Modern performances rely on young actors amid outlandish worlds of fantasy and fable. It is often conveyed through technological devices such as computer graphics or scale mock-ups. But years ago, child performers had only their voice, their dancing feet, their counterpart, and a reliable stream of antics to deliver entertainment to audiences. In the tradition of Shirley Temple and Little Rascals, show how much or how little technological advancement in screenplay has impacted the burgeoning and maturing actor into a unique form or into a rambunctious version of the original model. By all means, incorporate relevant patterns of the genre by configuring actors such as Mickey Rooney (who started in silent film) into the prose, or the Brooke Shields foray into fashion, modeling, and advertising.
Relevant article: https://the-artifice.com/secret-life-of-shirley-temple/ – Misagh7 years ago
An interesting suggestion for an article! There's a great history of cinema to draw upon indeed, but might I also suggest widening the subject to include a look at young actors/actresses' development outside of Hollywood? – Amyus7 years ago
A lovely topic with plenty of research to draw from. I'd be especially interested in the writer's take on Shirley Temple. Both my grandmas had some of her movies, so I watched her as a kid. I liked her, but even when I was little I felt her acting was overdone and whiny. I wonder now if that was encouraged because of a lack of technology, or if today's child stars have similar problems. (Personally, I've seen some really good ones and some that can't act to save their little lives). – Stephanie M.7 years ago
Discuss the political climate that existed in the American entertainment industry in the early 1950s that was exploited by Senator Joseph McCarthy and the House In-American Activities Committee (HUAC), and ramifications of the committee's investigations.
This could be a great topic. There is a play that deals with it, "Are You Now or Have You Ever Been?" Check it out!
https://www.goodreads.com/book/show/1844626.Are_You_Now_or_Have_You_Ever_Been_and_Other_Plays – L Squared7 years ago
Movies can be said to entertain us, thrill us, scare us, and even make us cry. However, there are certain movies that reach a new level of violence that can cause nightmares, tears, and the desire to copy it and send it back out into the real world causing real harm to others just because it looked cool in a movie. When is too violent?
An interesting topic, and definitely one worth pursuing. It might also be interesting to see how the standards have changed. When some films from the 70s and 80s were transferred to DVD, their censorship ratings were often downgraded, particularly in regards to violence. You might also consider how Western society seems to be far more squeamish and conservative about sex (even to this day). A perfect example was seen here in Australia. Game of Thrones has been given an R rating every season except for season 3, despite this being the season containing The Red Wedding. A pregnant woman was stabbed in the stomach, and yet this was the only season (so far) to be given an MA15+ rating. So, apparently fifteen year olds can watch the murder of a unborn child, but they're not mature enough to watch characters having sex. – AGMacdonald7 years ago
Are we making a distinction between the demographic who watch them and the demographic who they are intended for? If a film is a incredibly violent and it's classification accurately conveys that then the demographic watching the film likely won't find it too violent. I don't quite understand your topic, unless you were to focus on something like issues with film classification, as AGMacDonald mentioned in the above comment. – LeonPatane7 years ago
I think people are only hit with "too violent" when the movie was improperly advertised. People dumb enough to reenact violent things from movies are going to happen, so debating the censorship of all movies ever made isn't quite helpful. I think the focus should be on movies that went too far from what viewers were made to expect, and how that impacts people. I remember liking to watch horror movies with my friends as a preteen and we popped in something we thought was strictly a suspense slasher. Blood, gore, and a little bit of soft core porn were considered acceptable. But then five to ten minutes of the movie was spent depicting rape. My friends were deeply disturbed and wanted to shut it off, for them that was "too far" whereas I agree with AGMacdonald in that our idea of certain kinds of violence over others at a certain age is terribly askew. What levels and types of violence are acceptable at not just which age rating but in which genres? – Slaidey7 years ago
As someone in the filmmaking world, I don't ever want to tell someone to "tone down" their movies. I think movies are great ways of communicating something important in an entertaining way. But I agree with Slaidey, they need to be properly advertised. Also, I think if you are someone who knows they will be offended by strong violence, it's your job to find out before watching a movie if it's going to offend you and then make a decision as to whether you will watch it or not. Good topic, I think it's one worth pursuing. – maxxratto7 years ago
Most of the comments I would have made regarding this topic have already been more than adequately addressed by other commentators. Perhaps an historical context would work best, as suggested by AGMacdonald, combined with a look at the psychology (or should that be psychopathy? [sic]) of violent films that would, unfortunately by necessity, have to include an acknowledgment of snuff movies. As long as there is an audience for this stuff then extremely violent films and/or TV series will continue to be made...sadly. – Amyus7 years ago
This is certainly an interesting question, but one that might be impossible to answer. Perhaps if you changed the question, such as, "How violent is too violent for X demographic?" There's plenty of research and controversy on what kids, teens, and even adults should expose themselves to. I think choosing one demographic will help your article tremendously. – Stephanie M.7 years ago
What would happen if John Williams' theme for Star Wars played in the background of a sensual, romance scene? Or if a whimsical tune from Alice in Wonderland played as characters were being savagely slaughtered in a horror movie?
