Noah Berlatsky

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

C.S. Lewis' classic book presents an unlikely challenge to the patriarchy in the form of its true hero, Lucy.

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

A recent controversy at the Calgary Expo suggests MRAs care more about making opponents look bad than they do about discrimination.

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.

Bus ads comparing Muslims to Hitler have been replaced with images of a superhero. And not just any superhero.

As a parent, you tend to assume that you have some say in forming your child's mental landscape. Then Santa comes along.

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.

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.