Portside

It’s easier to blame individuals for the opioid crisis than to attempt to diagnose and cure the ills of a society.

Among this month's offerings on Netflix: several feature debuts, including Spike Lee's "She's Gotta Have It" and Ryan Coogler's "Fruitvale Station, Mati Diop’s "Atlantics,” and Numa Perrier’s “Jezebel.”

The wide-ranging executive order focuses on fair and open competition in various sectors of the economy and aims to boost competition and review monopolies across a handful of industries.

This year, the Canadian TV show Trailer Park Boys turns twenty. The program’s refusal to patronize its marginal, working-class characters was key to its comedic and popular success, and won it a special place in our hearts.

The denial of racism in education is hardly new, as poet Peter Neil Carroll presents the story of a Native American reformer.

They are highly educated, poorly paid, absent union backing and part of the metastasizing precariat. They are also organizing. Two veterans of the contingent college adjunct’s struggle ably tell the story, as reviewed by a veteran labor militant.

This book, the second on Trump written by this pair of Pulitzer Prize-winning reporters, "pulls back the curtain on the handling of Covid-19, the re-election bid and its chaotic and violent aftermath."

Cinephiles and streaming fans can both claim victory. But as we better understand the new screen culture taking shape, it looks like we may all lose in the long run.

Small farmers of indigenous foods lose income to capitalist food production, which creates ostensibly cheaper substitutes and stigmatizes indigenous food as unhealthy, inconvenient to produce, environmentally degrading, or inferior in taste.

She may have beaten Serena Williams, but Netflix’s affecting new docuseries reveals Osaka as a young woman plagued by self-doubt, and trying to figure out her place in the world