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The 1958 novella by Truman Capote 'Breakfast at Tiffany's' offers its readers a sneak peek into the lavish lifestyle of early twentieth century New York. The main protagonist, however, had become the centre for much debate among feminists. This topic would entail a balanced analysis of the character of Holly Golightly – is she the source of empowerment for women through liberating herself in the ways described in the book? Or is her personality simply an archetype, a false stereotype for a certain demographic of women?

Les Miserables passim has themes of reform, personal development and redemption. These premises are contained within the character of the protagonist Jean Valjean, particularly after his theft and forgiveness therein of his theft of a silver candlestick holder.

These themes however are much more prevalent in Inspector Javert. He has an ultimate moral quandary expressed in his pursuit of the criminal Valjean. He held a virulent belief that the law was the correct course of action. His observations of Valjean’s deportment clashed with his fundamental beliefs on the law. This creates the quandary. Since he could not resolve the quandary, he committed suicide toward the denouement.

Analyze Javert’s thoughts, actions, et alii in his pursuit of Valjean and how it advances the themes and aims of the literature, and ultimately its plot and thesis. An example of a key moment would be where Javert interacts with Valjean as mayor, when Valjean has another identity.

The recent BBC America production, The Watch, has received polarized reactions. It is inspired by characters from Sir Terry Pratchett’s Discworld book series, though it does not claim to be a direct adaptation. If one alienates the people who are already self-proclaimed fans of a certain work, where can one go from there? How important is the original author’s or family estate’s approval of an adaptation for a TV show or movie to be considered successful? Sometimes deviations allow for greater artistic license, but it can come at the cost of bearing little resemblance to the original source material and turning off the already-established fanbase. Alternatively, when sticking closely to the source material, it can attract a large number of people who are already invested in the characters and storylines but may also lead to sanitization and excessive caution in an effort to preserve the work’s and the author's existent legacy. There are also legal issues to be considered here. Sometimes the difference can be a result of ownership (or lack thereof) of the author's estate/works. One could examine The Watch’s resemblance and departure from the Discworld series and/or other similar ventures and their outcomes.

The 20th century and the era of World War were a peak for comedy animations (laughter animations), but nowadays mostly social issues makes the basic idea for the animation industry. Even those cartoons with full laughter (like Simpsons) are not considered as an alternative to the classic cartoons such as Tom and Jerry… Is there an end for comedy animation industry in 21st century?

Doctor who features a time lord who can travel in time to anywhere he wants before it even happens.

A British scientist explained the function of canned laughter used in TV shows as, “adding laughter to a joke, increases the humour value, no matter how funny or unfunny the joke is.” I Love Lucy (starring Lucille Ball, Desi Arnaz, William Farley), originally released in 1951, used canned laughter. The Honeymooners (starring Jackie Gleason, Art Carney, Audrey Meadows), which was originally released in 1955 also used canned laughter.
M*A*S*H (starring Alan Alda, Loretta Swit, Jamie Farr), which was originally released in 1972, had the creators of the series wanting no canned laughter which was rejected by CBS, although there are episodes where there was no canned laughter. In addition, it was agreed that in surgery, no laughter would be used. When M*A*S*H was released on DVD, the option was added to watch the series with and without canned laughter. One person who commented about watching the series without laughter in the background said, “Hearing each and every one of these words for the first time was a treat.”
With COVID-19 eliminating fans from baseball and football stadiums, canned cheering and boos are used. This seems a derivative of canned laughter
A critical analysis of canned laughter should address the following: 1) Does it add to or detract from a series, and; 2) Can there be an “artistic” way of evaluating when it seems too much or inappropriate from being just the right amount.

A bottle episode refers to an episode of a T.V. show written to require only one or two sets, and only few non-regular cast members. These episodes are often the result of a dwindling production budget, or a pre-emptive cost-saving attempt.

Some people view these as lazy, but bottle episodes often make for great television.
An article on this could discuss specific examples of shows who have made successful bottle episodes, and how they have done so. Reasons could include great drama due to the restricted movement of characters. Or, many fan favourite bottle episodes are enjoyed because they showcase their characters in their truest form. The examples available are plenty, with famous shows like Friends, New Girl, or Community all having done them.

The writer of this article could also use poorly received bottle episodes as a contrast, so long as they discuss why they were not successful.

Remarque's All Quiet on the Western Front is considered the greatest war novel ever written. Why is this book singled out? What makes it so different from other literature about war? This article would examine themes, setting, and characters and look at why the book has remained so timeless. (Comparisons to the movie/s can also be made.)

