Noah Berlatsky

There's a good argument to be made that the earliest, and the best, rockabilly performers were women. Slicked-back, hiccuping, hopped up cool.

Conservative fetishization of the past is myopic, simplistic, and mean-spirited—but progressives can be too quick to cede tradition.

Talking about race can get you into a lot of trouble . . . especially if you don't have a lot of class power or status.

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

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

If my wife and son had thought bubbles above their heads, like in the comics, you would be able to read them saying, "dog dog dog dog dog dog dog."

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.

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

The rom-com's worshipping of power and wealth comes with a gender twist.

Katniss is the voice of conscience and morality in the film, and in The Hunger Games series as a whole. In the just released last film in the series, she tries repeatedly to avoid unnecessary deaths. She insists that refugees from an attacked base be given an escape route, for example, and exposes herself in an effort to help them.