This article would discuss the impact of feminine art in popular culture and it's designation in 'shock art'. Aside from an article which was just posted to the site this last week (the artist who painted the portrait of Donald Trump from the previous article would be off limits to this one), this article would focus on four points: menstrual art, vaginal art (artwork representing the vagina and vulva), and way these types of feminine art are received compared to falic art, and the artistic representation vs commercials for feminine products. Why does this art only see feminist shows and shock art galleries? What is still so taboo about the subject the expressive forms suffer from lesser public appearances and appreciation? How can the constant ad revenue for feminine products be accepted, but the presence of celebration and politics concerning the feminine body is recoiled against?
This is interesting phallic art vs. vagina art. There are many phallic symbols in architecture such as the Washington Monument in Washington D.C. An exploration into power symbols can be explored here. The vagina art is most popular through the studies of Georgia O'Keefe. I look forward to this article. – Venus Echos9 years ago
Guillermo Del Toro's new fantasy horror is adamant that it is influenced by Victorian and Romantic literature: part of the dialogue from Jane Eyre's famous proposal scene is even adapted for the film. How are concepts from Jane Eyre (the hidden wife, the haunted house, gender roles in relation to marriage and power) and other novels of the era paralleled in Crimson Peak? Is their inclusion effective?
Interesting notion. Some research into the styles and stories associated with Victorian, Romantic, and Gothic literature and how they converge in Crimson Peak would be interesting. It'd be a great way to source the images in Crimson Peak as well as help distinguish between the three movements in literature. – jwiderski9 years ago
I just REALLY want to read this. I haven't actually seen Crimson Peak yet, but so far this link to Jane Eyre, and how the "gothic elements" like haunted houses or spirits relate to the character development, would actually make this scaredy-cat see it. – thekellyfornian9 years ago
I like this topic a lot. Interesting, especially since the actor who played Edith also played Jane Eyre. I can see parallels between Tom/Rochester and Lucille/Bertha, as well as Jane and Edith both being orphans. After watching the film on Halloween, I always thought the film would be a loose adaptation of The Fall of the House of Usher if the mansion collapsed in the end. I have actually considered writing about gender in Crimson Peak--the strengths and weaknesses, and the details right down to the costume choices. – Emily Deibler9 years ago
Looooooove thissssss! And the exploration of gothic/romantic/horrific in general. – Jaye Freeland9 years ago
I'm glad I'm not the only one who thought this. The book, Jane Eyre, clearly has themes of horror due to its gothic story telling. I think Crimson Peak resembles Jane Eyre is largely due to the deary and haunting setting. – jarvisholt9 years ago
The synopsis of the show is "The series focuses on Spider-Man and his alter ego Peter Parker during his college years at Empire State University. As the story begins, Peter has already gained his superpowers and is a part-time freelance photographer for the Daily Bugle. The show features most of Spider-Man's classic villains, including the Kingpin, the Green Goblin, the Lizard, the Shocker, Doctor Octopus, Mysterio, the Scorpion, Rhino, the Vulture, the Chameleon, and Venom. Over the course of the series the single Peter contends with the romantic love interests of Mary Jane Watson, Felicia Hardy and her alter ego, the Black Cat. The show also features appearances from various other Marvel superheroes; including the X-Men, the Fantastic Four, Iron Man, Daredevil, Blade, Doctor Strange, the Punisher and Captain America."
What this should focus on is the progression of Spider-Man from then and now. How he has progressed as a character and why you think they have made the changes they have made thus far. This show lasted five seasons and had a pretty decently long run and Daredevil has made an appearance along with some other characters from the universe. Showing how they have changed in appearance and personality as well in the series from now is something to focus on too.
The focus here is Spider-Man as a comic book character in comparison to the TV show, they are very similar in some retrospects, but also not in many as well. There are also characters such as Captain America and Daredevil who also have origin stories in the show and some things alter in the comics as well.
Mental illness in general is a delicate topic in today's society. Mention the word suicide, and people instantly get uncomfortable and disturbed. Is it socially acceptable for a writer to write a story about a person with a mental illness who is suicidal? Should we encourage writers to write about potentially controversial topics and themes, or should they stick with those that are more conventional and would make readers more comfortable?
See "One Flew over the Coo Coo's Nest". – JDJankowski9 years ago
Depending on the direction the article takes, looking at classical examples such as Ophelia in Shakespeare's Hamlet might be something to do.
