Noah Berlatsky

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.

The surface text of the film is that you can't trust some guys. The (barely) subtext is that you can't trust any guys.

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

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

With the prospect of another Bush/Clinton presidential contest looming as ominously as Donald Trump's hairpiece, the word "dynasty" seems to be frothing off of many a pundit's keyboard. "Clinton, Bush struggle to shed dynasty labels," a Washington Post headline declared.

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.

Critics say call-out culture is mean-spirited and bullying. Not so fast.

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

David Ress' Aphexswift is genius precisely because it's so unlikely.

For a second, it looked like the rabid hordes of gamergaters would be joined by metalheads. But #metalgate was never meant to be.