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Analyze YouTube's announcement for a paid service as well as what it could mean for the future of the internet and streaming videos. Describe the already announced programs and mention some of the early criticisms it has received so far. How will it impact the free side of YouTube, will quality go up or stay the same? Could this change hurt YouTube as a whole.

Every genre and medium has character archetypes associated with it, but few have as many and ones which appear with as much frequency as anime does. Tsunderes, Kuuderes, Yanderes; not only are many of these staples of almost every airing show nowadays, but the formulas used to create them are nearly identical. Most of the time, characters from different shows could be switched around without anyone noticing. The reason why these characters are so popular in the first place is fairly straight-forward: they play into power fantasies by implying that exterior behavior does not accurately reflect interior feelings. However, after so many reiterations of the same exact thing, the market should start to be frustrated. Anime is a very financially-driven medium, so why is it not considered profitable to put new and creative spin on the tried-and-true archetypes when doing so would almost certainly enhance viewer enjoyment and yield capital return? Shows like the Monogatari series have done exactly this and gotten massively positive results, so why do so many animation studios vie away from any sort of enhancement to the formula?

Deconstruct the representation of Dr. Jekyll and Mr. Hyde and its psychological implications. What does this say about the internal battle between moral and physical desires, between duty and desire, between Id and Ego? How do social conventions repress wicked desires in the novel and film? Finally, a more broad question, does Dr. Jekyll represent humankind?

What makes a story get reused over and over again? From The Wizard of Oz to The Lion King and Mary Poppins, whats makes a story so popular and loved that is can be recycled from medium to medium with reboots and sequels? Stories like Charlie and the Chocolate Factory have been made into movies, plays and musicals while others like Star Wars and The Incredibles were left in their original mediums despite being loved by many.

Drawing from an extensive multicultural databases and resources, attempt to comprehensively cover multiple aspects of Korean design from fine art and architecture to product and graphic design.

Analyze the difference between Soul Man (1986), a movie that shows the length people will go to get an education, and Tropic Thunder (2008), a film that features a white actor portraying a stereotypical black soldier. The former is maligned among audiences and critics and has a 14% rating on Rotten Tomatoes. The latter is beloved for its skewering of Hollywood, and netted Robert Downey Jr. and Oscar nomination. Where did Soul Man go wrong, and what did Ben Stiller and company do right?

Reflective writing has great power to aid in self discovery, to strongly connect the author and the reader and to transform both. The best reflective writing goes far beyond a brief diary entry and compels careful attention from both the writer and the reader. When done well, both the writing and the reading of it are mindful practices.

Analyze why Steven Universe is a popular show among several age groups. Main reasons being it's progressive and tolerant writing with well rounded characters who actually develop as the show progresses. However, the show keeps getting pushed aside for shows like Teen Titans Go, which has little to nothing to offer in terms of tolerance and character development. Research why this is and what it could mean for the future of animation if Steven Universe fails at the hands of the network.

'Rock the Kasbah' (2015) has been in theaters for only a few days, and already, reviews of the film express a lack of interest and the wonderful feeling of being "Murray-ied'. Critics and public viewers alike are unimpressed and can't stand how slowly the film moves through a plot which flat-lined within the first half hour. Through all of the unrest regarding the movie, one critic I have not been seeing is how the movie was loosely based off a riveting and touching documentary "Afghan Star" (2009).

The film centers around Bill Murray's character, a Hollywood music manager. He goes to Afghanistan with a musician on a U.S.S tour, she ditches him there, and a few bad decisions and wacky circumstances lead him to find a Pashtun woman who is a (surprise) talented singer. Salima (played by Leem Lubany), goes on the Afghan version of 'American Idol', 'Afghan Star'. She risks her life to do so, and a truly inspiring ending is the result; however, this film is dedicated to a real woman, Setara Hussainzada.

Who is she, you may ask? Hussainzada was a female contestant on the real-life show "Afghan Star" and was the first of four to be eliminated. Her final goodbye was inspiring, she danced freely and without her hijab. She recieved death threats and became a social outcast for her scandaless performance. Lema Sahar, a Pashtun woman, was another contestant on the show and was eliminated after Hussainzada.

The film takes a beautiful, empowering moment in Afghanistan current culture and white-washes it to the point where a white, male, American is not only the center of the film, but is responsible for Lubany's characters bold demonstration of feminine strength. It can be argued such changes were made to not only get Murray in a film but also to make it more appealing to American audiences, but this is where the problem resides. This film could have been an American take on the stereotype-breaking event of two empowered Afgah women; in the end, the credit was given to a fictional American man. This could have been a movie to celebrate two women who risked thier lives to express themselves without forcing an American in to help 'liberate'. Hussainzada and Sahar did that themselves, but you wouldn't know that from the film they inspired. How is this a reflection of American bias against Afghan people and culture?

Following its introduction into mass media with The Wizard of Oz, color has played an important role in films, with filmmakers intentionally choosing colors to symbolize different elements in their pieces. Analyze pieces such as The Sixth Sense, which uses color to foreshadow the ending revelation, or Moulin Rogue, which uses color to symbolize the different areas of the city.

With so many live-action remakes of classic Disney films, from the recently released (Maleficent, Cinderella, Pan) to the upcoming (The Jungle Book, Beauty and the Beast, Dumbo) which ones work/will work and which won't? Is it possible to recapture the magic of the cartoons, or are some too outdated for a modern audience? What should filmmakers change or keep the same?

