Noah Berlatsky

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.

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

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.

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

With the death of Leonard Nimoy, it's a good moment to pay tribute to (and question) his most famous character.

As a white woman, Swift can afford to celebrate carelessness. Beyoncé, though, knows that even her casualness has to be perfect.

While Atwood's feminist dystopia remains our favorite nightmarish future, Marge Piercy's Woman On The Edge Of Time is far superior.

So, if there are so many ways to sing this song, and if it's meant different things at different points, why complain about Beyoncé's version?

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.

Some love stories don't end happily. So why do so many romance novels insist they do?