Monika Bartyzel

As soon as Buffy hit television on March 10, 1997, Joss Whedon became the poster boy for geek feminism. Raised by a radical feminist, he always merged his creativity with gender studies, which he called his “unofficial minor.” Buffy was created to defy stereotypical expectations, a blonde superhero whose adolescent growing pains were the blueprint for the supernatural evil she vanquished. This balance struck a chord in viewers, inspiring theoretical interpretations running as rampant as fanfic.

The 67th Primetime Emmy nominations have been announced, and times are changing. This year, expected picks have been replaced by new talents, nominees have diversified, and Emmy success is no longer the domain of just five networks. Though we can always be sure that hundreds of shows — stretched over countless broadcast, cable, and Internet outlets — will result in a myriad of oversights and snubs, we can no longer be sure how things will play out.

As second-generation young adult (YA) powerhouse The Hunger Games faces its conclusion, the franchises that started the YA craze are finding new life, and new ways to bring women into active roles in the production. For Harry Potter, creator J.K. Rowling is finally becoming a screenwriter for the spin-off series Fantastic Beasts and Where to Find Them.