This piece of writing would deal with why music is so important to a movie or television show and how song selection can make or break the impact of scenes. It would speak about why composers use specific instruments, sounds or techniques over others to portray certain moods.
There's a really good Youtube channel called 'Sideways' that discusses media music; check it out! – m-cubed7 years ago
A fascinating subject for a topic. It might also be relevant to make note of those composers who have deliberately created music for a particular scene that appears contrary to the mood of that scene and yet somehow seems to compliment it. Just one example off the top of my head is the music for the model train chase in Aardman Animation's 'The Wrong Trousers'. – Amyus7 years ago
Horror films often do this, like at the end of Halloween II when they play Mr Sandman through the credits. Creepy. – AGMacdonald7 years ago
I would suggest focusing--this is a very old, very broad topic. – IndiLeigh7 years ago
Accidentally posted before finishing--I suggest talking about different genres and using mostly examples of recent movies (e.g., Atomic Blonde, Darjeeling Limited, Moonlight). – IndiLeigh7 years ago
In my university major studies I did one subject called Survey of Film Music with Dr James Wierzbicki at USYD, in which we were introduced and discussed through the history of film music and the trends of making film music throughout the long film history. In classic Hollywood era, major studios hire full-time composers (most of them from Germany) and orchestra to compose music after the visual part is finished, whereas in contemporary film music making, there are also avant-garde or experimental films of which the film editing is after the music is written. "Film Music: A History (Routledge, 2009)" might be a good choice if you are looking further for film music history since the pre-cinema era. :) – Chenlei7 years ago
It's not about Hollywood, but in Bollywood, mostly movies are famous for their music and songs. – Vinita7 years ago
There is also the element of actually using these songs from one "classic" film in another film. The example that comes to mind is the use of the theme from 2001 in Clueless. – derBruderspielt7 years ago
An example of this that comes to mind is the use of Joanna Newsom's "The Sprout and the Bean" in The Strangers http://www.westword.com/music/joanna-newsoms-the-sprout-and-the-bean-created-the-perfect-horror-movie-moment-7745761 – midado7 years ago
"The 100" has become known for its morally gray characters. In the TV show, warring clans often use the justification "[insert devastating action] was done for my people." However, "The 100's" stance is not so clear cut. Discuss the TV show's portrayal of moral relativism. Does "The 100" agree with the justifications characters provide for their actions (i.e. committing genocide "for [their] people")? Or does it want viewers to challenge the ideologies behind the "heroes" behavior? What evidence contributes to your conclusion, whether it be cinematography, symbolism, plot parallels, etc?
Almost all characters have their "gray" moments, but Marcus Kane's season 1 arc was very important in defining the show for me. – IndiLeigh7 years ago
An interesting topic, and worth discussing within also the framework of the moral dilemma at the heart of the narrative - the concept of the sacrifice of few to save more. Moral relativism is a complex area to examine, but this show indeed touches on a number of areas because it is removed from the pre-existing framework of a recognisable socio-cultural setting. – SaraiMW7 years ago
Many classic rock songs were written poetically and had a message or story behind them. Now the element of strong writing behind music has shifted away from rock and towards hip-hop. An example could be juxtaposing Bohemian Rhapsody to Beyonce's Formation, or a politically charged song about the Vietnam War to one of Kanye West's songs. Analyze this shift and how the music scene has evolved as well as the poetic value of some of these songs.
I would also include a discussion of Kendrick Lamar and the underground hip-hop and rap musicians that have been creating complex and poetic songs for years. Some artists like Mos Def and Talib Kweli have been killin it since the late 90s. – Jonathan Judd7 years ago
Netflix recently released its live action adaptation of Death Note, and people were less than impressed by it. A few people who have not seen the original have said that they enjoyed the film for what is was. Without associating it with the source material, is there joy and entertainment to be found here? Also, is it possible that the whole 'white washing' element cast a dark cloud over the whole production (which seemed a bit odd considering that it is the most diverse iteration of Death Note with a wide array of characters from many different races). It would be very interesting to find reasons while the Netflix adaptation, though flawed, was not as bad as people made out.
