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I would like to see an article written about the different ways that political power is wielded. Foucault understands all citizens as complicity in state power (in a democracy), since one individual has a sovereign rule over us and governs our liberty, however en mass the public hold tremendous amounts of power during elections. Recent political history in Australia shows the power of public opinion polls, as leaders there have been usurped by party members due to their failing public credibility. But power also requires tenacious maintenance in a political scope Francis Underwood from House of cards illustrates the amount of time and effort he has to appease and blackmail other members of congress to retain his position. This involves calling the bluff of many different international and domestic threats to his reign. Lord Baelish from game of thrones also shows how a character with little credentials can hold great amounts of power by dancing between leaders of different kingdoms. There could also be a discussion about the gender intersection of power in both these shows as Claire Underwood and Cersei Lannister are both excellent case studies. 

Pro-Wrestling has been around for decades and has tens of millions of fans, but is often misunderstood by those on the outside. Moreover, the complex and serialized nature of pro-wrestling story-telling makes entry as a new fan difficult. A complete overview of the sport up through present trends and story-lines would be interesting: formation and history of the sport, brief summation of the legal players and corporate/owner factions, explanation of terminology used in the sport, brief summation of story-line factions (faces/heels/teams), and an explanation of why ' it's scripted, not fake ' is essential to understanding the appeal of the sport.

Nostalgia's been widely regarded as a good thing, but when does it go too far? When does it become unhealthy for us to stick ourselves to the same ideas, the same properties, solely because we associate good things with them and they make us feel safe? It is necessary for us to be challenged, but how can we do that if we're constantly being given the same thing because that's what we like and what we're used to? With all these reboots, when is enough enough?

Recent events in London and abroad raise questions of how we should be representing terrorist attacks and the victims of those attacks. The visualization of difference is crucial to our popular understanding of these events as they unfold and reverberate throughout the world. Discuss the way major news organizations like CNN, Fox and MSNBC visualize these events. What differences arise between these televised news sources? How can stations visualize the aftermath of these attacks and the victims in tasteful ways that don't compound the trauma?

Instagram has become a way for artists to cultivate followings and promote themselves in a way that artists in the past have not been able to do before. Poets have become household names and makeup gurus now have their own beauty lines all due to the power of the 'gram. How does this new medium affect content? Are their negative consequences for using this service? For example, copying others work, authenticity, and quality.

Superhero movies are some of the most popular movies coming out today. After so many being released at this point, and two major comic book film universes, some people are getting "superhero fatigue". What that means is that people are starting to get tired of these movies, and are accused of being all the same. What are some patterns and flaws that are commonly seen in superhero movies?

TV opening credits obviously let viewers know who the main cast is as well as give everyone involved in the process their due. The aesthetics and artwork of each individual show's credits can also persuade the audience into participation. How do opening credits function depending on what shows one is watching? There are certain shows that begin with catchy themes, eye-catching graphics, or contain "easter egg"-like codes/foreshadowing. There are others which keep the visibility of opening credits to a minimum, perhaps to heighten the realism of the show's fictional world. How does the nature of certain shows determine the way opening credits are presented to the audience?

Miscegenation in the United States is a social taboo stretching back to early colonial North America. At first, Puritan theology condemned its practice. With the institutionalizing of slavery, the racial-caste system crystalized such divisions segregating specifically black-white sexual union. Subsequently from the religious to pseudo-scientific racism, eugenics further legislated such prohibitions. By the twentieth century, the effects of Jim Crow laws restricted the spirit of artistic license by suppressing interracial imageries. With the arrival of motion pictures, the Hays Code firmly enforced anti-miscegenation guidelines in popular Hollywood film. While a knee-jerk assumption is to summon pervasive binary between black and white miscegenation, the article proposes examples of all diverse mixing of racial and ethnic categories. Meanwhile, it explores a variety of interrelated questions. How are interracial romances treated in recent popular culture across the varying artistic mediums? What elements of interracial relationships are censured? What does such specific excising say about our society? In contemporary United States, what are considered the more acceptable pairing[s] of interracial couples and why?

The actor Michael Douglas graduated from University of California at Santa Barbara with a degree in Drama. The real work began after an impressive portfolio of film and television roles: The Streets of San Francisco, The China Syndrome, Romancing the Stone, Fatal Attraction, Basic Instinct, Black Rain, The American President, Wall Street, and The War of the Roses. He has played: detective, banker, lawyer, reporter; in both an acting capacity and as director. As if that wasn't enough to qualify on your own merits, he is the son of famed Hollywood thespian, Kirk Douglas. But, success has no limits and Michael Douglas is proof that the territory of theater is his dominion. It is no surprise then that the University of St. Andrews in Scotland bestowed upon him an honorary Doctor of Letters degree in 2006. With a vibrant history of contribution to the arts, one must wonder–what was the allure that kept audiences flocking to the theaters and Hollywood studios beckoning with scripts? One avenue to explore could be the pressure the character has to deal with in front of the camera; crime, career, colleagues, addiction, moderation, or marriage. Who holds the key to a great performance: the scriptwriter, the actor, the circumstance, or the foil? In what way does Douglas figure against seasoned counterparts, gender-ethnic based peers, or immediate audience? Is it a matter of how willing and able the actor is to crossing boundaries (cultural, professional, geographical, personal, ideological) for the sake of the film industry, even if merely for the art? Consider this common thread of crossing material and metaphysical boundaries in the analysis.

