Last week, the nonprofit organization Sandy Hook Promise released a graphic back-to-school PSA entitled “Back To School Essentials.”

In early September, the news broke that Adele Lim, a screenwriter for the 2018 movie Crazy Rich Asians, was no longer involved with writing the next two sequels in the franchise. Why? Lim reportedly learned that while her white, male co-writer was offered between $800,000 to $1 million for this work, she was offered significantly less — around $110,000.

Since the start of the MeToo movement, journalists have played a key role in holding perpetrators accountable for the sexual violence they allegedly committed. Unfortunately, instead of challenging society's instinct to protect powerful men, some reporters covering #MeToo have reproduced this bias.

Gen Z makes light of things like hypothetical WWIII drafts, climate change, and the forthcoming political apocalypse because dark humor is their response to being born into a world seemingly already on fire is to laugh at the flames.

In the recently published book There’s No Crying in Newsrooms, award-winning journalism scholars Kristin Grady Gilger and Julia Wallace investigate how gender has shaped the experiences of female journalists.

Each week, Houston-based activist Diamond Stylz and her rotating cast of co-hosts serve up candid conversations about topics ranging from gender reveal parties to the latest installment of the television show Pose from a black, trans, and feminist perspective.

Wry, humorous, and dark, Pity Boy captures the inner turmoil of being an LGBTQ+ adult trying to navigate relationships with family, friends, and partners; the songs on this album explore self-destructive habits, and self-doubt, that emerge from this exploration.

Her adaptation of the film — the eighth — will not only highlight the feminist understones already present in the novel, but also examine the text with a modern eye, drawing on society’s increased sensitivity to gender fluidity.

This film takes place in 2006, at the height of over-surveillance of Arab and Muslim communities in a post 9/11 United States and gives viewers a much-needed view into the inner life of a Muslim American teen girl.

I found that story after story included images of survivors of sexual violence that were gory and denigrating. They often depicted survivors in shredded clothes, fear-stricken eyes, and arms outstretched in appeal.

DuVernay’s artful depiction of Linda Fairstein — prosecutor and head of the sex crimes unit of the Manhattan District Attorney’s office at the time of the Central Park Five case — exposes the process through which white women’s pain can be used as a pawn for white patriarchy.

Now that season 3 has premiered (it came out on June 5), it’s worth asking: Is it fair to characterize these depictions of violence against women in season 2 as “torture porn” and dismiss watching this season or any future seasons, or did those depictions have value?

Who gets to tell stories of black trauma and how and when should they tell them?

On April 9, 2019, Ivy Wangechi, a sixth-year medical student at Moi University in Kenya, was murdered. Like many stories of femicides that came before Wangechi’s, the media’s depiction of this murder was problematic.

Why do women buy into anti-aging promises that seek to stop life’s most natural process? The answer lies within the ingrained ageist and gender stereotypes that are woven deep in society that negatively affect women’s self-perception, creating the belief that they need to buy these anti-aging products.

Anime is one of Japan’s main cultural exports and a large part of its cultural identity, but feminists have pointed out that the genre has long had a problematic relationship with gender and racial representations. The site Anime Feminist, founded by U.K native Amelia Cook, analyzes diversity and representation in this art form.