Portside

How bad is bad? asks the poet Jennifer Michael Hecht, in this wrenching ballad of worse to worst.

On the 50th anniversary of G. William Domhoff’s Who Rules America, the author and 11 others take stock of the book’s findings about class and power in the United States, focusing on the drive to privatize public schools, extend power abroad...

Yascha Mounk argues that democracy and liberalism are not synonymous and counsels Americans to look to the examples of Hungary, India and Turkey.

Professor responsible for concept spotlighted in McDormand’s acceptance speech tells the Guardian how it can boost diversity.

The recently published Prospective Urban Rural Epidemiology (“PURE”) study made headlines about the conventional wisdom on fats and carbs, but several methodological problems cast doubt on its conclusions.

Atlanta doesn't run on its ability to make you tune in to see what happens. It's a show about hustle; if it ever really stops being about hustle, that's likely to be just another vignette about a sudden windfall. For now, it runs on its ability to place you in a particular moment and depict the feeling of it with great precision in whatever way works best.

Inspired by student outrage at the link between politicians and the National Rifle Association, the poet find hope in the no-longer-so-innocent next generation.

Raoul Peck’s The Young Karl Marx is the best buddy movie since George Roy Hill’s Butch Cassidy and the Sundance Kid in 1969. It’s also among the most important films in decades, bringing to a mass audience not just the revolutionary ideas of Marx and his friend and collaborator Frederick Engels in the early days of modern capitalism, but an approach to politics and history that still has no peer.

This timely piece of work reminds us that the rights we sometimes take for granted have not always been available to all.

As Ava DuVernay prepares to release Disney’s eagerly anticipated A Wrinkle in Time adaptation, which has put her in the history books as the first woman of color to direct a film with a $100 million-plus budget, she cautions against thinking that Hollywood has finally solved its diversity problems.