I feel like what made people so upset about this was not necessarily the "white washing", but the uprooting the entire premise of the show and moving it to America. – ees7 years ago
It's embedded in the nature of adaptation. Rampant fandoms prove to be a consumer lock but also a social media nightmare. Manga/anime fandoms are serious and tough. If we were talking about any number of other adaptations, it wouldn't be that big of a deal. That people are mad for the Obha & Obata manga (and subsequent, concurrent anime series) automatically sets an absurd bar for any adaptation. Check *Oldboy,* maybe. It's done a series of adaptation loops. Regardless, good topic. – Paul A. Crutcher7 years ago
eSports and competitive video gaming competitions have become a serious industry in recent times and are poised to change the overall video gaming industry in big ways. Attracting the attention (and funding) of corporations primarily involved with traditional sports, eSports is set up to not only affect the way future games are developed, but is also set to make some serious revenue. What's your take on how the involvement of large sporting corporations and the rise of elite gamers will effect the overall video gaming industry?
It would also change the current social stigma around gaming, popularizing it more and creating a more serious community. – LaRose7 years ago
Egad. Timely. Especially since Elon Musk's AI just crushed human DOTA players (https://www.engadget.com/2017/08/12/ai-beats-top-dota-2-players/). Great idea. – Paul A. Crutcher7 years ago
In some sense I think it's stifling to game design. It seems that every multiplayer game that comes out is automatically assumed to be trying to be the latest eSport. This is not necessarily healthy for game design if there is a shift from developing fun multiplayer games to developing grueling and complex games with the potential of being an eSport. For example, PUBG is in early access and was still a buggy mess when people were already discussing its potential as an eSport and how the game would need to change to fit into the eSport world. Esports are only now at a stage where it is conceivable that a developer might design a game with the goal of being an eSport as the sole consideration, and that could have interesting results. – MarcoMorgan7 years ago
In the 1990s, Tim Allen starred in Home Improvement as Tim Taylor, wherein he raised his three sons Mark, Brad, and Randy with wife Jill. Around 2010, Tim returned to the dad role, this time as Mike Baxter on Last Man Standing. As Mike, he raises and supports three daughters, Kristin, Mandy, and Eve, with wife Vanessa.
The two shows are both great and bring to mind several questions. For instance, how is Tim Taylor, who raises sons, different in personality and approach from Mike Baxter, who raises daughters? Are they alike at all? Do the ages of the children make a difference–Baxter's daughters are pretty much grown up, and one is a mother (Eve, the youngest, is in high school. Taylor's sons were middle and elementary schoolers when Home Improvement began and age more slowly). Which character, if either, is the more realistic TV dad, or the better one? The better/more realistic husband? What does each show have to say about raising single-gender families?
I am so psyched to read this future post. – Emily Esten7 years ago
Thanks, Emily. I considered writing it myself, but I haven't watched enough Home Improvement to make any definitive calls. I am, however, a Last Man Standing fan. – Stephanie M.7 years ago
It's interesting because Tim Allen always seems to play the dad role - even in the Santa Claus movies. Something to consider with this too is the time of when these shows were on the air. When Allen was raising sons that show was broadcasted in the 90s, and now, being broadcasted since 2011, he's raising daughters. Society in the 90s was so different to how it is now. I haven't watched Home Improvement for years but from what I remember I don't know if there is a more realistic TV dad because both seem quite realistic to the era (putting the TV personality Tim Taylor aside). – CarliStas6 years ago
The world of TV Advertising has become ever more sophisticated and devious as the public has become more media-savvy. From the early days of a product being pushed in front of us and a cheery female voice or a man in a white coat suggesting we buy it, we've moved on – through an era of dancing bunnies high on battery power and roller skating young women extolling the virtues of certain feminine sanitary products, to a period when the product was rarely seen on screen and we were bombarded with imagery that seemed to bare no relation to the product being advertised. These days some TV adverts are like mini movies whilst others are projected deep into our subconscious and intended to make us feel slightly inadequate if we don't continue to play the consumer game.
