Noah Berlatsky

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.

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.

Writing can be hard and uncomfortable and precarious—but it's hard and uncomfortable and precarious in the way that any job can be.

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

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.

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

So, if there are so many ways to sing this song, and if it's meant different things at different points, why complain about Beyoncé's version?

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

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.