Noah Berlatsky

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.

The Lord of the Flies can feel like a vacation spot for conflict-management consultants in comparison to social media.

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

As a white woman, Swift can afford to celebrate carelessness. Beyoncé, though, knows that even her casualness has to be perfect.

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.

Bulimia.com has reworked superhero images to show more realistic body types—and their efforts are valuable in more than the expected ways.

To understand this debate, it's important to consider historical context.

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.

Hating sex workers—and treating them as things—can get you money.

These covers remind us of the lengthy, rich—but often obscured—history of female songwriters.