I have always wondered why it was that John Grisham, within his genre, has come to such massive fame. Please do analyse the ways in which his work appeals to his target audience and his rise to success.

YouTube revenue is at an all-time low, in part due to the recent departure of several major advertisers over concerns about their products being associated with hate speech. Many on YouTube now rely on services like Patreon for income as much or more so than their YouTube partnerships. That said, Patreon is typically only successful for content creators that have already built a brand and a following. Is this the beginning of the end for YouTube as a cottage industry? Is there room for scrappy newcomers to make a living anymore?

Nostalgia is every where as many shows which had been cancelled or ended long ago are returning. X-Files and Gilmore Girls came back, Young Justice finally got its long awaited season three, and Charmed is getting a reboot. How does this affect how we watch the new season out reboot? How does this affect our perceptions of the old show? Does waiting so long end up paying off?

As esports and professional video gaming become a much bigger part of the wider world, there seem to be many people that show resistance.
A tournament of an online game (can't remember which game) was televised on ESPN recently and I was shocked by some of the comments. "These people weren't bullied enough in school," took the cake from the pool of negative comments.
Do you think gaming should make it's way into the mainstream world via television broadcasts? Should it stick to game-centered shows and websites rather than leak into the professional sporting world?

Examine the incorporation of branded marketing in the history of film and TV, and how the normalization of sponsored content has allowed for successful films like The Lego Movie to branded documentary series like Margot vs. Lily by NikeWomen. Is it changing the world of advertising or is it changing the world of entertainment?

Game of Thrones has seen incredible, groundbreaking success, such it has developed a devout following. The success is due to multiple factors. Two of which are duration and quality. The fact that GOT is indeed a television show instead of a film, allows characters to truly develop and grow. Films generally have a time limit of three hours to develop any characters. Films on the other hand, have quality that tv shows usually do not. Game of Thrones is able to connect these two aspects, tv show length for development and film like quality. Fans are able to become much more invested than other movies or shows. In the future, we can hope that other TV shows look to invest in the higher quality, and produce great shows like GOT.

Currently, there has been a trend in female protagonists taking over multiple different franchises (e.g. Star Wars, Avatar, Doctor Who, Game of Thrones, etc.), do you think there is hope that this trend will steadily continue or have an impending decline?

Lewis Carroll's nonsense novel has seen endless variation in adaption across all forms of media, but how many of these are actually successful? Look at both the more faithful adaptions (Disney, the 1999 TV Movie), and the "darker" or somehow radically different ones (American McGee's Alice, The Looking Glass Wars). Compare some of the adaptions which are similar in tone, like Tim Burton's recent film and American McGee, or the Disney film and the TV Movie, with an eye for determining, which one does what it's trying to do better (e.g., a faithful translation from book to film, a darker take), while examining what makes adaptation of this novel so difficult.

The protagonists in Haruki Murakami's works are usually simple, average individuals with routines are certain behavioral traits. In fact, the majority of his stories are built up around characters discussing their idle thoughts and activities to pass the time. By having these characters come across as "simple" and "average" we can understand their feelings with more depth as they are thrown into surreal, ridiculous situations. It can be said that, by making them "boring", we further sympathize and connect with them.

This book was written in the late 1950s as a dystopian and cautionary tale about the perils of all out nuclear war. Rereading it in 2017, explore the dystopian tropes of the book in the light of American relationships with North Korea, China, Russia, etc.

In the last few years, we're seeing a rise of strong female characters in lead roles – especially in Action Films (the most prominent being Rey, in Star Wars). These strong characters are everywhere in literature, but tend to be overshadowed by the sequel or the reboot – and if they are picked up, tend to be altered in some way to make the film more marketable: for example, making that female character more masculine (atypically stoic, cold natured, oblivious, and otherwise displaying a shallow level of emotional value – "beefing up" the character, whilst almost ignoring the duality of a strong female character, and their ability to rise to the occasion with a strength of mind and heart; Rose Dawson from Titanic, or countless literary figures from the age of Jane Austen). Are we stepping in the right direction, or is this another false Hollywood campaign?