Noah Berlatsky

At first, this looks like sexism. And then you realize, hey, this is sexism. Hope isn't allowed to do the dangerous job because Pym has put her on a pedestal, and won't let her off it.

Their sexuality traps and destroys male innocence, as they grad hold, by the penis- the better to lead him to castration. Make no mistake that castration is greeted with fear, terror, and disgust—but also with glee. Women as super villains allow their characters to be super powerful; a force for evil is at least a force. In a media landscape where women are often rendered secondary, invisible, and passive, the femme fatale, in her icy violence, seizes female agency along with the phallus that she so efficiently cuts off.

The loss of gospel history has meant forgetting how important black women have been to American performance styles.

It's hard to deny the appeal of the masculine ideal, especially when embodied in Jude Law. And yet, it's also a depressing vision.

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.

"I believe that, in order to address these problems, we need to first understand how we got here."

Is the gender of the philosopher a marginal curiosity—or is it more central?

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.

Last year there was much excitement at the announcement that Lupita Nyong'o was going to play a major role in Star Wars: The Force Awakens — the first Black woman to star in the franchise.

Banks' "Ice Princess" video shows that it's not only white people who can pick up someone else's culture.