Portside

“This Extraordinary Being” reveals that the show's America’s first costumed crime fighter was William Reeves, the childhood survivor of the destruction of Tulsa, Oklahoma’s Black Wall Street, and a queer black man.

From the artist standpoint, the influx of private equity into the music business raises the temperature as well. Swift may have hit an industry nerve by pointing to how the Carlyle Group financed Braun's acquisition of Big Machine.

We get a crash course in how the bounty-hunting system works, complete with the Bounty Hunters Guild taken extremely literally as an actual unionized workforce of bounty hunters. There are labor disputes over clients refusing to pay guild rates.

Kat Candler will write the Texas-set project about a woman who leads the state's biggest strike.

Netflix has agreed to negotiate a first companywide contract with IATSE, the union representing the industry’s below-the-line workers.

The organizers of Time’s Up have called upon NBC to state that people are allowed to talk about their experiences freely, regardless of any past NDAs.

HBO's Watchmen's writing presents through-lines from slavery to Reconstruction to the so-called “alt-right”; from, as Rage Against The Machine once put it, those who work forces to those who burn crosses.

Carnival Row tells the tale of mythical creatures forced out of their homeland and gathering in the city, where tensions begin growing between the citizens and the ever-increasing immigrant population.

Raising Dion is skilled in parsing down complex social systems for a younger audience, especially through Esperanza, who often compares her experience as a person with a disability to being invisible.

The Musicale Finale also continues the Transparent tradition of retracing its steps, with characters going in circles.