– MichelleAjodah9 years ago
Another example is Septimus in Mrs. Dalloway by Virginia Woolf. – Camille Brouard9 years ago
Obviously everyone is going to come down on the side of encouraging controversial topics. That's the point of writing and literature. To tackle those issues head-on. If you're trying to create a balanced article, maybe try starting from a hard position of "No, this topic is too sensitive" and talking yourself back. Start from the most unpopular opinion and see if that gets the juices flowing. – CrunchyEnglish9 years ago
Suicide has been present in literature for quite some time. I don't think that we are uncomfortable with suicide. Rather, I think it has been misunderstood. Particularly in Realist & Naturalist fiction women characters who behaved "immorally" for the time often committed suicide at the end as a form of literary justice (see works of Wharton, Chopin, Dreiser). I think the mental illness, and the way to portray it accurately in a story is the challenge. One of the finest examples is not a book, but the movie Silver Linings Playbook. Tackling mental illness, and presenting it as clearly and accurately as possible is a worthy literary goal. – eringesine9 years ago
Suicide is definitely something prevalent both in Japanese literature and Japanese society (which incidentally has among one of the highest suicide rates in the world.) Haruki Murakami explores suicide in many of his works, including "The Wind-Up Bird Chronicle" and "Norwegian Wood." – jstorming9 years ago
Traditional Japanese theatre forms also use suicide as an acceptable ending to many plays. Perhaps a good angle might be - what is the difference between how suicide is socially accepted as a trope in Eastern lit/entertainment forms and how it is used/perceived in Western forms? In Japan, suicide has long been seen a noble way to die (especially on the battlefront) and the honorable thing to do when dealing with bringing shame to one's family. In the Western world, suicide is seen as tragic and/or selfish. – Katheryn9 years ago
The latter question about writing things that are "comfortable" is just plain silly. Of course we should use literature as a way to tackle the tough stuff, question convention, and explore even the ugly side of humanity. Is mental illness any more of a taboo than it was even ten years ago? Absolutely not. As medical science advances, and society gets better informed, rhetoric about mental illness changes. Take autism spectrum disorder for example. The term "on the spectrum" has entered society's casual lexicon. Books like The Reason I Jump, movies like Adam, and shows like Parenthood have created a safe social space in which to discuss the disorder. The same could be said for mental health issues like depression or suicide.
I think a more interesting question here is at what age should kids be exposed to tough topics like this? I recently read a YA novel entitled My Heart and another Black Holes. Without any spoilers, the main character, a 17-year old girl, is suffering from severe depression and is suicidal. I found the novel handles this delicate issue incredibly well without sugar-coating or romanticizing it. I would recommend the novel to a young person above the age of say, 13, without reservation, but any younger than that and I'd hesitate. So what does that say about me? Perhaps I'm naive--wanting to preserve the innocence of a young person by keeping them ignorant of some of the terrible things in this world as if they didn't already know. – ladyabercrombie9 years ago
With the growth of the Super hero industry in television and cinema, from the DC's expanded universe to Marvel's Avengers to the upcoming Suicide Squad and the recent film Deadpool, it seems that many of the frontiers that were once so tantalizing are making their way into the mainstream. With so much public exposure to the diversity of what the world of super heroes and villains have to offer, one wonders where might the industry be heading next? Indeed, is there any room left in the public's psyche for new stories while the film and television industry are pulling so heavily from the huge pool of established canon? And with some of the more fringe elements of the comic book world, such as Deadpool and Suicide Squad making headline appearances, what would it take for a new work to be considered an "edgy" or "novel" idea?
You're asking a good question. I wonder if "Sex Criminals" as an adaptation would push buttons, or is it just the title that makes it seem that way. – MattDube9 years ago
Will there come a point where systems and consoles are obsolete and the franchises migrate to online instead. We’ve seen it happen with Legend of Zelda and Elder Scrolls. Might this happen with Pokemon? Kingdom Hearts? Will this repel some fans or bring in new ones?
The title–which could seriously be reworked–kind of says it all. Despite the concept being somewhat shallow, it would be fairly interesting to see someone tackle this topic and go as in-depth as they can with it. Purely examining Japanese media–such as anime, cinema, television shows in general–and American media–cartoons, cinema, and, again, television shows in general–it appears that each culture brings something unique to the table. But what is that unique thing/things? Is one truly better than the other? And how do you define better? Clearer, more concise themes? More universality and acceptance by a broader audience? These are aspects of both entertainment cultures that could be seriously explored and exhausted in a well-written article.
