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On demand streaming services are fast becoming popular platforms for watching films and TV. They have also changed *how* we watch, in particular how we watch TV series.

Often referred to as binge-watching, people are able to watch an entire season or series in one session if they so choose. This is great in some ways (for example shows like Arrested Development and Master of None are created with a greater flow from one episode to the next, allowing for more time spent on creativity and less time on recaps), yet perhaps not so good in others.

Viewers lose that excited expectation of seeing their favourite show over a number of weeks, TV becomes less of a social event between friends and colleagues watching the same show at the same time and more of a solitary activity, and as binge-watching suggests it can be hard to know when to stop, and too much TV watching is associated with health problems.

An article could take a nostalgic look back to pre-streaming television, overall weighing up the pros and cons between both, without writing off non-streaming TV due to the more obvious convenience benefits of streaming. In short, as with anything else delayed gratification can be good for us!

Provide an analysis of the role that origin stories of villains in various forms of fiction fill. Perhaps the story makes for an interesting insight into the motives behind an evildoer's deeds (as in the case of the Psycho film franchise, for example), their relation to the respective hero (if any), or perhaps as a source of sympathy for the character. Supply in-depth descriptions of examples for each role.

It has been over a year since the Gamergate controversy, where women video game developers and critics were harrassed online by misogynists and a wider discussion opened up about women in video games and the associated industry.

With this in mind, how have video games been for women in 2015? Can look at characters and themes in PC/console games from big hits (e.g. Star Wars: Battlefront, Witcher III, GTA 5, Mortal Kombat X, Fallout 4, Call of Duty: Black Ops III, Metal Gear Solid V: The Phantom Pain) to indie gems.

An article could also look at how the year has been for women in the industry, as creators and developers and critics etc.

In essence, is the video gaming scene becoming better and more accessible for women gamers and professionals, especially given all the awareness that Gamergate brought to misogynism in the industry? Or is it merely more of the same as far as the last year has been concerned?

Deconstruct and draw parallels between the representation of the labyrinth in Guillermo del Toro's Pan's Labyrinth (2006) and Jim Henson's The Labyrinth (1986). What is the labyrinth an allegory for? What does the journey imply for the time periods that the films are set in? What do the creatures represent that the main character encounters?

The Marvel Cinematic Universe (or MCU) has proven over the past 7 years to be a strong, viable, profitable, and well-beloved series of films, which plan to continue forward with at least two films every year with no end in sight. But now, Star Wars is looking to break out into its own Cinematic Universe, and spawn an ongoing series of both episodic and stand-alone films. So what could this mean?

With the Marvel films, each film is gathering plot points, characters, and events from decades of material that all must be accounted for in order to make sure that certain elements that have been established for decades are stay consistent. With Star Wars, the new execs at Lucas Film and Disney have decided to throw out the majority of its expanded universe in order to allow the most creative freedom and a clean slate going forward, hopefully with the result that the newly expanding universe will be more coherent and consistent between all previous and future installments. On the Marvel side the mandate requires that each screenplay include Easter-eggs or plot details from future Marvel properties within the story, so that a large interconnected web can be constructed between every film. This has resulted in many artistic and creative arguments. On the Star Wars side, Lucas Film and producer Kathleen Kennedy seem less interested in mandating any particular rules for the writers and directors, in favor of letting everyone work freely as they please, in order to get the best possible stories and films out of them.

For Marvel, “The Avengers” was an enormous step forward not just for legitimizing a more cartoonish comic-book universe on film, but it was the first ensemble super-hero movie that was actually helmed by a talented director who could handle the task, and it proved a huge success. But with the release of pre-order tickets for “The Force Awakens,” Star Wars seems more than capable of breaking every record at an unbelievable margin not only because of the brand, but because the right people are running the show, and making this film an event no one should miss. So what does that mean for the Star Wars films that come afterwards? Is it possible that the Star Wars Cinematic Universe could surpass the MCU in terms of filmmaking quality, world-building, and drawing power; or is all of this just hopeful speculation, and it could just as easily run into all of the same problems that Marvel has, and an eventual over-saturation of its own brand?

There is a lot of chatter online (social media and news sites) about relationships and orientations in Star Wars The Force Awakens, and the later upcoming films. For example there is talk of chemistry between Finn and Poe, the more obvious heterosexual pairing of Finn and Rey, or even a poly relationship between the three. Is there a possibility for a gay/poly relationship, or are these options merely being dangled over hopeful fans? It is not the first time this has been done, if only considering the indulgent hints at Sherlock/Watson in BBC Sherlock.

