Noah Berlatsky

Feminist dystopia at its finest. Joanna Russ imagines a world in which the elimination of gender hierarchy leads to freedom, strength, and power.

The loss of gospel history has meant forgetting how important black women have been to American performance styles.

Irritation is the way of all flesh. The question is, if you're going to be annoyed for all of eternity, who do you want to be doing the annoying?

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.

Metal aggression isn't sexual, but existential. As a result, women in the genre are both rare and unexpectedly equal.

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

The surface text of the film is that you can't trust some guys. The (barely) subtext is that you can't trust any guys.

To read Massive isn't to discover a hidden truth, but to see a massive, obvious fact, bulging out for all the world to see.

According to an Academy Awards voter, the right sort of people, with the right sort of education and connections, can't be racist.

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.