Portside

American Factory offers a unique journey into the transformation of an Ohio factory, and the lives of all those caught in it.

In a climate when so many digital media companies are being reorganized by new leadership and moving to unionize, it’s easy to relate Succession's episode to countless mini-crises of the last couple of years.

HBO's Succession peeled back the layers of the all-powerful Roy family, a Murdoch-like media empire built by despicable, ruthless people, and what it showed us was more putrid and awful than we ever could have imagined.

True believers like Ailes or for that matter Steve Bannon or Tucker Carlson may be cynical and fundamentally financially motivated yet they are a foundational part of an emerging right wing international.

What makes the difference in the end isn’t the skill (or ineptitude) of the negotiator, but the workers’ solidarity and fortitude on the picket line.

What in 2019 is the equivalent of the nuclear standoff between the Americans and the Russians? It is race and the police, speculates Damon Lindelof, Executive Producer of HBO's Watchmen.

It’s not enough to settle for having a flat, oversimplified version of feminism on television. The conversation is nuanced and deserves representation as such.

Years and Years is a broad-strokes diagnosis of a species in existential crisis. It’s meant as a warning about what’s happening in the present moment.

Stranger Things 3 is more deeply informed by American paranoia than ever before, as the show starts to mine classic, Cold War–inspired works of the mid-1980s.

This disconnect, the palpable condescension and disgust the Ailes family feel for the communities and viewers who’ve made them impossibly rich, is one of the most intriguing and under-explored parts of The Loudest Voice.