However, is the advert break still a convenient excuse to nip to the loo or make a cup of tea? Is the Scientist in the white coat still regarded as an authority figure? Are we, the viewing public, too wise for our own good? Can we still be tricked into buying something we really don't need and, most likely, will become obsolete within a year? The artifice of advertising will always remain exactly that and yet there have been advertising campaigns that have gained a life of their own and even garnered artistic respect and admiration. Could advertising truly be considered an artform in itself?
Is advertising an art form? Yes; it requires creativity and finesse just like film, novel writing, and other similar pursuits. But what kind of art form is it? That's the perennial question, because as you mention, advertising is designed to push people into acquiring "stuff." Can we still be "tricked?" Oh, yes...but I think that raises the question, do we even care we're being tricked anymore? Or would we rather just enjoy a cleverly conceived commercial (or ten)? – Stephanie M.7 years ago
any discussion of advertising should necessarily reference Edward Bernays, one of the original admen who wrote on advertising and PR campaigns as having the ability to manufacture consent and control the "masses." Also an important scholars to reference and read would be Naomi Klein, who literally wrote the book on the evolution of the advertising agency and the rise of branding, "No Logo." – Jonathan Judd7 years ago
What role will the new Star Wars stories play in the unfolding expanded universe? The impact of Rogue One on the meaning and value of the data at the beginning of a New Hope may give us some idea, but there could be so much more. How will opinions of characters such as Han Solo continue to change and evolve? What about other characters such as Obi-Wan Kenobi?
Interesting topic, with recent news I think you can add in the discussion of Obi-Wan Kenobi as a standalone. Also typo on Rogue One, as you've put 'Rouge'. – Marcus Dean7 years ago
Sequels are almost always what follow a successful film but what actually makes a sequel as good or better than the original? Everyone's seen a sequel that they thought was either an obvious step down from the original or didn't have a real reason to exist but a sequel that surpasses or keeps up with its previous iteration are much rarer. So what are the factors that actually make the story in a sequel story worth telling? Obviously if the production is good then you could make a case for it but what narrative factors influence the worth of a sequel being told? And what are the unique characteristics of those sequels that did actually surpass their originals? What made them great?
I think this is a good discussion topic, especially seeing all the new sequels coming out. Could you give some examples to help narrow down the discussion? – birdienumnum177 years ago
I would say some really good ones to talk about would be the Harry Potter series, Hunger games, Divergent series and Fast and Furious. These are the ones I could think of from the top of my head :) – claraaa7 years ago
You're right I should have included some examples. The specific upcoming films that gave me the idea were actually Blade Runner 2049 and the new Pirates of the Caribbean. I think these would be good to talk about as the latter will probably fall into the "doesn't need to exist" category while the former could really go either way (I have unrealistically high hopes.) – JakeV7 years ago
I think this question is also applicable to book and television series.The largest draw for me to continue on with the sequel is if I find the main characters' stories unfinished. If readers or the audience are only there for compelling characters they genuinely care about, and those characters have "completed their arc" so to speak, there isn't really much motivation to pick up the sequel (in my opinion) where in most cases, are sustained through the introduction of new characters and less-than-spectacular plots that sometimes mar the main characters' consistency and lack purpose. What is the point in writing this sequel? (Perhaps for commercial purposes/ entertainment value if the first book/movie/season is well-received?) (I guess this wasn't so much a "helpful note" as it was an opinion. Apologies!) – autumnlights7 years ago
You could also look at Blade Runner 2049 and the new seasons of The X Files and Twin Peaks and Prison Break that have come out decades after the original. Isn't there a reason there wasn't a Blade Runner sequel in the 80s - and a reason all those shows were cancelled? – sophievannan7 years ago
My primary reason to watch a sequel is, did the characters make me say, "I want to see what happens to them next?" Did they make me say, "I miss/want to spend more time with these people?" If not, then it's likely I won't watch that sequel. – Stephanie M.7 years ago
If you run out of examples, you could even expand on this and talk about the modern remakes they're doing of movies. What makes these new elements worth telling? Doesn't the original stand on it's own? – Dani7 years ago
I think this is a more interesting discussion in the context of stories that didn't specifically set out to be a series. My favourite example is Toy Story. Toy Story 2 is a great movie and many would say better than the first. What makes it a sequel worth watching? It doesn't directly continue the story of the first film, instead it presents the characters with new challenges that build on the growth seen in the first film. – MarcoMorgan7 years ago
How does the 2017 YA shortlist fare against the timeless classics? Is it full of another stream of overused and cliched story lines and characters, or has it emerged into a fresh line of strong protagonists and insightful morale messages?