An article can look at opinions online about possible pairings, and exploring other examples of dangling certain non-canon couples over the fans without committing to the relationship could provide interesting context. As can looking at the trend for fanfiction with non-canon couples. Also good to think what effects certain relationship choices could have over viewers, plot and social progression.

Explain how people perceive information visually and the effect infographics have on the average viewer. Attention spans have rapidly declined and people have become lazy when it comes to reading any form of information. Graphic designers use infographics to convey messages and important facts, making the information easier to understand and retain.

Due to J.J. Abrams's recent involvement in Star Wars: The Force Awakens, he was unable to direct the third new Star Trek, leaving it to Justin Lin (Fast and Furious) to direct. Will the signature mark that Abrams's left on the series lose its aura that was present in Star Trek and Star Trek: Into Darkness? Abrams's is producing Star Trek: Beyond, however, so perhaps his creativity will find its way into the new one as well.

If the successes of films like Jurassic World and Star Wars: The Force Awakens have proven anything, it's that nostalgia is very appealing to movie fans.

The Force Awakens is actually the exact opposite of the prequels — where the prequels had a creative story (with a goal) and largely poor acting, Force Awakens has a largely derivative story (with no ending in sight beyond Episode IX) and good acting. The upcoming Ninja Turtles sequel is receiving anticipation from fans who have accepted the lack of story in the new bunch of films and just want to see Rocksteady and Bebop on the screen. Guardians of the Galaxy also relies heavily on nostalgia, albeit that of society rather than cinematic. Regardless of shortcomings, audiences continue to see these movies and these movies continue to get made.

So what will ultimately be more financially successful in the long term for the already extremely perilous and risky film industry: appealing ever more to certain fanbases' nostalgia (until that fanbase ages out and a new fanbase comes in), or appealing to everyone's imagination through more originality and creativity?

"Take off that mask," Solo said to Ren, venturing further onto the bridge. "You don't need it."*

But what would Star Wars be without them? An analysis of The Force Awakens centred around this symbol offers the viewer many windows into aspects of character and theme, particularly when contrasted to A New Hope, which Episode Seven so blatantly sets itself in juxtaposition to. What roles do masks in Star Wars create, and how are these challenged and manipulated by characters? How does Finn's acting before he takes off his helmet – effectively mime – create his character? How is Ren's mask, aesthetically and symbolically, different from Vader's, and what is significant about Vader's memorial being his mask (which he discarded at the end of Episode 6)? Comparing the use and implications of masks in the film and franchise to the historical purposes of masks that are also echoed in the movies – for instance, the samurai helmets of the Sith – could yield further insights, though there are many other options for enquiry.

The second focus of the article would be on machines, another key symbolic feature of the Star Wars series. The Force Awakens introduced us to new droids, from scrap to practically sentient. Comparing major characters like BB-8 to the junk droids we see on Jakku (and maybe comparing that comparison to a comparison of R2-D2/C-3PO against the junk droids on Tatooine) is just one path into the topic. Investigating the nature of the technology used by the 'goodies' and 'baddies' of the movie also promises a lot of depth of discussion – why does the Dark Side always go for massive industrial weapons, contrasting to how the Light Side is saved by small, humble droids and the small pieces of data they carry – and why should those tiny things be threats against these massive feats of power?

A strong conclusion would find an insightful way to bring these two together; this can, and perhaps should, govern the entire focus of the article. The writer could use research into the traditions and developments of the theatre to discuss masks and machines (while the former's link to theatre is obvious, one could consider how the latter were used in, say, Victorian melodrama, which Star Wars could be seen to parallel).

The article could consider just one of these symbols, but a controlled comparison should be more exciting.

edit: now considering writing this myself, unless anyone else gets a burning desire to (in which case I can offer

While the Rurouni Kenshin manga was full of over-the-top action, unbelievable characters, and impossible inventions, the basis of the series was real historic figures. How does this history control and direct the Manga, and in what ways does the manga share a common linage with other works of historic fiction.

Art is subjective- we all know it. But there are some abstract art pieces that are considered "art" yet they do not match the definition of Abstract Art. In addition, write about the characteristics of a "good" abstract art piece and a "bad" abstract art piece and how they relate to the definition of Abstract Art.

