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The Office and its many adaptations stand out as pioneers of a genre called cringe comedy. In a cringe comedy, the central characters act like fools, and the audience responds by laughing at them out of nervous surprise and vicarious embarrassment. What are some examples of cringe comedies other than The Office? What, if any, influence do you think The Office has had on them? Is there a way to distinguish "good" cringe comedy from "bad" cringe comedy?

The Met Gala, an annual fundraising event for the Metropolitan Museum of Art’s Costume Institute in New York, invites famous actors and actresses, artists, designers, internet personalities, and even athletes to walk the steps of the Met in usually very elaborate themed costumes.

Some of the most iconic past Met Gala themes include “In America: An Anthology of Fashion” (2022), “Camp: Notes on Fashion” (2019), and “Heavenly Bodies: Fashion and the Catholic Imagination” (2018).

The internet explodes with praises, critiques, and even mockeries of Met Gala attendees’ fashion every year. So why are we so obsessed with it? What are its impacts artistically, historically, socially, politically, etc.? What is its place in art history?

The world of Akame Ga Kill is one of the darker world to exist in fiction, if only due to the focus on the horrific nature of amoral and immoral aristocrats who exist disconnected from the masses they rule and their own humanity.

The plot of Akame Ga Kill is one of a splinter cell, dubbed Night Raid, aiming to overthrow the corrupt prime minister and hoping to liberate their kingdom, they lose allies constantly, in the end only 4 members of the group survive. The Kingdom is overthrown but replaced with another Kingdom.

The horror of the Kingdom can't be overstated, but the decision to continue a monarchial system in spite of that is one that begs the question, what's stopping the decay of the previous system.

Fire Emblem, a pre-eminent franchise in the strategy RPG genre, has long worn its tropes. The rightful ruler in exile, fighting an evil empire with a color cast of allies and in the end bringing justice, order, and balance back to the world.

Within the franchise however there have been times, were the player, knowingly or not has played less of a liberator, and more as conqueror in their own right. Notable examples of this are in Fire Emblem Gaiden and it's remake Shadows of Valencia where the male protagonist Alm, settles the entire continent as its Emperor.
Fire Emblem Fates: Conquest also sees the player character, Corrin, take the role of conqueror, at the behest of the Evil King/Slime Demon Garon. Throughout the story the player is constantly exposed to the truly villainous nature of the Nohrian conquest but at no point is their an option to rebel and the ending resolves with Hoshido, a now conquered land acquiescent to the new high king on the promise that relations will now be warmer.

A key flaw in the narratives is the player's agency is completely absent. To win you must conquer and while some justification are offered, it could be argued that they're insufficient compared to the players actions. You conquer because that is the objective of the game, the impact of that on the people is immaterial, inconsequential and that's an extremely interesting writing decision.

Is there a such thing as a justifiable conquest?

Although it relies heavily on the tropes of teen soap operas, the musical series Glee is often seen as a comedy. What is interesting about it, though, is that most of the humor appears to be what is often referred to as "cringe" humor. Cringe humor is so-called because it entails a character acting in provocative or foolish ways and causing the audience to laugh at them instead of with them. In the case of Glee, some of the more famous examples of cringe include the teenage characters attempting to perform "sexy" dance numbers, and the one-liners provided by Jane Lynch and Matthew Morrison, who play the most prominent teachers. Some YouTubers have even taken to compiling the most cringey scenes from Glee and giving their videos names like "Glee out of context" or "Glee scenes that give me secondhand embarrassment."

So, is Glee a cringe comedy? Or is it a soap opera that just happens to have cringey humor in it? Is there something about the premise or cast of Glee that naturally lends itself to cringe humor?

Centaurworld is a Netflix animation about a Horse that is magically transported to the titular Centaurworld, in her journey not just to get back to her home but to fight the Nowhere King and save both her world and Centaurworld.

In the story, the audience see Horse change in a physical sense going from a sharp anime-inspired design to a softer, rounder more western cartoon inspired design but also in a sense of self as she identifies so much as the horse of her rider, that when the two come in to conflict it serves as one of the many emotion highpoint of the series finale. Horse, breaks the identity she had imposed on herself but at the same time embraces it.

The Nowhere King serves as excellent contrast, as the character is introduced as a malevolent spectre, one of no approximate time or origin, and with what seems like a clear goal of escape. As the series reveals though, The NWK shares an origin with another character and their lack of acceptance of self leads to endless suffering for the NWK. The inability of one to accept themselves becomes the inciting incident for the near destruction of two worlds in the show.

Points of analysis can be the Horse's difficulty in accepting changes, their concern for the perception others, name their Rider may have for them, the various Centaurs and their own discoveries of self, the idea of ego death and how Horse is literally surround by light as she lets go of her previous identity of self, how it parallels the tragedy of the NWK.

