Noah Berlatsky

Rodriguez is confused when she says that people want her to steal white people's superheroes. But she also has a point.

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.

Fans of Batgirl are fans of Batgirl. They buy her comic to see her being heroic, not to see her being a slasher movie victim.

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.

Rather than seeing Beyoncé's sexual performance as linked to destruction, we can consider whether eroticism might be an alternative to violence.

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.

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

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

Under the guise of philanthropy, 8 Minutes essentially blackmails some of the most marginalized and powerless people in society.