Well, I don't know enough about the current short list to write this topic, but I'm definitely interested in what the writer comes up with. There are certainly plenty of clichéd storylines, especially in the dystopian genre. But I have seen some unique twists on familiar premises. – Stephanie M.7 years ago
Hmm, this should be interesting. After what I feel has been a pretty dry spell in YA novels in recent years, I'd be happy to see an uptick in originality for sure. – jaysongoetzz7 years ago
Recent News has been read stating the James Cameron has just finished the final script for Avatar five which means production can now start for Avatar Two followed by Avatar Three, Four and five. Do you think that this move was a good or a bad idea, Has he set the franchise up for failure with an eight year absence.
You could also explore why exactly this model was chosen for production and discuss any other directors that did this and how it worked out for them. – JakeV7 years ago
I like the pun in your title. I wonder if anyone has seen 'A Man Called Horse' (1970) directed by Elliot Silverstein and starring Richard Harris (yes, the same Richard Harris who played the original Dumbledore in HP)? A definite influence on the first Avatar storyline, in my opinion. – Amyus7 years ago
I enjoyed Avatar, but the gap between films has been way too long. People have moved on. Though I would still see the film, I wouldn't rush out on release day, and I'm not sure how well the movies would do at the box office (compared to the original). In addition to this, the original was the first to implement the 3D technology which has now become commonplace.
Also, it might be important to mention that the film was a self-contained story, so many people might feel there was no need for the story to continue, which could hurt the sequels chances. – AGMacdonald7 years ago
It's been such a long time since the original...what is the point? It is likely at best to engage a different audience. I remember enjoying the original, and would have watched sequels if they had been trotted out on a regular basis, but now I doubt if I could be bothered.
– JudyPeters7 years ago
The early silent films of Charlie Chaplin were masterpieces of entertainment. Yet, there was little to no soundtrack nor color. Even before that, audiences had to rely primarily on imagination in order to bring to life the voice-based scripts of radio. Since those initial attempts at conveying plot, a riveting account of history can be equally transformed by song and choreography, such as in Evita (1996) starring Madonna. For this matter, explore the requirement of prop and effect in adding to the effectiveness or detracting from the quality of film or television.
Now this could make for a fascinating article indeed! Might I also suggest including other silent greats such as Buster Keaton, Harold Lloyd and similar? It would be also be worth mentioning the role that the accompanying pianist had in helping to create mood for these early cinematic audiences/viewers. With regard to voice based scripts on radio, I once worked with a chap who gave me a fascinating insight into some of the everyday 'found' objects that were used to add audio effects. I'll never look at a sink plunger in the same way again! The Foley artist is a valued and essential part of film making these days, especially when, in some instances, up to 90% of dialogue and sounds effects are recreated after the shoot has actually finished. Having done ADR (Additional Dialogue Recording) myself I can certainly attest to how tough it can be for the actor to recreate the mood and emotion, sometimes months later, of the original performance. Props can be a boon to any performer, if used well, but they can also be a right pain in the backside if poorly maintained and will detract from a performance. Every actor has his or her horror stories about props that seem to take on a life of their own. Thumbs up from me and good luck to he or she who takes on this subject. – Amyus7 years ago
Enter into a discussion about the identity of the villain in media and how this identity has changed and/or evolved over time. I think it would be interesting to take a sampling of different media over time (film, TV series, video games, literature) and analyze which group/people represent the "Bad Guy" in each and how that may correspond to the specific historical time period. Older Bond films often pit British intelligence against the Soviets – along with films such as Hunt for Red October – while many modern films concentrate themselves on Middle Eastern conflicts (i.e. London Has Fallen.) Does the bad guy always fall under a certain nation? Are directors forced to deal with the 'politically correct'?
Looking at the shift in villain identity in media over time could be an interesting read! Over my lifetime I've seen an apparent shift from villains as just wanting to destroy the world into a character we can relate with, however looking back to when film first came out, it's easy to see that the villain was sometimes racialized as a form of propaganda. Bringing a variety of media into the discussion could be a difficult task and I wouldn't blame someone for narrowing that down. But who knows, maybe there's a direct correlation between when film came out in regards to literature or when video games came out in regards to film, that the new media type inspired a change in villain identity across the others? – Slaidey7 years ago
One could easily address this topic only using superhero films. Or even just one studio's superhero films. Or just one superhero's films. In particular I think of the richness of the Joker in his depiction of an enemy that thrives on conflict, without a past or real identity. – jackanapes7 years ago
From the unfortunate Stormtrooper who banged his head on a door in 'Star Wars – A New Hope' (1977), to the brave souls who survived the 'Helm's Deep', three months of night shoots in 'Lord of The Rings. The Two Towers' (2002), the Support Actor or Extra is a vital element of film making, but often overlooked by the cinema going public. These days 'extras' are big business, with a myriad of agencies offering almost any size, shape and range of looks that any production may require. Yet it's not often that these loyal and hard working bodies even receive an end titles credit. The British sitcom 'Extras' (2005-2007), attempted the redress the balance, but still focused on the improbable rise to fame of the lead character. Perhaps it's time that our unsung heroes of film and television were recognised and rewarded for their professional skills and dedication to the art. An Oscar or similar for 'Best Featured Extra' perhaps?
