Portside

Netflix and A24’s Beef is astounding, anti-ambient TV.

Paramount Plus' 1950s-set series 'Grease: Rise Of The Pink Ladies' is filled with progressive Gen-Z values. Their struggles derive from not only the misogyny they come up against, but the discrimination they face thanks to their cultural identities.

Amazon's remake of Penny Marshall's classic movie is an exploration of sexuality, friendship, and baseball. It deserves more than just a four-episode wrap-up.

If you’ve ever been in a fandom space — yes, even stan Twitter — the last thing a Black woman gets away with is even the hint of violence or anger.

Everyone and their brother feels free to come at Black women with all guns blazing, spewing venom on social media as much as possible, and we are supposed just to sit and “swing low sweet chariot, we shall overcome, praise Black Jesus, take the high road,” in response. Rarely do we get to see Black women articulate rage.

14 years later, we’re all still trying to make it work.

The show never leaves the workplace. The complexities of these characters’ lives and relationships are teased out within the confines of their job, blurring the boundaries between personal and professional to create an almost claustrophobic intimacy. It’s also strangely prescient of the current, increasingly precarious gig economy.

Some of the greatest pop music ever made gets the respectful, rigorous sociological treatment it deserves – thanks to this documentary series from the Public Enemy star

A few recent series have notably nuanced depictions of brown teens. This is a promising development. (Those racist reactions? Not so much.)

The Last of Us director Peter Hoar wanted people to understand that queer love is real and "It's just the same love."