I would love to learn more about this topic from someone who is knowledgeable. – Munjeera9 years ago
The play in poetic form was popularized by Shakespeare, with works such as "Twelfth Night", "Hamlet", "Othello", et cetera. The Seventeenth and Eighteenth Centuries had a number of playwrights who wrote their plays in poetic form (Aside from Shakespeare, Moliere, and Racine, come to mine). However, only one such play was written in the Twentieth Century (T.S. Eliot's "Murder in the Cathedral", and in the 1930s). Is there an explanation for such a decline in such authorship, and if so, what is it? Some factors that I would consider would be court culture (Versailles is an example), court funding for such work to have patronage, how absolute the ruler is, et cetera. If there are other factors that you would note, I am all ears.
The Ancient Greeks made poetic drama and dramatic verse popular before Shakespeare. I believe he effectively stole a number of their plays to make his own. We should also note that prose never became much of a thing until a little past the middle of the last millennium. Before we leave the realm of literature for its external influences, I think it's worth thinking hard about how much poetry has been in decline overall. Not long ago I attended Simon Armitage's inaugural lecture as Professor of Poetry at Oxford; the whole thing was about how poetry was a struggling and even dying art form. The history of poetry itself should be a primary concern for this topic, and subsequent to that should be insights into how popular opinion of verse has shifted. Yeats's verse dramas should also definitely be considered, and the effects of the greats of drama in prose around the turn of the century - Ibsen, Shaw, for instance - ought also to be examined as influential. – JekoJeko9 years ago
Should the audience judge a film based on whether they "liked" it or not? Shouldn't the audience step back, look at a work of cinema objectively and judge it on its quality, not whether or not it was "too long" or "boring." Even if a film is, at first preview, "boring" or "too slow", The Shining, for example could be appreciated even if you don't like horror, simply for its master-craft of cinematic voyeur and its layers of hidden ambiguity and subliminal messages. Should the artists' be judged by their intentions above all else?
I believe everything should be looked at objectively and subjectively. Because there are plenty of things that I can say have creative merit, and yet they do nothing for me in terms of enjoyment or entertainment, or perhaps it simply does not appeal to my sensibilities, even if it is somewhat enjoyable. Everything is capable of being looked at both ways, and it reveals quite a bit if we as a society were to approach most things in such a manner. But films, most definitely. You can make a masterfully shot and executed film on a technical level, whether or not it succeeds in captivating an audience, or at least a large audience beyond a cult following, is another but still interesting matter. – Jonathan Leiter9 years ago
Films should be judged according to their genre to achieve an apples to apples criterion. Munjeera – Munjeera9 years ago
I see what you are saying. But if a film is high quality and you don't like it, maybe there is a reason why, something the film is lacking. Taking a look at why you like or don't like a film is still a valid way to judge a film I think. – Robyn McComb9 years ago
Having already picked up one of your topics as the basis for my Jurassic Park article, I encourage you (and whoever decided to pick up this topic) to consider that there is a difference between specatorship and criticism. Being able to separate certain aspects of films from the overall body is the basic tenant of film criticism. A person can say "I don't like the Ewoks" but still think that Return of the Jedi is a good film. Likewise a person can look at The Amazing Spiderman 2 and say "overall the movie was lacking but the sound design was some of the best I have ever heard" and come to the conclusion that the film is "a well polished turd." Meanwhile I believe my Jurassic Park article defends audience pleasure pretty articulately, demonstrating the value of entertaining spectacle as a tool for instruction or inspiration. One cannot argue, however, that an "audience" should be compelled to be critics when some people just want to be spectators. Let them eat cake! – Christen Mandracchia9 years ago
The topic as it stands is very broad, and therefore difficult to explore thoroughly in an article the length of a standard Artifice submission. Perhaps specifying the parameters of exploration to the limitations of this medium would be more accessible for potential authors and readers alike; for example, limiting the topic to a particular genre (you mention horror, which would be an excellent choice considering the genre is so polemic - people seem to either love it or hate it), one specific director (Tobe Hooper, Roman Polanski, etc.), or even one specific film. – Katheryn9 years ago
A significant differentiation that needs to be present is that of what type of audience your are referring too. The average moviegoer has different opinions of a film to that of a moviegoer that has an educational insight of cinema. I agree with the comment above, the subject is a bit too broad. Try narrowing your audience first or asked a question that is more specific to a type of critic. For example, is it fair for audiences to judge a film base solely on the actor performance?
