Noah Berlatsky

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

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

"Childbearing [is] barbaric and pregnancy should be abolished," wrote radical feminist theorist Shulamith Firestone in The Dialectic of Sex.

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

Rodriguez is confused when she says that people want her to steal white people's superheroes. But she also has a point.

The first graphic novel to win a Caldeott gives children the chance to be adults, and adults the chance to be kids.

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.

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

With the prospect of another Bush/Clinton presidential contest looming as ominously as Donald Trump's hairpiece, the word "dynasty" seems to be frothing off of many a pundit's keyboard. "Clinton, Bush struggle to shed dynasty labels," a Washington Post headline declared.

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