Noah Berlatsky

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

Let's not ignore the fact that the original James Bonds wasn't just white. He was a white supremacist.

Iin a passionate Facebook thread last week, children's author Meg Rosoff rejected the idea that there are "too few books for marginalized young people," as librarian Edith Edi Campbell had suggested.

Rather than seeing Beyoncé's sexual performance as linked to destruction, we can consider whether eroticism might be an alternative to violence.

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.

Art without politics actually results in a sweeping Puritanism. For art to have power, it needs to engage with power, with politics.

These covers remind us of the lengthy, rich—but often obscured—history of female songwriters.

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

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

A recent controversy at the Calgary Expo suggests MRAs care more about making opponents look bad than they do about discrimination.