Portside

It’s interesting to see how political art changes. This year’s Whitney Biennial, rather than in-your-face commentary on American injustice here and abroad. Then there was a collection that I thought was a parody, but discovered it was serious

I believe that when Black people tell our own stories, we can shift the axis of the world and tell our REAL history of generational wealth and richness of soul that are not told in our history books. – Beyoncé

What happened between Presley and Colonel Parker is parallel with all exploitation of workers. As Woody Guthrie wrote: “Some rob you with a six-gun, some with a fountain pen.”

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For the Pentagon, films like Top Gun: Maverick are more than just a movie. They are a recruitment bonanza.

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Rank-and-file unionism, nationally, is taking center stage in many strikes and union actions across the country. “The labor movement was becoming hot, members were really getting activated and needed a way to organize and funnel that energy.”

What the film has to say about the exploitative nature of sequels is less interesting than how it positions its male lead.

The field is reckoning with a long legacy of racial exclusion, despite its universalist claims.

Pedro Almodovar’s new movie with Penelope Cruz is his most explicitly political.