From NBC’s TODAY coanchor Savannah Guthrie and educator Allison Oppenheim comes an empowering fairy tale with a twist. In the tradition of Not All Princesses Dress in Pink and Princess in Black, Princesses Wear Pants follows the unflappable Princess Penelope Pineapple, who knows how to get the job done while staying true to herself. Princess Penelope lives in a beautiful palace with a closet full of beautiful dresses. But being a princess is much, much more than beauty. In fact, every morning Princess Penelope runs right past her frilly dresses to choose from her beloved collection of pants! What she wears each day depends on which job she has to do. Will she command the royal air force sporting her sequined flight suit? Will she find her zen in her yoga pants and favorite tee? Or, will she work in the kingdom’s vegetable garden with pocketed overalls for all of her tools? Unfortunately for Princess Penelope, not everyone in the Pineapple Kingdom thinks pants are always appropriate princess attire. When the grand Lady Busyboots demands that Princess Penelope must wear a gown to the annual Pineapple Ball, the young royal finds a clever way to express herself. Penelope’s courage (and style choices) result in her saving the day! In their debut children’s picture book, Savannah Guthrie and Allison Oppenheim team up for a savvy and imaginative story that celebrates fashion and girl power. Perfect for fans of Nickelodeon’s Nella the Princess Knight, Princesses Wear Pants challenges gender stereotypes in the name of individuality, showing girls it’s not how they look but what they do that matters.

Princess Magnolia is excited. Excited and nervous. She’s going to the Interkingdom Science Fair today to present her poster about seeds and plants, and when she arrives, she sees that her friends are there too! Princess Honeysuckle made a mole habitat, Princess Sneezewort has built a blanket fort, and Tommy Wigtower has a talking volcano that’s saying “EAAAAT!” Wait, what? A surprise goo monster makes this a job for the Princess in Black, and the Princess in Blankets is on the scene to lend a hand. But will two masked heroes be enough to save the science fair? A little scientific problem-solving — and a lot of princess power — will make the sixth entry in the New York Timesbest-selling series a smash hit.

Anyone interested in folklore studies, feminist studies, children's literature, Disney studies, film adaptations, psychology, sociology, or theories of child development will find this book essential reading. When contemplating the changes made by feminists to American culture, no one figure is as worth examining as the fictional princess, and no book has yet approached the topic as thoroughly as this one.

A heartwarming book about unconditional love and one remarkable family. Dyson loves pink, sparkly things. Sometimes he wears dresses. Sometimes he wears jeans. He likes to wear his princess tiara, even when climbing trees. He’s a Princess Boy. Inspired by the author’s son, and by her own initial struggles to understand, this heartwarming book is a call for tolerance and an end to bullying and judgments. The world is a brighter place when we accept everyone for who they are.

It's no secret that most girls, at some point, love all things princess: the poofy dresses, the plastic tiaras, the color pink. Even grown-up women can't get enough of royal weddings and royal gossip. Yet critics claim the princess dream sets little girls up to be weak and submissive, and allows grown women to indulge in fantasies of rescue rather than hard work and self-reliance. Enter Jerramy Fine -- an unabashed feminist who is proud of her life-long princess obsession and more than happy to defend it. Through her amusing life story and in-depth research, Fine makes it clear that feminine doesn't mean weak, pink doesn't mean inferior, and girliness is not incompatible with ambition. From 9th century Cinderella to modern-day Frozen, from Princess Diana to Kate Middleton, from Wonder Woman to Princess Leia, Fine valiantly assures us that princesses have always been about power, not passivity. And those who love them can still be confident, intelligent women. Provocative, insightful, but also witty and personal, In Defense of the Princess empowers girls, women, and parents to dream of happily ever after without any guilt or shame.

The Disney Princesses are a billion-dollar industry, known and loved by children across the globe. Robyn Muir provides an exploratory and holistic examination of this worldwide commercial and cultural phenomenon in its key representations: films, merchandising and marketing, and park experiences. Muir highlights the messages and images of femininity found within the Disney Princess canon and provides a rigorous and innovative methodology for analysing gender in media. Including an in-depth examination of each princess film from the last 83 years, the book provides a lens through which to view and understand how Disney Princesses have contributed to the depiction of femininity within popular culture.

The New York Times bestselling author of Girls & Sex and Cinderella Ate My Daughter delivers her first ever collection of essays—funny, poignant, deeply personal and sharply observed pieces, drawn from three decades of writing, which trace girls’ and women’s progress (or lack thereof) in what Orenstein once called a “half-changed world.” Named one of the “40 women who changed the media business in the last 40 years” by Columbia Journalism Review, Peggy Orenstein is one of the most prominent, unflinching feminist voices of our time. Her writing has broken ground and broken silences on topics as wide-ranging as miscarriage, motherhood, breast cancer, princess culture and the importance of girls’ sexual pleasure. Her unique blend of investigative reporting, personal revelation and unexpected humor has made her books bestselling classics. In Don’t Call Me Princess, Orenstein’s most resonant and important essays are available for the first time in collected form, updated with both an original introduction and personal reflections on each piece. Her takes on reproductive justice, the infertility industry, tensions between working and stay-at-home moms, pink ribbon fear-mongering and the complications of girl culture are not merely timeless—they have, like Margaret Atwood’s The Handmaid’s Tale, become more urgent in our contemporary political climate. Don’t Call Me Princess offers a crucial evaluation of where we stand today as women—in our work lives, sex lives, as mothers, as partners—illuminating both how far we’ve come and how far we still have to go.