Since a new series of Full Metal Panic got announced, I thought it is timely to look at this topic as Sousuke is a popular character and has been subjected to a lot of opinion about whether he is realistic or not. The writer could look at the light novels and anime for how to back up their argument, as well as literature and criteria for PTSD. I would be willing to collaborate with someone on this title (I am busy) I am studying Psychology and have read all of the light novels and seen the anime.

Both games incorporate a triple-tiered karma mechanic. What is effective about the approach taken by Undertale, the up-and-coming indie game, and what is effective about the approach taken by Mass Effect, the mega-million dollar franchise? Dozens of other games have written this feature in the past. What prospects does the karma meter have in the future of adventure gaming?

I'm sure that you've all heard it before: "Pokemon? That's a child's game. Call of Duty/Battlefield are adult games!" While I do believe that Pokemon games have started out to be just a game for only a child audience, I can't help but feel that the games have taken a complete shift in audience growth. You will notice many older audiences playing Pokemon and not just playing it but knowing the more complexities of the mechanics within the games that children have no idea nor any concept of. For example, IV's and EV's were something that pretty much were non-existent in the minds of players when Pokemon Red, Blue, and Green Versions were released (as well as Yellow). These new mechanics in the games revolutionized the way players interacted with each other to a whole new level of complexity. Before it used to be "Trade me your level 100 Mewtwo for my level 50 Mew." But nowadays we have players talking like this: "I'll trade you my Shiny Bulbasaur with it's hidden ability for your Ditto with maxed IV's and EV's!" Not only that but with the addition of new battle methods such as double, triple, rotation and even inverse battles the inclusion of these stats affecting IV's and Ev's have driven players to catch multiple of the same Pokemon just to get even one that has at the very least one or two IV/EV's maxed out. Those are the Pokemon that have the best chances of becoming either a wall or sweeper in online battles. So, are these games more children friendly still? Or is Nintendo secretly turning their consumers into full blown tacticians and strategists?

It was recently announced that Gilmore Girls will be returning on Netflix. What does this mean for the characters? This is especially important now that Rory and Lorelei are older and the fact that the actor who portrayed Richard Gilmore, Edward Herrmann, has passed. How will the new storyline be different?

"Although it was on the air for only one season, The Jetsons remains our most popular point of reference when discussing the future." (Matt Novak, smithsonianmag.com)

Since The Jetsons "promised" us flying cars more than 50 years ago, we continue to refer back to the show as one of the only mainstream depictions of a future with a positive outcome. Granted, cinema in the 60s still included the larger-than-life conflicts (literally) with movies like Mothra vs. Godzilla, 2001: A Space Odyssey and Planet of the Apes, it seemed like the depiction of the Jetsons is the only piece that prevailed in a technologically relevant way. But to pose the question of why The Jetsons has continued to be arguably one of the most influential "science fantasy" cartoon depictions is to pose the question of whether optimistic depictions of future shape the way we innovate and live our lives.

The day I'm writing this is a date that the 1989 film, Back to the Future, predicted the sorts of technological advancements we will have made, and they were relatively close. A CNN article, "What did 'Back to the Future II' get right?" by Todd Leopold illuminates what was and wasn't correct about the film's predictions ((link)

However, around the same time as Back to the Future, we were beginning to see movies like Mad Max, depicting a sort of "post-apocalyptic" future, along with movies like The Terminator, The Matrix and Blade Runner depicting a sort of "dystopian" future. In a different way, these were becoming more common and more mainstream, possibly due to the advent of affordable visual effects and digital imaging. Regardless, it seems that the rising generations are growing up with zombies, apocalypses, and a fear of artificial intelligence or government totalitarianism. Maybe it didn't help that The Terminator came out the year that George Orwell warned the world could be approaching a totalitarian system of constant war and surveillance.

In summation, assuming, for now, that the influence this media has can determine our course of progression and innovation as a world, than should the media industries be sharing a sort of responsibility in reenacting optimistic outcomes in future-set movies and TV?

Attempt to find deeper meanings hidden within the movie Kung Pow. Explore these messages and how they are relevant to the plot or the real world. Look at other movies Kung Pow references and how the stereotypical hero story is warped.

Analyze the theory or cultural understanding and/or gender ideology that women aren’t funny and the idea that when women use "men’s humor" they are judged as being profane. Also, explore who men and women have used humor to degrading women and desensitize audiences to serious topics such as rape, sexual assault, etc. Why are categories of humor based on gender? What about just calling it human humor?

“World literature” is a term often referred to in academic settings to include writing from around the world and from different times that may feature varied perspectives based on these factors. However, in a time of high-speed internet and global interconnections and interdependencies, what does this term actually mean? For instance, does it refer to literature from different parts of the world, or from different “worlds”, or from different worldly perspectives? What is generally meant by the term "literature" and what should it mean?

Also, with such an emphasis on “literature” in a written form (often translated into English) and with the usual exclusion of more traditional storytelling mean such as oral stories, does the concept of world literature in any way actually represent the “world” and different forms of literature and storytelling?

In the past decade, there have been some quality Westerns released such as No Country for Old Men, There Will Be Blood, and Django Unchained, as well as solid remakes of 3:10 to Yuma and True Grit. There is also the upcoming Bone Tomahawk to look forward to, and obviously the highly anticipated Hateful Eight. Eastwood's Unforgiven in 1991 was considered by many to the the "eulogy" for the Western genre and a fitting end at that, however it can be said that there has been a resurgence of sorts since then. As one of the most recognizable and classic genres, is the Western is making a legitimate comeback? Or will it die out again by say, 2020?