On June 3, 2013, comedian and actor Greg Edwards began a series of web videos called Thug Notes. Using the persona Sparky Sweets, Ph.D., Edwards summarized and analyzed classic novels using a mix of modern language and "street slang" (e.g., a character who is murdered is "iced" or "murked," a hard-working character is said to be "hustlin'.")

Thug Notes' mix of humor, slang, and absolute respect for classic literature helped the series carve a unique niche in the world of web and educational videos. Each video has garnered a plethora of views, and the series' popularity has encouraged viewers to read or reread books that might not have felt accessible before (many "newer" videos contain a promotion that begins, "Hey, get the book!" followed by a web address at which to do so).

Discuss the impact of Thug Notes, using any of these or other elements. You might choose to discuss favorite episodes, or compare and contrast certain episodes. Also, discuss whether Thug Notes, which has not posted new content in a while, would be an acceptable platform for discussions of more contemporary literature, particularly that which is currently under censorship. Discuss whether a series similar to Thug Notes would work for other subjects. For instance, could there be a Thug Notes-style series for math? History? Theatrical productions?

September 11, 2001 changed the world as we know it. Mere weeks after the terrorist attack that destroyed the Twin Towers, artists from all mediums responded to the tragedy with forms of self-expression that gave themselves and their consumers safe, multifaceted outlets to express their complex emotions. September 11 is now the subject of everything from hard-hitting documentaries and touching memoirs to gentle, yet serious episodes of kids' shows and perhaps controversial country-western songs.

Analyze and discuss some of your favorite, or least favorite, tributes to September 11 within the arts. What makes these tributes powerful, or conversely, disturbing or controversial? Which pieces do the best job of honoring the 9/11 survivors and victims? Do we need more 9/11 pieces, and if so, what should their focus and goals be? Can new pieces be tied into more current tragedies, historical ones, or a mix of the two?

There is a lot of amazing TV out there to watch at the moment, however, a lot of it is heavy, deep, meaningful and dramatic. There is nothing wrong with this as it explores the experiences of humanity in a meaningful way. But there needs to be a balance of good, low-impact, moral, pleasing shows that are also not just about romance. Whatever happened to the value of friendship in TV?

An Australian comedy-drama Rosehaven is a show with a simple premise. A son returns to the small town he grew up in, in Tasmania to help run his mother's real estate business. His best friend who was going off to her honeymoon is left by her husband. She decides to go join her bestie in Tasmania, and just stays. Although the show includes sub-plots on romance, the dramas of small town, emotional growth, it is primarily about friendship and what that means. [SPOILER] The show ends with a faux wedding with the town wanting them to end up together, but they don't – they are just good friends.
Yes, boys and girls can just be good friends without everyone needing to be pared off within the friendship group (looking at Friends here).

Friendship is a huge part of everyone's experiences. Too many shows use this framing to drive drama, especially in young adult shows such as Gossip Girl or The OC. When in fact for most people it is the friendships that endure not always the relationships and lovers.
This topic is proposing a dive into all the shows that should be celebrated for their focus on the value of friendship above all else. In a period in time when we are living a life full of angst, trauma and drama, perhaps a greater focus on shows that perpetuate positive experiences of real life values is needed. What do you think?

Youtube and Twitch have quite notable political niches respectively, but with regards to Leftist Thought, there was/is a loose subgroup of notable creators, Contrapoints, Philosophy Tube, Big Joel, Hasanabi, amongst others who all in someway were affiliated with the term, "Breadtube", taken from "The Conquest of Bread" by Kropotkin.

As universal marker there was a general tone of rebuttal to right-wing political talking points and media but as time has gone on and the subgroup more tenuous it can be asked what is/was "Breadtube" and why did/does it exist?

There has been a marked pushback against many of the creators for a variety of reasons such as their seemingly lacking political advocacy and poor racial representation.

It could argued that there was never a "Breadtube" and that fans of the creators were reading too much into various creators friendships.

There is also room for discussion of the idea of using vaguely Anti-Capitalist talking point a brand without delving into what the concepts actual mean.

The climax of Jaws focuses on the endeavor of three men to save the town. Each comes from a different economic background: Hooper (wealthy), Brody (middle class), and Quint (working class). Quint's ultimate demise and the use of his gun to destroy the shark could certainly be read as the working class man sacrificing himself for the security of the upper classes. I am curious if someone better versed in Marxism could dig deeper into Jaws as Marxist tale, or more generally as a tale of class and consumerism.

In past decades, children got their television "diet" from specific shows on specific channels, or program blocks on one or two channels tailored for them. Today, our children have an endless list of shows to choose from thanks to streaming services and 24-7 content.

One example of such content is YouTube Kids, a network of channels that are given new content daily, sometimes several times daily. Some of this content is positive, but just as much if not more is allegedly detrimental to kids. Writer and artist James Bridle, for instance, gave a TED Talk for YouTube that, while three years old, has 4.8M views. His TED Talk posits that YouTube kids is actually dangerous to kids' mental health and development.