The title is a simplification, but one of the things that defines sci-fi is gaving science as a frame for the possibilities of the world. There are many classical sci-fi topics such as space exploration and time travel, for instance. I am interested in thinking about sci-fi on a very small scale. I can't really think of many examples from the top of my head. "Melancholia" and "The Piano Tuner of Earthquakes" would be examples where the sci-fi elements dwell in the background. Any thoughts?

The TV series "BoJack Horseman" is a surreal dark comedy that takes place in a world in which some of the characters (including the title character) seem to be talking animals. BoJack himself openly suffers from several mental illnesses, including depression and anxiety, but could he also have a psychotic disorder, like schizophrenia or bipolar disorder? Psychotic disorders interfere with people's perception of reality, which might explain some of the more surreal aspects of the series. It might even explain the talking animals, since psychotic illnesses can include a delusion that one is an animal. So, what is the evidence for or against BoJack suffering from psychosis? If he does have a psychotic disorder, what kind does he have?

Pitch (2016, one season) starring Kylie Bunbury and Mark-Paul Gosselaar. This series focused on the first female major league baseball player. A good series that just suddenly stopped. What happened after she was injured as she had the opportunity to pitch a no-hitter? The series just ends with no conclusion. Graves (2016-17, two seasons) starring Nick Nolte and Sela Ward. This series focused on a former two-term Republican President and how he wants to now correct some of the "wrongs" he was responsible for. Suddenly, the series ends with his arrest and we never find out if his wife, the former First Lady, is elected as a Senator. It is frustrating to see good, well developed, well acted series, just end. Are viewers satisfied with what they watched? Is there some way to complete these series, as well as others, to bring them to some conclusion in a one or two part episode? Maybe Netflix, Prime, or Hulu can take up the cause.

The NSDAP under Hitler is rightfully considered to be one of the most terrible regimes in modern history. Thus, it is unsurprising that regimes like the Nazis are depicted throughout mediums including anime notably Amnestris in Full Metal Alchemist, the Empire in the Saga of Tanya the Evil, Gamilas in Star Blazers and the Principality of Zeon in Mobile Suit Gundam: The Origin. Are these regimes merely similar in form (with titles such as Fuhrer, Supreme Leader or uniforms mimicking the SS ? Or are they similar in essence as well with regards to ideology? It would also be interesting to examine the depictions of characters in Adolf Hitlers mold both in these anime and others.

It's relatively rare to find fictional children who act like real children. More often than not, fictional children talk and act like miniature adults. Oftentimes, this is a deliberate artistic choice, which may either be played for laughs (as in Rugrats, The Simpsons, or South Park, for example), or used to show that there is something seriously wrong with the child in question (as in The Umbrella Academy, and many anime series). On the other hand, some creators seem genuinely unable to fathom how children think and behave, and so write them behaving like adults by default.

What are some examples of stories that portray children this way? What, if any, differences are there between stories that portray children acting like adults for artistic reasons, and those whose writers simply don't know any better? What effects, if any, do fictional portrayals of unrealistically-mature children have on how people view children in the real world?

TV shows like Friends, It's Always Sunny In Philadelphia, and Little Britain come under fire more and more with each passing year: what they got away with comedically even only 10 years ago wouldn't fly today. Where do we draw the line? Is Friends an inherently 'bad' show because of its non-PC jokes and lack of inclusivity, or do we accept that the times have changed? Does the self-referential and inherently satirical tone of IASIP automatically give it a free pass when it comes to black face, or should we be holding it to a higher standard?

Look at the portrayal of women in Gothic literature. What tropes do they often fulfil?

There’s the shrieking heroine of The Monk or The Italian (written by Matthew Lewis and Ann Radcliffe respectively). Even modern day Twilight has this.
Bram Stoker’s Dracula shifted things by having Mina as the ‘new’ woman – the only reason she was respected is because she supposedly had the brain of a man. Even then, she was viewed as someone who needed protecting.
Even texts like Jekyll and Hyde make a statement about women’s place in society by simply NOT including women in the narrative.
Modern Gothic texts tend to favour the cool and powerful female protagonist, which in theory seems empowering, but can also be problematic.

What is the effect of each portrayal of women? Are the women in each given text empowered or powerless? Is historical/social context important in how the female characters are portrayed? Do any texts defy their time period? Is there a difference between texts written by men and texts written by women?
An article on this should analyse a wide variation of texts, from different time periods.

