The Scarlett Johansson incident was hardly the first time a cisgender actor was criticized for taking a role many believe should have gone to a trans actor. In fact, a pattern of cisgender actors being cast as, and then inevitably critically acclaimed and rewarded for playing, transgender characters has emerged over the past few years.

Neither the #MeToo movement, nor the basic acknowledgment of a woman’s agency, decrees the death of romance. The refusal to let go of traditional courtship, however, illustrates not just Cavill’s, but many straight men’s, inability to accept the possibility, let alone reality, of a shift in the balance of power between men and women and their equation of that shift in balance with the “death” of dating.

For the past few years, Yemen has been experiencing a catastrophic humanitarian crisis. The country has been wrought with a number of problems, and young Yemenis, especially young women, have been particularly affected by this conflict. Despite this troubling situation, however, a portion of Yemeni youth still dream of a better future. Among those who remain hopeful and productive are artists — a large number of whom are women.

On the surface, the Netflix hit GLOW is a show about the making of a show — specifically, the 1980s TV show “Gorgeous Ladies of Wrestling” (G.L.O.W.) that inspired the series. But beneath this plot lies a far more interesting exploration of women’s experiences in the entertainment industry, and in the world at large, in the 1980s through a modern lens.

As a black person with light-skin privilege, it took me a while to understand that society treats dark-skinned black people with a similar indifference and insensitivity to that which the ugly duckling experienced.

Marielle Franco’s murder was not an ordinary crime but one with a triple meaning: It was an act of femicide, black genocide, and an act of silencing the downtrodden.