Noah Berlatsky

David Ress' Aphexswift is genius precisely because it's so unlikely.

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.

It's hard to deny the appeal of the masculine ideal, especially when embodied in Jude Law. And yet, it's also a depressing vision.

Some love stories don't end happily. So why do so many romance novels insist they do?

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

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

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

Last year there was much excitement at the announcement that Lupita Nyong'o was going to play a major role in Star Wars: The Force Awakens — the first Black woman to star in the franchise.

A Ghostbusters with a female cast is a thorough violation of the spirit of the original. And that's a good thing.