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"The Girl is back. In this adrenaline-charged, up-to-the-moment political thriller, Stieg Larsson's Lisbeth Salander and Mikael Blomkvist, the troubled genius hacker and crusading journalist thrilled the world in The Girl with the Dragon Tattoo, The Girl Who Played with Fire, and The Girl Who Kicked the Hornet's Nest, are back. Late one night, Blomkvist receives a phone call from a source claiming to have information vital to the United States. The source has been in contact with a young female superhacker--a hacker resembling someone Blomkvist knows all too well. The implications are staggering. Blomkvist, in desperate need of a scoop for Millennium, turns to Salander for help. She, as usual, has her own agenda. The secret they are both chasing is at the center of a tangled web of spies, cybercriminals, and governments around the world, and someone is prepared to kill to protect it."

"Walaupun komik pahlawan super sudah ada di Amerika Serikat sejak awal pertengahan abad ke-20, para pahlawan super tersebut baru benar-benar menjadi figur yang signifikan dalam budaya populer di abad ke-21. Hal ini terbantukan oleh dibuatnya film-film berdasarkan tokoh-tokoh tersebut di layar lebar. Salah satu pahlawan super yang paling menonjol adalah Spider-Man. Spider-Man: Homecoming (2017) dan Spider-Man: Into the Spider-Verse (2018), secara berurutan, adalah franchise ke-3 dan ke-4 dari film Spider-Man dalam kurun waktu 17 tahun.Popularitas Spider-Man menjadikannya objek yang menarik untuk diteliti, karena berarti pengaruhnya besar dalam memproduksi dan mereproduksi norma-norma tertentu dalam masyarakat. Artikel ini ditulis dengan tujuan melihat bagaimana film-film tersebut mengikuti atau menolak norma hegemonic masculinity. Dengan menggunakan analisis tekstual dan semiotik, studi ini menemukan bahwa Spider-Man: Into the Spider-Verse (2018) lebihprogresif dalam representasi maskulinitasnya daripada Spider-Man: Homecoming (2017). Hal ini dihubungkan dengan adanya varian yang lebih beragam dalam wacana maskulinitasnya. Studi ini diharapkan dapat mendukung pergerakan yang menginginkan adanya representasiyang lebih beragam dalam genre film pahlawan super.

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Even though American comic book superheroes have existed since the late 1930s, it is in the 21st century that they have become truly prominent icons of popular culture. This rise in

popularity is helped greatly by their adaptation into the big screen. One superhero that stands out is Spider-Man. Spider-Man: Homecoming (2017) and Spider-Man: Into the Spider-Verse

(2018) are the third and fourth respective iterations of the Spider-Man movie franchise within the span of 17 years. Spider-Mans popularity makes it an interesting case study, as it has a

significant influence in producing and reproducing certain societal ideas. This article aims to examine how those movies conform to or resist hegemonic masculinity in their portrayal of the

male lead characters masculinities. Incorporating textual and semiotic analysis, this study has found that Spider-Man: Into the Spider-Verse (2018) represents a more progressive portrayal of masculinity than Spider-Man: Homecoming (2017), attributing it to its inclusion of diversity in the discourse of masculinity. This study is intended to come in support of the movement of calling for more diverse representation in the superhero movie genre."

"Jahren has built three laboratories in which she's studied trees, flowers, seeds, and soil. She tells about her childhood in rural Minnesota with an uncompromising mother and a father who encouraged hours of play in his classroom's labs; about how she found a sanctuary in science, and the disappointments, triumphs and exhilarating discoveries of scientific work. Yet at the core of this book is the story of a relationship Jahren forged with Bill, who becomes her lab partner and best friend. Their sometimes rogue adventures in science take them over the Atlantic to the ever-light skies of the North Pole and to tropical Hawaii, where she and her lab currently make their home."

"Spider Boys, written by Ming Cher, sets in colonial Singapore and shows a conflict between generations and a life of sub cultural group with the growth and development of the main characters, Yeow and Kwang, from schoolboys to teenagers. It touches the colonial and post-colonial history of Singapore. Cher examines the purpose of sub cultural group and its spider game in social and historical context.In Spider Boys one is made aware of the conflict generated by the transition from childhood to young adult and by being caught between the sub cultural group's life of street kids in its relation with their parents culture as well as the dominant culture of the British government. Being the member of the Spider Boys is only the beginning of their life as street kids subculture.Spider Boys shows pessimism and identity crisis undergo by a group of young Chinese immigrant in Singapore. They have such a sub cultural life within the community of adult Chinese immigrant. This sub cultural group constructs its own identities, among others through language and their way of interaction. These identities are taken as an adaptation to some of their parents' culture.Not only the in heritage culture of their parents was adopted; some of them are also resisted. They select this parent?s culture in such a way that gives them the most convenience and confidence in their group.Meanwhile, they also adopt the dominant culture of the British government to give a way for their sub cultural style. On the other hand, they resist the political culture of the British government insisting (Standard) English usage at school. As a result, some of them are incapable in communicating Standard English. Their resistance gives a way to the emergence of new variant of English, known as Singlish. The uniqueness of Singlish shows the combination of both dominant culture and that of their parents' culture. Their English does not pay any attention to the rule of Standard English. This absence of rule in their English, both in dialogue and in narration, enrich the atmosphere of the street kids life. As a group's identity, Singlish becomes their symbol of identification."