Noah Berlatsky

The Lord of the Flies can feel like a vacation spot for conflict-management consultants in comparison to social media.

A Ghostbusters with a female cast is a thorough violation of the spirit of the original. And that's a good thing.

David Ress' Aphexswift is genius precisely because it's so unlikely.

"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.

The acclaimed solo album of former Danity Kane member Dawn Richard raises questions about the very nature of "cred." Is pop antitethical to artistry?

Illicit passions aren't less enjoyable because they're illicit. Quite the contrary.

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.

Metal aggression isn't sexual, but existential. As a result, women in the genre are both rare and unexpectedly equal.

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.

Let's not ignore the fact that the original James Bonds wasn't just white. He was a white supremacist.