Noah Berlatsky

Genre boundaries are conscious of race—and, in the case of rock, conscious of gender too.

Did the classic Adam West Batman show strike a blow (Kerwhap!) for feminism?

Bus ads comparing Muslims to Hitler have been replaced with images of a superhero. And not just any superhero.

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 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 surface text of the film is that you can't trust some guys. The (barely) subtext is that you can't trust any guys.

Maddie & Tae's new hit both indicates and subverts country's long history of sexism.

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

Fifth Harmony is nobody's idea of a roots band.

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