Examine this TED Talk as well as other sources, such as the Momo controversy from the late 2010s, or certain shows and videos on YTK. What content is the most detrimental, and why? Is there anything parents, guardians, and tech experts could do to make content more educational and child-friendly? Perhaps most importantly, what exactly is the draw of YTK, and why do so many adults welcome its content, questionable or not? Discuss.

The concept of social media having an impact on various marketing strategies is nothing new. However, one industry that has been increasingly affected by social media is the publishing industry due to "Booktube" and "Booktok". In recent years, there has been a rise in how these influencers are starting to shape the books that people are reading. There are now tables displaying the latest trending titles in local and big box bookstores, regardless of when they were published. There are stories of writers who gained enough of a following to self-publish their highly anticipated and praised books. How does this impact the publishing industry? What does the future of the publishing company look like? How will authors be influenced by their audience as the distance between writer and reader shrinks with the aid of social media?

The original Addams Family series graced our televisions in the 1960s. The show was already an adaptation of Charles Addams' successful comic strip, but has since spawned a series remake, a cartoon, two live-action movies, one animated movie, and a musical.

Netflix is now set to stream yet another addition to the Addams canon. However, this one is a bit different, in that it focuses mainly on daughter Wednesday. This makes sense, as Wednesday seems to be one of the family's more popular members. But, why is she? Does this have to do with Christina Ricci's treatment of her in the live-action films? Is it her personality, or a way she stands out in her already unusual family? Explore these or other facets of Wednesday and her popularity. You might also consider comparing/contrasting Wednesday with similar unconventional female characters, to see whether they have or haven't achieved Wednesday's popularity.

The 2008 film, American Violet highlights some wicked practices of the criminal justice system when it comes to plea bargaining. Using this film as well as the real story that took place in Hearne, TX (as opposed to Melody, TX as portrayed in the film), what racial and social realities do we find in such movies? Why do films portray false evidence in instances where they do not necessarily have to? (For example, the film depicts only 2 ACLU lawyers rather than even remotely mention that it was a team working on the case). Finally, does the film provide an accurate depiction of America’s plea bargaining system or is it an exaggeration?

Scholars look back on the myths and mythological figures of ancient societies to understand the cultural, sociological, psychological, and anthropological aspects of those societies. Those myths and legends indicate the issues, concerns, and priorities of the day, as well as perhaps the character and values of the people who perpetuated them. Will the comic books and superhero films of our day serve the same purpose for scholars of the future? If so, what conclusions might they draw about us? To what extent will those conclusions accurately reflect who we really are?

Video game adaptations have been in a slow but steady trend. It's produced under a variety of important factors such as storyline and fanbase that can make or break the adaptation. League of Legends' Arcane, produced by Netflix, not only succeeds the expectations of longtime LoL and Runeterra fans but also captivates the interests of the non-gaming audience. Its release reignited both adaptations and animated media into what video game lore can achieve.

Analyze the thematic aspects of Arcane that contributed to its engagement and how it relates to the lore of Runeterra, especially since LoL is not an action-adventure game. Take into consideration that Riot Games also has a history of well-made cinematics for promotion of game updates, events, etc.

You can also explore the relevance (and perhaps, risk) of the fanbase in adapting Arcane. Riot Games is known for its heavy fanservice and focus on its community. Is Arcane a gift to the LoL fans? And of course, how has Arcane effectively introduced LoL to a new market? Has it affected the toxic reputation of the game, or has it enticed new players to join?

Reflecting on DC Comics' Most Influential Event: Crisis on Infinite Earths! Let's consider the impact it had on DCs' multiverse of characters & how the comics industry changed going forward. Did it affect you profoundly?

How can a character, such as Shakespeare's' Othello, be compared to characters in film. For instance, what similarities (physical, psychological, etc) does Othello have to characters that kill on film, such as the characters from the 1995 film, The Usual Suspects.

The focus here should be on what drives these people to kill. Explore economics, manipulation, and corruption. Obviously, these two works have easily identifiable differences, but the objective is to dig into the psychological to show how their different circumstances leads them down the same road. In other words, think of Othello as a character in The Usual Suspects (or vice versa, one of the characters from The Usual Suspects in Othello's place).

Leah Jeffries was recently cast as Annabeth in the upcoming Percy Jackson series on Disney . Rick Riordan, author of the book series it is based on, approves and endorses Jeffries as embodying the characteristics of Annabeth as he wrote her. Jeffries is a young Black actress and her casting was met with a lot of racist backlash.
Similarly, a few years ago Halle Bailey (also a young Black woman) was cast as Ariel in the live action The Little Mermaid. Her casting was also met with racist backlash.
Discuss the role misogynoir plays in casting choices and why it is important to cast Black women for characters that are not racially or ethnically specific.