Noah Berlatsky

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

Hating sex workers—and treating them as things—can get you money.

Country music is an overwhelmingly heterosexual endeavor. The LGBTQ community certainly listen to, and perform, country, but in terms of lyrical content and themes, country has been focused on male-female romantic love.

As a white woman, Swift can afford to celebrate carelessness. Beyoncé, though, knows that even her casualness has to be perfect.

Their sexuality traps and destroys male innocence, as they grad hold, by the penis- the better to lead him to castration. Make no mistake that castration is greeted with fear, terror, and disgust—but also with glee. Women as super villains allow their characters to be super powerful; a force for evil is at least a force. In a media landscape where women are often rendered secondary, invisible, and passive, the femme fatale, in her icy violence, seizes female agency along with the phallus that she so efficiently cuts off.

Sex and bodies don't clarify gender; they confuse the issue.

According to an Academy Awards voter, the right sort of people, with the right sort of education and connections, can't be racist.

It's hard to deny the appeal of the masculine ideal, especially when embodied in Jude Law. And yet, it's also a depressing vision.

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