Noah Berlatsky

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

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.

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

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

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

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

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

If you want America to relearn how to hate white Jews, the quickest way to do that is to associate them with black people.

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