Noah Berlatsky

"Childbearing [is] barbaric and pregnancy should be abolished," wrote radical feminist theorist Shulamith Firestone in The Dialectic of Sex.

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

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?

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

Is the gender of the philosopher a marginal curiosity—or is it more central?

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.

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.

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

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."

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.