The subject has potential and it is one that causes curiosity, but because a critic or analysis can be, and is so often the case, derive from a personal opinion it is hard to pinpoint an answered to such a broad question. – Andres249 years ago
It's often been joked about about fandom regarding the relationship between Sasuke and Naruto. However, does this perception within the fandom have any relevance. Yes or no? What's the impact for the overall narrative and themes of the series if any. Furthermore, how do cultural perceptions regarding controversial matters such as these influence the series.
There are a lot of fandoms out there that "ship" or imagine relationships between two characters of the same sex, particularly in anime and manga. It could be interesting to frame these questions within an exploration of "slash" fiction as a whole and its relevance, impact, and place in today's culture. – Nicole Williams9 years ago
A retrospective of anime that has been revived with new iterations (examples: Hunter x Hunter, the Young Black Jack, Jojo's Bizarre Adventure) and if they were effective or necessary. Are there some that have failed trying to bring back an anime? What determines if an anime should be revived?
What determines any revival or reboot is it's former popularity, the recognizably of it's name and franchise, the engaging and timeless qualities of its characters and setting, perhaps whether or not the concept can be updated and altered (like with "Dirty Pair FLASH), or if it can survive looking and sounding as it always did, just with a slick new digital paint job (like the "Evangelion" Re-Build movies). "Lupin the 3rd" just got it's Part IV TV series, and it seems to be doing as well as it ever did. The Lupin franchise has lasted in countless iterations and interpretations since 1971. Same thing with "Cutey Honey." "Fooly Cooly" may even get a reboot from it's new owners, Mad House I think. – Jonathan Leiter9 years ago
Branching off of Jonathan's note, you need to review aspects such as sales statistics and manga content. Did the older anime have budget restrictions? Perhaps it didn't show everything possible from the manga (ex. JoJo's initial release was a summarized version of Stardust Crusaders if I remember correctly). I'm not sure about Hunter x Hunter since I never followed it, but Young Black Jack is a manga so it wasn't an anime solely made to branch off of Black Jack's success. Most anime are remade I think more to follow more closely to the original content and others are more to give the animation style a face-lift. One example you don't mention is the Berserk movies, you could look into those along with Evangelion. My only issue with the Rebuilds are that there is a popular fan theory of the movies being based after the events in the End of Evangelion and may need the fourth release to verify or deny this. – Connor9 years ago
A plus for revival is an opportunity for improvement. In HunterXHunter for example I felt the newest iteration handled pacing a lot better – MattyMayham8 years ago
How would George Smiley (of John le Carre) and James Bond (Ian Flemming) work together? Both are anti-heroes and have love for their country (or do they?) but could they see eye-to-eye? How might their live styles conflict and would they be able to take orders from one another? le Carre has spoken about Bond and Smiley but do you think there's a deeper connection? I think an article on the two would bring some answers to this question plus expose some of the deeper character traits these two have.
In comic books many publishers try to expand a certain title or story arcs into spinoffs and crossovers. While some of these are a whole a lot of fun (We would never have had the Avengers or Justice League) others can be downright frustrating, in that you have to buy comics you wouldn't have read on your own. What are the good things and bad things about comic book spinoffs and crossovers?
I think instead of looking at this issue in a Manichean way, whether it is good or bad, you could look at whether a crossover adds anything to the current story arc. If something is frustratingly bad then it could be because of poor integration or a "bad fit" for characters while good crossovers could be the opposite. I think by analyzing the quality of writing, art and the reasons why the crossover happened you can provide a deeper study of the practice rather than just a judgement of it. I think this article definitely has some great potential and is right on trend with not only our contemporary comic habits but also our movie watching habits as well. – DClarke9 years ago
When they become to confusing of the writer seems like they are just trying to make money off of something that shouldn't be there then it is bad
– Aim9 years ago
Pretty sure Deadpool has had a story arc with every single Marvel character, he is currently In Deadpool and Cable as of right now; but, he's has one with Spider-Man, Hawkeye, he killed the Avengers at one point, Deadpool Corps where he teamed with Lady Deadpool. Harley Quinn is currently with Power Girl in a series. There's so many crossovers and spin-offs happening! There's so much to talk about! – scoleman9 years ago
Comics are probably the best medium to tell spin-offs and crossovers because comics having fun and outlandish ideas is part of the fun of reading them. With that said, spin-offs can be both good and bad, depending on the character. Batgirl having her own comic series works because she already has a long and loyal fan following, so it makes sense for her to break off from Batman's comics. The reason Drax having his own series does not work is because he really works best when he is with the Guardians, otherwise he is kind of boring. – Aaron Hatch9 years ago
It will be interesting to see how crossovers and spinoffs are perceived differently by comic fans vs. film or TV shows. In the last decade, we have seen a growing number of films and TV shows that take this approach. While of course making profit is a major part of it, the success of such films may tell us a lot about demand on the part of the fans. – Arazoo Ferozan9 years ago
There have been three main renditions of Kate Bishop in the past year or two that have made a significant difference in how we perceive her as a character. The storyline of who she has become is one thing, but how her personality is perceived is another.
