf ears since they’ve only inadvertently confirmed Madoff’s self-pitying defense by portraying members of the working class as collateral damage in the Bernie Madoff story. By normalizing Madoff’s behavior, 'The Wizard of Lies' thoughtlessly asks us to sympathize with a devil we don’t want to know.