Academic research, writing, and teaching on Beyoncé and the myriad aspects of culture that can be read through the lens of her work have proliferated in recent years. There have been college courses on the cultural politics of Beyoncé’s work since the 2010s (Reed 2014), reflecting the artist's influence among fans within the academy. In the wake of her 2016 visual album Lemonade, increased scholarly interest in Beyoncé has yielded themed issues of journals such as Black Camera and Popular Music and Society, a memoir-esque book by Omise'eke Natasha Tinsley (2018), and numerous essays in volumes such as The Lemonade Reader (Brooks and Martin 2019) and Beyoncé in the World: Making Meaning with Queen Bey in Troubled Times (Baade and McGee 2021). Martin Iddon and Melanie L. Marshall's Beyoncé: At Work, On Screen, and Online is a welcome contribution to this growing body of literature.This volume adds to the Beyoncé discourse with attention to the artist's work that predates Lemonade, with examinations of not only her musical recordings and performances but also her work in film. In their introduction, Marshall and Iddon use “Formation” and Lemonade more generally to illustrate the broader meanings of Beyoncé and her output and how these works represent the intersection of many contemporary social issues. From there, however, the chapters focus on the period of Beyoncé’s solo and acting career from her first film roles (ca. 2001) through the 2013 visual album Beyoncé. Indeed, the in-depth discussion of Beyoncé’s on-screen performances, particularly in chapters by Jaap Kooijman and Eduardo Viñuela, fills an important gap in the body of Beyoncé scholarship, which has long overlooked her career as an actor in film and long-form videos.While the volume is full of insightful readings of Beyoncé’s body of work, there are a few chapters that stand out for me insofar as they present some of the most original research on the superstar to date. Omise'eke Natasha Tinsley's “For the Texas Bama Femme: A Black Queer Femme-inist Reading of Beyoncé’s ‘Sorry’” gives a reparative close reading of the song from Lemonade. Tinsley's “stone femme” (as opposed to “stone butch”) framework is especially innovative, as it presents a useful queer approach from an analytical perspective that is often invisible and inaudible in popular music scholarship. Áine Mangaoang's chapter, “‘I See Music’: Beyoncé, YouTube, and the Question of Signed Songs,” makes a significant contribution to music and disability studies that brings Beyoncé into the conversation and gives agency to disabled audiences. Mangaoang does not discuss differences between American Sign Language and Black American Sign Language that would be relevant here, but, nevertheless, the nuanced discussion of differences between videos made by hearing, hard of hearing, and d/Deaf fans is particularly insightful. Emily J. Lordi's piece, “Surviving the Hustle: Beyoncé’s Performance of Work,” is an updated reprint of an essay that appeared in the aforementioned issue of Black Camera. It traces how Beyoncé has presented “work” through her career and notes a shift that occurs in how she presents work in Lemonade.It is sometimes challenging for scholars to be critical of Beyoncé while simultaneously accounting for her significance as a Black woman artist. For example, in “‘A Scientist of Songs’: Beyoncé, the Recording Studio, and Popular Music Authorship,” Will Fulton provides a useful examination of Beyoncé’s collaborative songwriting practices and demonstrates that many critiques of Beyoncé as creator and author are racialized and gendered. He does not address, however, instances when Beyoncé neglects to give credit to artists she samples or engages, even when she obtains samples legally (see, e.g., Kehrer 2019). Some of the chapters thus reflect a deferential approach to the artist and reveal a commitment to demonstrating Beyoncé’s musical and cultural value at the expense of critical nuance.Overall, I wish the volume's contributors were more attentive to the intersections of race with gender and sexuality. Although Eduardo Viñuela's chapter is rich with discussion of musical and cultural stereotypes, the casual and repeated use of a slur in the title and throughout the body of the piece made it very challenging to read. Viñuela makes compelling observations concerning “exoticism and orientalism” (161) revealed through various cultural representations of the Carmen character in Bizet's opera (1875), the Broadway musical Carmen Jones (1943), and the 2001 film Carmen: A Hip Hopera in which Beyoncé starred. However, the author never once pauses to unpack the damaging term that non-Romani people have been asked not to use. Some chapters also lack citations of key Black scholars in their areas of study. For example, Julia Cox engages with ideas about hip-hop feminism without citing Joan Morgan or other Black women feminists who originated the term, and Melissa Avdeeff's otherwise rich discussion of “7/11” as an example of girl/bedroom culture does not engage with the work of Kyra Gaunt (e.g., 2015), whose studies of music, Black girlhood, and YouTube are foundational.I would assign some chapters from Beyoncé: At Work, On Screen, and Online for graduate and advanced undergraduate students in classes on popular music, media studies, and music and culture. The real strength of this collection lies in the various angles from which the authors consider Beyoncé’s work—especially her filmic career—and legacy. Taken as a whole, this volume is an important contribution to a growing body of work on the singular artist.