Adolescent Kate is what started it all when she made an appearance in the first Young Avengers by Allan Heinberg and drawn by Jim Cheung in 2005. In the previous comic mentioned, she looks entirely different than she is depicted now. But, Kate has grown from being a sidekick character in David Aja, Annie Wu, and Matt Fraction's version of Hawkeye in 2012. To being her own character with her own personality (and older) in Young Avengers by Kieron Gillen and Jamie McKelvie in 2013. And, lastly, to being a grown up version of these two comics in the All-New Hawkeye series by Jeff Lemire and Ramon Perez in 2015.
Throughout all of these comics, Kate Bishop has not only changed who she is and how she's grown as a person; but, how she is drawn as well. She is drawn differently throughout these comics and it is interesting to see how differently that she is drawn. How artists are perceiving her and how she has altered through time is one way to think about it.
Kate Bishop is an underrated character in the Marvel universe, mostly because she is secondary to Clint Barton. She is essentially his sidekick, when most of the time, it seems like Cint is her sidekick. While she did start in the Young Avengers she has made quite the evolution since Jim Cheung has made her character into a character.
Skylanders, Disney Infinity, Lego Dimensions, and Amiibos — all are variations of the new phenomenon in gaming, interactive game figures. Skylanders and Disney Infinity have been around for years, creating new starter packs and new figures to expand their 50 collection of figures. Lego Dimensions creates a new spin on the IGF concept, creating a base game that will last for the next 5 years and additional packs to assemble to add more content onto the game. Amiibos, Nintendo's rendition, are treated more like collectibles, but also add additional bonuses on games across Nintendo franchises.
How does the proliferation of these figures into the industry affect the economy and reputation of the industry? Is it simply an add on to the discourse of microtransactions? Which company implements their IGFs most effectively?
This is an excellent topic, original and so in sync with what is happening in the industry! It will be important of the writer to explain clearly what interactive game figures are as it is complex to grasp. – Rachel Elfassy Bitoun9 years ago
The success of superhero TV shows and the success of bringing villains from the comics onto the screen every week (or on Netflix every season). AOS (Agents of Shield), Agent Carter, Flash, Supergirl, Gotham, Daredevil, Jessica Jones, Arrow, etc. These TV shows all have something in common and that's appeal to the viewers that still like watching TV shows weekly and keeping on the edge of their seat until the next week comes.
Aside from these shows being popular on the screen and keeping the suspense coming, what does the effect of bring in villains from the comics appeal to the show? I know they are supposed to be there, yes; but, does it appeal to bring in one every season like Daredevil? Or bring them in all at once, like Flash? Which appeal works best, introducing them one at a time or introducing multiple at one time. With Netflix, you have Jessica Jones and Daredevil who have introduced one each season so far. But, TV shows like Supergirl and Flash are already having a crossover and Arrow has had one as well.
There are multiple topics to speak upon on this one, but there's also the difference between Netflix and TV show on TV. There's the fact that Netflix puts them all on the table in one night / day, is there enough leeway to have more than on villain based on that? Flash and Supergirl, even Arrow have the ability to introduce one every episode BECAUSE they come on weekly. What is the difference in doing that? Gotham has introduced the origin of the majority of the DC characters from Gotham in one season. Every show has a different way of doing it and why are they all so successful? Not only really copies the other, even on different publications like Marvel and DC.
I think this also speaks to our interest in the villain. We aren't satisfied with an all evil, kill-everybody-they-see type bad guy anymore. We are just as fixated on sexy conflicted heroes as we are on sexy conflicted villains. Good topic – DClarke9 years ago
An excellent topic! One might also consider how the plot arcs of these shows proceed. Does a series that contains a sustained plot arc across the entire season benefit from introducing a single villain vs. introducing multiple villains from the start? If a series is more episodic in nature, do they necessarily lean to one side or the other? If the series is going to be taking place in one of the "expanded universes" that have become so popular, how does that affect the introductions of villains? – SMurphyEGB9 years ago
Persepolis. Hyperbole and a Half. Fun Home. Over the last 20 years, the graphic memoir has become a popular medium-of-choice for writers and illustrators to examine difficult childhoods, mental illness, sexuality, and other marginalizing factors. What storytelling capabilities does the graphic memoir, as a medium, offer that traditional the traditional book format does not? What are its limitations?