I can't wait to see what you do with this topic. :) – Stephanie M.7 years ago
I'm tempted, Stephanie, but I fear that as an insider my views would be biased. I've had a few minor roles where lines were cut so I didn't get the eagerly anticipated credit, but I continue to slog on regardless. So, I put this topic forward to see if an interested yet unconnected party might like to delve into the fascinating world of the Extra. Ahh, we are such stuff as dreams are made on....and 10 points to anyone who can complete the quote! :) – Amyus7 years ago
Teaching the Bible in any context, especially the classroom, is tricky. Teachers and professors have to be careful not to present the text in a devotional context, because not everyone is a devotee. However, the Bible is also a rich literary work; excerpts from it appear in many curriculums, especially World Literature textbooks. With this in mind, discuss the best way to teach the Bible as literature. For example, could certain parts of the Bible be paired with different classics (the story of David and Bathsheba Romeo and Juliet, excerpts from Revelation a time-honored apocalyptic or dystopian novel)? What would be your chosen pairings? Are there any parts you'd want to stay away from, or parts that lend themselves to literary teaching better than others?
Eschatology, the study of end times, as related to the dystopian future could be useful here. – Munjeera7 years ago
Thanks. I hope somebody writes this. I would, but as a Christian and religion/philosophy major, I'm probably too biased toward certain POVs. – Stephanie M.7 years ago
An overwhelming amount of critical literature has been produced on this subject; just type "bible as literature" (preferably with quotation marks retained) into a good library catalogue, and you'll find no lack of research materials. Though only a drop in the vast pool, one of the major influential writers on this subject (to my knowledge) is Northrop Frye. He'd probably be the best place to start for a novice. Also, a useful narratological concept which may be applied is Gérard Genette's "conditional fictionality" (see Fiction & Diction, p.24), which he proposes as a means of evaluating narratives which can be seen as "a true story for some and a fiction for others"; he goes on to cite mythology -- irrelevant to whether referring to the polytheism of antiquity or the monotheism of today -- as a prime example of this category, saying "one may accept a religious narrative as being both truthful and literary, in which case its literariness owes nothing at all to fictionality." Hope this helps. – ProtoCanon7 years ago
With the continued success of anthology series like Fargo, American Crime Story and many more, do TV shows have more of a chance if they remain with the same formula that found them success? Or by changing the cast and locale and telling a similar story once more. This could be particularly interesting with the re-emergence of True Detective after a couple of years. Would it have had its season 3 much earlier if it remained with Rust and Marty?
I think this may not be as extended a discussion as you would like, perhaps reconsider the wording of what you really want to examine. The issue is that formulaic TV is a norm, an accepted format that most TV is structured on - it is either considered serialised or procedural - this means it is either like Fargo, where it is has one long running story arc (serialised) or it is like NCIS where there is a clear formula to every episode (procedural). Perhaps have a listen to the Nerdist Writer's podcast to consider more fully the manner in which TV is written.
The second question you have raised considering the use of ongoing characters versus the break from original characters, such in the Fargo and True Detective series, could actually be a more interesting discussion as this is a contentious area. – SaraiMW7 years ago
Get out capitalized on an old formula of using exaggerated horror to commentate on pressing social issues in the vein of Invasion of the Body Snatchers or Rosemary's Baby. Do you think that it will usher in a new era of horror more concerned with having a greater social commentary?
In art school I met George Romero and Tom Savini at a Pittsburgh arts show con thing. I alas liked Romero's italian Roman satire take in the fact that his zombies were as he said to us then, a reflection on American consumerism and brain dead watchers of the vast wasteland. That idea of his, has become a gore fest making the sopranos look like king lear, and a study in the arts of make up. What do you think...? – Antonius8657 years ago