Portside

Ultimately the new Queer as Folk, by telling a wider and more disparate set of stories, manages to produce a narrative that's broader and deeper — and significantly queerer — than its predecessors.

Grief, anxiety of more to come, infiltrates an ordinary family in Rachel Mallalieu’s poem.

George Floyd was committed to being a person that mattered. But he was also Black, so he could never catch a break. As he got older the police were always at the ready. The day Chauvin murdered him was not the first time he had met Chauvin.

This author's apparent attempt to save the MAGA ideology from the far right, says reviewer Washington, "is in the end a dangerous nationalist concoction, based on an ideology that takes losers as a must and broadens existing divisions."

David Cronenberg’s latest film, Crimes of the Future, is a return to the “body horror” genre. It brings back the gross-out gore that first made his career in the 1970s — but without the thrills.

In light of recent revelations about the Martin family’s political activities, chefs are looking for alternatives to Martin’s products known for their association with Shake Shack, which uses them at locations around the world.

Kate Bush's recent resurgence due to her placement in the latest season of Stranger Things is just one example of what a music supervisor brings to a production.

Poet Susan Browne depicts the despair of our times, a sense of hopelessness, the feeling that the future will be even worse than these dismal days.

Dalit activist and writer Gogu Shyamala’s debut collection of short stories, Father May Be an Elephant and Mother Only a Small Basket, But . . . , explores caste, tradition, and exploitation in contemporary India without romanticism.

Tia Lessin and Emma Pildes' expansive and emotional documentary about the Jane Collective sheds necessary light on a very recent history.