A speculative think piece, could be based partly on the trend for gritty TV shows (Daredevil, Jessica Jones) as well as big blockbuster hits. Also the surprise hit with little known Guardians of the Galaxy. Could be fun to think on possible filming and casting choices too!

A historical analysis of the Star Wars/Star Trek "rivalry." Is/Was it really as big as some people make it out to be? Can one be a fan of both franchises? It seems like a silly thing to say today that you have to choose one or the other, but I'd be interested to read about the histories of both franchises and how the so-called "rivalry" came about.

Do an in depth investigation of the adaptations of Frankenstein to film. How has the monster been adapted from the novel into modern day? What does the monster say about society or about humanity in general? Or better yet, what inferences can be made in the relationship between Frankenstein and the monster, and the consequences of our desires to be like God/creators? This should make connections between the original Mary Shelley work, the various film adaptations, and possibly the recent Frankenstein film.

Gobelins and Cal-Arts, two very strong arts institutions (the former in France and the latter in California), churn out some fantastic student films every year. The two have also collaborated on films in the last couple of years, creating great short films such as "Floating In My Mind," while films from Cal-Arts students themselves like "Omelette" are cute and well-made. "Kagemono," another Cal-Arts student film, was even purchased by Disney. Could be a fun thing to look into, as well as an excuse to watch lots of neat short films.

Analyse aspects of the film franchise and television series that depict the reality of a post-colonial Hawaiian culture. Specifically, how is Hawaiian culture present, represented, and changed in Lilo and Stitch, and what symbols and motifs are present that affect this?

Explore the gender dynamics in the Starz original series Spartacus. Possible themes to analyze:

-"Equal opportunity" nudity: While there is a good deal of female nudity in Spartacus, there's also a fair amount of male nudity. How are bodies used visually? Is there a difference depending on gender, or is it truly equal? The concept of the male gaze could be discussed here, as well as shows criticized for an imbalance skewed toward far more female nudity than male.

-Power Dynamics, Agency, and Sexual Violence: In the show, there are stark power issues between the Roman elite and the enslaved (and later freed) individuals. Power is something that permeates this entire topic, even above when considering how the show treats nudity. Spartacus also contains sexual violence, and attention is given to female rape survivors such as Aurelia and Naevia, but it is also worth mentioning that, in the case of enslaved men such as Spartacus, Crixus, and Varro, they are often shown engaging in intercourse with Roman upperclass women (Lucretia and Ilithyia) or, in Varro's case, enslaved women for the benefit of entertaining the Romans.

In these circumstances, the enslaved men are stripped of their agency and have no means to refuse these interactions. Because their consent is never taken into account, these acts are rape. Analyzing the difference between how male and female rape survivors are treated, as well as how their abusers and the abuse is framed (such as male-on-female assault in contrast to female-on-male), could be beneficial.

-Marriages and expectations: Spartacus also deals with societal gender expectations. As an example, Batiatus and Lucretia are happily married despite troubles conceiving (an issue Lucretia internalizes as her fault, possibly due to not being younger) and infidelity. Lucretia specifically calls out the double standard of women being shamed for their needs and adultery much more than men. Also, because she does conceive with a man who is not her husband, the blame toward her inability to get pregnant is misplaced, but still something that puts far more pressure on her than Batiatus.

-Tropes such as the warrior woman (most of the freed women) and the Lost Lenore (Sura's death, which motivates Spartacus to rebel)

A lot of time has been spent looking at the continuity in the Marvel cinematic universe, very few look at the DC cinematic Universe. What I hope for a writer to do is explore, compare and contrast the two cinematic universes. One is owned by Disney and another by its competitor Time Warner, so there will be similarities but there will also be differences. How does the competition between Dsney and Time Warner reflect in the competition between Marvel and DC? With a New Batman appearing in Dawn of Justice, and a Captain Marvel movie due out starring Dwayne Johnson, what can we hope to see in regards to the main continuity climax in the upcoming cinematic film, Justice League? How do reboots effect this continuity in terms of Spiderman and Batman?

Robin has become a very popular character in the comic book medium, but for some reason, directors and script writers stay away from him. We have a older man literally named Robin in the final Batman movie but he never became the young sidekick we know and love. Why do directors stay away from him? Would the DC cinematic Universe be well advised to add him as Batman's sidekick? Is he best left in the comics? Why or why not?