Noah Berlatsky

It's worth questioning some of our assumptions about adolescent inferiority.

The history of pop music, and of black pop music in particular, has always been gay history.

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

I am on my knees in 15-degree weather scrubbing poop from the sidewalk, and I have an epiphany of sorts—I do not want this dog.

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 cover for A-Force is a combination of tired trope and deodorant ad. Female empowerment can do so much better.

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

Feminist dystopia at its finest. Joanna Russ imagines a world in which the elimination of gender hierarchy leads to freedom, strength, and power.

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

Katniss is the voice of conscience and morality in the film, and in The Hunger Games series as a whole. In the just released last film in the series, she tries repeatedly to avoid unnecessary deaths. She insists that refugees from an attacked base be given an escape route, for example, and exposes herself in an effort to help them.