Portside

Eight strangers around the globe are psychically linked after experiencing violent visions involving a woman (Daryl Hannah) unknown to any of them. The eight characters are about as diverse as you can get in terms of location, culture, race, economic situation, sexual orientation and occupation. As Lana Wachowski put it in an interview with io9 earlier this year, the show is "trying to get at the human question of how are we the same, and how are we different.

In its second season, Halt tells the story of two women laboring to bring a new, better technology to consumers with an assist from a houseful of gamers. Lean In, Gamergate, and the ongoing under-representation of women in tech hang heavy over the episodes.

Anchored by powerful performances from Oscar nominees Taraji P. Henson and Terrence Howard, Empire features unapologetically black characters operating in a mostly black world. Nielsen says 7.5 million of them are African-American.But that's where the other controversy about Empire emerges. Because some critics say the show has earned its success by trafficking in "badly written dialogue and ham-fisted stereotypes."

Pleas from Simon, Andre Royo and Wendell Pierce, among others, are an acknowledgement of the real-world authority we’ve granted to “The Wire,” one of the most venerated shows ever to air on American television.

“Daredevil,” adapted from the long-running Marvel comics franchise, is a superhero show about the evils of gentrification—a politically engaged work which is energized by debates about urban inequality. These debates are salient not only in the era of Mayor Bill de Blasio but also have roots deep in the city’s history.

Throughout pop-culture history, clones and robots have served similar purposes, exploring anxieties about class and labor.

A critique of Paul Mason's historical materialist prediction “Can Marxist theory predict the end of ‘Game of Thrones’?” for the upcoming seasons of Game of Thrones.

Outlander returns on April 4, 2015 with new episodes to finish out its inaugural season. While it’s difficult to label neatly, there’s much to both enjoy and analyze in the complexity of Outlander, even as that very quality is likely to earn it foes. Its feminine focus and occasionally disconcerting sexual politics may earn it rejection from both sides of the gender discussion—some because it is “too feminist,” others because it’s not feminist enough.

With AMC's Halt and Catch Fire's second season arriving soon, a reflection on the first. Halt and Catch Fire's finale reveals it was anti-capitalist all along. For all the early technical bells and whistles, Halt has a straightforward, pleasing story arc—a ragtag team that against long odds and many obstacles does the near impossible—that toward the season’s end ran into a genuinely thought-provoking hurdle: capitalism.

Popular culture may be getting more diverse in terms of gender and skin color, but it's still mostly flat in presenting diverse human qualities and differences. Few characters play against type, which makes the exceptions all the more remarkable. Part of the power of characters playing against type is simply their insistence, humorous and without qualified explanation, of their existence. In other words, like most of comedy, its power is better experienced, not explained