Defining a B movie is not necessarily easy to do. Generally, a B movie is considered a low-budget production. There have been certain movie studios that were associated with the production of B movies, Monogram and Republic Pictures among them. B movies might be training platforms for directors who subsequently moved to more well-known works (Edward Dmytryk) or actors who moved on (John Wayne, Humphrey Bogart). The term associated with more modern-day B movies is direct-to-video, which is an indication a film is not good enough for theatrical release. Direct-to-video has, in some ways, replaced films that were shown only at drive-in theaters in an earlier era.

Bruce Campbell ("The Adventures of Brisco County Jr.," and "Evil Dead") wrote "If Chins Could Kill: Confessions of a B Actor." There is a site titled "bmovies," where one can get their fill of B movies (interestingly "Hillbilly Elergy" is listed along with "Sky Sharks"). One Internet site lists "The 100 1 Best ‘B Movies’ of All Time." Another site lists "1000 Cult B-Horror Movies." Where is the line between B actors, actresses, and movies and whatever is not in that category? "Plan 9 from Outer Space," "Attack of the Killer Tomatoes," or "Poultrygeist: Night of the Chicken Dead," might be easily considered as B movies and never in contention for an academy award, but how do we categorize these movies and who acts in them?

Someone agreeing to write on this topic should address: 1) What characteristics distinguish B movies (and those acting in them) from whatever is on the other side; 2) What changes have taken place in B movies since there are movies as far back as the 1930s, and even earlier, that can be categorized as B movies, and 3) How might B movies be understood regarding their impact on both Hollywood and American culture.

"Amos ‘n’ Andy," began as a radio show in 1928. The show was set in Harlem, a section in New York City predominately African-American. The radio show was a spin-off from a minstrel act that involved two white actors in black face. Protests by African-American organizations against the show began in 1931. These protests were unsuccessful, and the show eventually became a television show beginning in 1951 (CBS) with the lead characters being black actors not white in black face. The National Association for the Advancement of Colored People (NAACP) began protesting the show and wanted it removed almost from when it first appeared on television. One of the main characters (the Kingfish) was portrayed as a con man, another was presented as a dim-witted cab driver. The language spoken by the characters was a gutter form of English meant to convey a stereotype of all African-Americans. CBS cancelled the show in 1953, but it lived on in syndication until 1966. There were episodes of the show produced that were not shown at the time CBS cancelled the show and those episodes lived on. American television was slow to eventually remove the show, in contrast with CBS sending reruns of the show to Kenya in 1963 where it was banned almost immediately.
Someone agreeing to write on his topic can address several issues: 1) How was the show received by both white and black audiences when it first appeared on television, and; 2) the protests to remove first the radio show then the television show can focus on how effective or ineffective these protests were and what they say about African-American influence, and the NAACP in particular, on radio and television content regarding portrayals of black America.

Take a sweeping look at the first instances of product placement within video entertainment in various mediums; TV, YouTube videos, movies. Product placement, in this case, would specifically be the integration of branded products into the world of a story itself. Perhaps place them in different eras. Have actors gotten better at interacting with products naturally? Have advertisers gotten better at their product placements? How has this genre of advertising changed?

Young adult fiction (YA) is immensely popular today, for both teenagers and adults. But the category itself is only very young. S.E. Hinton's 1967 novel, The Outsiders, is popularly considered the first ever work of YA fiction.

So, what precedent did this novel set for the rest of this category of fiction? What aspects of Hinton's novel are now staples in YA?

An example is the discussion of weighted and important topics in a manner that is consumable by teenagers (The Outsiders discusses the harsh realities of every day class divisions). Or, like many YA books nowadays, Hinton's protagonist is characterised as an outcast, or 'special' (he even has an unusual name, Ponyboy, something many other YA protagonists have).

Discussing a few YA texts that share similarities with The Outsiders will help to show the aspects of the original text that have become commonplace in the young adult category.

I propose an article that looks at novellas. The article could describe first what they are, explaining the length and conventions, explore how they differ from both a novel and a short story.

It could be worth looking into the history of this medium, when were they most popular and why? What were the first texts classified as novellas and what purposes did they serve? Perhaps offer suggestion as to why they are not big in the literary scene today.
Then, the article could offer analysis of some famous novellas, The Metamorphosis, Heart of Darkness, Jekyll and Hyde, Of Mice and Men, just to name a few.
Offer suggestion as to why these in particular were popular, was it their content? Context? Were their authors already published writers so fans would read anything of theirs?

If so desired, contrast the good by offering examples of novellas that are perceived as not good and offer reasons as to why. Are they not given the space to be fully developed? Does its brevity mean it is missing something?

Use this analysis to draw conclusions regarding the novella's place in literature including, if possible, whether this medium is likely to regain popularity or merely survive as a medium at all.