Whoever writes on this topic might want to discuss the difference between a graphic memoir and an ordinary picture book of an artist's work (who focuses on making art to express their life). I for one didn't know graphic memoirs were becoming popular. Do they mostly feature real life childhood photos not taken by themselves? I think a graphic memoir and a painting expressing a past experience both have pros in the creator's ability to visually display what they may not have the skill to write or speak about. – Slaidey9 years ago
I've read Persepolis and Fun Home both in academic settings. We talked about the presentation of truth, use of color and art style, gutter narration vs. speech bubble exposition. This is a really cool and relevant topic, given the popularity of these graphic novels. – ChristelleMarie9 years ago
Palestine by Joe Sacco is also an interesting one to look at. Great topic!
– Rachel Elfassy Bitoun9 years ago
Perhaps the most seminal graphic memoir in recent memory would have to be Blankets, a sprawling work of art published in a single 500-plus volume. Absolutely as essential a biography as Maus or Persepolis. I also would be remiss not to mention My Friend Dahmer by Derf Backderf, one of the scariest personal observations of a psychopath you may ever encounter in any medium. – Diogenes11389 years ago
Quebec's film industry is commonly regarded as a distinct entity from its English Canadian counterpart. Write a study and history of French Canadian Cinema, looking at filmmakers like Xavier Dolan, Atom Egoyan, Denis Villeneuve…. What makes it paricular? How can it be exported? Is there a Hollywood/Canadian influence?
I suggest you add "and" before Denis Villeneuve and immediately put a period after the name. You do not really need the ellipsis and the question can stand on its own. However, you can use the ellipsis, but it's three periods and not four. – Diego Santoyo9 years ago
I'd love to see a list of your favorite featured players on SNL that never made it to full-time cast members. There's quite a few that I found worthy enough to make the cast, but unfortunately didn't. Many of them went from writer, to featured player, and then they were either fired or went back to writing. I think a list of 1-10 of who you found was great, but didn't make the cut, would be best. Also, add an explanation or video clip for each of the 10, as to why they are ranked where they are. For example, if you had a favorite sketch or Weekend Update appearance that made them stand out for you.
Good topic! I think a list of 10 would be better in order to be able to be more thorough/detailed and keep interest throughout the whole thing; perhaps with a short video clip of each person's work (sketch or update, as you suggested). I'd probably click on this to read, but I know I wouldn't make it through 20 unless I was a die-hard SNL fan that already knew all of the performers - choosing a smaller number and adding clips will make this more accessible for those who don't regularly watch the show. Also, is the list focused on actors the writer feels weren't good enough, or that the show felt weren't good enough? It might be more interesting to choose people that the writer feels were worthy of full-time status but did not make it (and the tone would be more positive by pointing out their strengths rather than listing their faults). Your phrase "if you had a favorite sketch or Weekend Update appearance that made them stand out for you" suggests that you are talking about people who deserved to be on the program full-time, but your earlier sentence "There's quite a few I found good, but not good enough." suggests the opposite. If the article is about your favorites, the reader will want to see if their favorites match your own, which is fun, and invites comments. – Katheryn9 years ago
A video clip would add a lot to the article. – Munjeera9 years ago
I like this because I think right now SNL is in transition period. I think diversity is great and the voices are bringing out new forms of comedy. I think this would also be a great way to compare what sketches worked, for example, in the 70's and whether those sketches would work today given the quality of the performance and writing of the sketch and the sketches today. I think this is solid, relevant, and would open the article to go many directions while still being clear. – Matthew9 years ago
Twickenham Studios in the UK might not be well known, yet they have worked for the past century on enormous films. They have produced the Beatles films in the 1960s, The Italian Job with Michael Caine, My Week with Marilyn, The Iron Lady, War Horse, Kick-Ass among others. They are also particularly famous for their post-production work, receiving Emmys, BaFTAS and Oscar nominations for their sound editing of The Martian or Amy for example. Celebrating their 100th anniversary, it would be interesting for someone to look into their history and create a retrospective of their most famous work.
I have never heard of Twickenham before - this would be really interesting! Great idea. – Katheryn9 years ago