Noah Berlatsky

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

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

Daredevil focuses on the dynamics of heroism—the display of strength and violence as a way to distance oneself from weakness.

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

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.

At first, this looks like sexism. And then you realize, hey, this is sexism. Hope isn't allowed to do the dangerous job because Pym has put her on a pedestal, and won't let her off it.

It's not the gender that's the problem: It's the oppression.

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

Talking about race can get you into a lot of trouble . . . especially if you don't have a lot of class power or status.

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.