Portside

London’s Theatre Royal in the mid-1800s. Edmund Kean, the greatest Shakespearean actor of his age, collapses on stage while performing the lead in Othello. He is replaced by a young, black actor, Ira Aldridge—a first for the role on London’s West End. As a bill in Parliament promoting the abolition of slavery sends shock waves through the streets, how will London react to his performance?

Magicians have long taken advantage of obscure mathematical principles in creating interesting puzzles and illusions.

Shorter hours shouldn’t have to mean every worker for herself.

The moral of the story is “don’t tell stories about these big topics if you can’t do it well.” And by “well,” I don’t mean create a post-racial utopia. I mean have the ability to give that story its own weight and importance beyond what it does for your two white leads. I mean the very least you can do is not make Jamie and Claire white saviors. At the very least. But that isn’t possible because they are the people this story is about.