Noah Berlatsky

The rom-com's worshipping of power and wealth comes with a gender twist.

Action movies don't usually bother much with romance. The trailer for The Transporter: Refueled certainly doesn't. The hero is cool — sexy women, plural, throw themselves at him, or at least stand near him and things blow up; there are fights and revenge and high production values. Romance is, at best, a secondary concern.

The cover for A-Force is a combination of tired trope and deodorant ad. Female empowerment can do so much better.

As a parent, you tend to assume that you have some say in forming your child's mental landscape. Then Santa comes along.

For once, central character Andrew's flaws are tied up in the fact that he is—wait for it—fundamentally decent.

It's not the gender that's the problem: It's the oppression.

Country music is an overwhelmingly heterosexual endeavor. The LGBTQ community certainly listen to, and perform, country, but in terms of lyrical content and themes, country has been focused on male-female romantic love.

For a second, it looked like the rabid hordes of gamergaters would be joined by metalheads. But #metalgate was never meant to be.

If you want America to relearn how to hate white Jews, the quickest way to do that is to associate them with black people.

"The look on Miley's face during Nicki Minaj's savage, expletive-laden rant says it all," Salon tweeted the day after the VMAs. Less than 140 characters, but still enough to link a black woman to a longstanding racial slur.