Portside

Spaulding noted that there are two clear paths someone could take: finding new ways to wield the power or modeling the patriarchy. The central question of the show, which she added will get "answered in various ways over the course of each episode and this season and beyond" is, "As female power emerges, how should a women use power?"

The poet Martín Espada recounts a childhood encounter of death, mourning the loss of baseball’s Puerto Rican star, Roberto Clemente.

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In this book, author Hamid writes about what he calls a "democratic dilemma" facing U.S. policymakers, who, he says, "want democracy in theory but do not necessarily want its outcomes in practice.”

Democracy Now interviews director Santiago Mitre about “Argentina, 1985,” his dramatization of the Trial of the Juntas, when a civilian court prosecuted Argentina’s former military leaders for brutal crimes committed during the U.S.-backed right-wing military dictatorship from 1976 to 1983. The film just won a Golden Globe for Best Motion Picture in a Non-English Language and is also shortlisted for an Oscar for best international film.

Some researchers have theorised that ultra-processed foods increase inflammation because they are recognised by the body as foreign – much like an invading bacteria. The body mounts an inflammatory response, which has been dubbed “fast food fever”.

America’s unbreakable fixation with football will only lead to more injuries like Damar Hamlin’s. A uniquely American concoction of capitalism and culture has allowed football to continue to thrive, even as the dangers it presents to players, both professional and amateur, have become clearer. Football remains the biggest hit on TV.

The Persian poet Majid Naficy still awakens at night, mourning friends and family, victims of the Iranian regime.

This new book is a history of the struggle over trade policy, and the impact of trade policy on U.S. society, from 1974 to the present.

If only Emancipation actually had a memorable message. Despite a committed cast and stunning cinematography, the film’s script is too blunt and the direction too ham-fisted to make it anything more than another rote entry in the slavery-movie genre.