Paul Verhoeven’s sci-fi action film "Starship Troopers" has long been celebrated for its satirical take on militarism and fascism. However, some critics have proposed an intriguing reinterpretation of the film in the context of the post-9/11 era.
The writer could examine how the film’s themes of propaganda, military intervention, and the dehumanization of the enemy resonate with the post-9/11 political climate in the Western world.
Analyze specific scenes and narrative elements that parallel events and attitudes surrounding the 9/11 attacks and the subsequent "War on Terror." Consider the implications of viewing "Starship Troopers" through this new lens, including its commentary on nationalism, surveillance, and the erosion of civil liberties in the wake of a national tragedy.
For quite some time now, there has been a drastic decline in the appreciation of superhero films. Whether it is because of the poor CGI (no blame to the artists), the numerous films and shows pumped out every year, or that most of the films are made on unknown characters, more and more complaints have come out detailing the audience’s distaste. New characters have been introduced with little applause and the universe of the MCU in particular has become a laundry list to keep up with. Every film is interconnected, making for a difficult watch to get through over 25 films and numerous shows to supplement.
Despite all that, there has been an immense amount of anticipation for the upcoming film "Deadpool and Wolverine". This film has started to be hailed as the savior for the MCU, with many saying Deadpool is going to be the one to bring Marvel back to its "glory days". How did this film come to be this anticipated? Is it the characters? Actors? There are numerous factors at play, making this film at the top of many to-see lists. Whether this will flip the narrative surrounding the MCU and superhero content as a whole is yet to be seen, but there is a lot riding on this film.
Book-to-movie films (and—more regularly, now—shows) are especially common in young adult franchises such as The Maze Runner, The Hunger Games, and Divergent. The first three Harry Potter films are some of the most beloved book-to-movie adaptations in history. The latter movies, while successful in other regards, were criticised (especially by book purists) for cutting out, altering, or ignoring large chunks of the source material. I have heard several fans say that they would watch a Harry Potter reboot if it was a high-budget streaming show that adapted each chapter into an episode, with the dialogue and plots and sub-plots remaining exactly the same as the books. Whether this would ever be done remains to be seen,
Movies face an issue in that they are limited in run-time. While there are long movie adaptations out there (The Lord of the Rings is a prime example), more commonly, they are cut to fit at a little over 2 hours. They prioritise entertainment and a streamlined story. Books can vary in length to a great degree—the first Harry Potter book was around 77,000 words while the fifth (the longest) was around 257,000. Yet the fifth movie (2hrs and 18 minutes long) was actually shorter than the first (2 hours and 32 minutes long). The movie arguably benefited from cutting much of the meat of the book, at least from an entertainment perspective, if not from a story and world perspective.
How important is it for the plot to be accurately represented in films, given that they are, indeed, adaptations of the source material and not direct translations? Is it enough for the characters and world to be represented with care and detail? Are fans right in complaining about inaccuracy and missing scenes in book-to-movie adaptations? What are some examples of book-to-movie adaptations done well, and done poorly?
The different approaches to book adaptations and the merits or detriments of shifting the medium of a story would definitely be an interesting topic. Another possible aspect of the topic would be the question of whether a movie or an episodic show is the most effective format, whether this is case specific, and what sort of plots and subplots lend themselves to short or long form cinema. – Quodlibet1 year ago
Movies and books are two extremely different mediums with unique characteristics, potential benefits, and potential barriers. Consider this example: In the book Alice's Adventures in Wonderland, there are several significant internal monologues. In my opinion, one of the most substantial ones is Alice's internal monologue while questioning her own identity (inside the rabbit hole); however, I was unable to locate a single movie that featured this internal monologue. In a novel, a character could typically have an internal monologue for a whole chapter, or even more, but in a movie, it would be disastrous. In light of this, I believe the questions to be asked are: Which elements should be removed in order to make room for the new medium? What elements need to be modified to take advantage of the new medium's potential? etc. The issue is not whether there should or shouldn't be disparities between the two - because there will always be disparities between the two; rather, it is how to implement these contrasts without compromising the book's basic concepts and takeaways. – Samer Darwich1 year ago
The benefits of a series format compared with that of a film would definitely be an interesting topic. In my opinion one of the interesting examples to explore would be the adaptation of philip pulman's series 'his dark materials' and how the movie compares to the HBO series. Whils both effectively translate the novels into another format, both fail where the other succeeds. For example the HBO series is more detailed and has better pacing whereas the movie has a tone that is similar to that of the books. Another example is all quiet on the western front which has been adapted into a television sereis and two different movies, the most recent havign been released this year. I'm sure some interesting comparisons can be drawn between the different adaptations that would help furthere develop this topic. – Matilda1 year ago
The debate of making a successful book to movie adaptation is great to engage in. There first needs to be an acknowledgement that there ate two different mediums and depending how abstract or explicit, its down to directors' and writers interpretation the book. – ml223701 year ago
I think that books do more intense and detailed descriptions of the story. But the adaptation of a book to the movie is really good as not all can read books but most people watch movies tho! – dancingnumbers1 year ago
I think the recreation of famous stories in film can be a really beautiful thing and gives more options of accessibility for a wide range of audiences. Although I can agree that film adaptations can be missing the "spark" of the novel, there will always be different versions that exist. A recording of an audiobook with a different voice actor than the original recording will have nuances and tone that transform the story, just as a movie will create a slight variation of the original tale. Within these changed adaptations we can add new, modern factors to elevate relatability and relevance to modern society, such as increasing diversity (which is always a good thing). – tayloremily291 year ago
A lot of this has with the personal connection to the material. I remember hating the Watchmen film when it came out. I was not familiar with the material and I remember not feeling invested in any of the characters - I left the cinema about half way through (the only other time I did that was in Batman and Robin). Friends of mine who I trust and are familiar with the source material loved it and it felt to them like a very accurate representation. There is also the nature of time passing to consider. Perhaps a piece of literature is twenty years old (or more!) and has key elements that need to change to reach a contemporary audience - these might not be the core or 'the message' of the story, but they might be things that seem essential to some readers of the original material. If there were a way to judge the access of the new audience to the original authors intent, that might be something to look at. – ggmills1 week ago
This topic invites writers to delve into the portrayal of fatigue and its impact on superheroes in movies. From physical exhaustion to emotional burnout, explore how fatigue is depicted in superhero narratives. Analyze the storytelling choices, character developments, and the overall representation of fatigue, and discuss its significance in shaping the superhero genre. Consider the influence of real-world issues and societal expectations on these portrayals. Additionally, examine how filmmakers address the challenge of keeping superhero narratives fresh while acknowledging the toll that constant heroics may take on these iconic characters.
It might be helpful to discuss the fatigue audiences might feel after being exposed to so many near back-to-back superhero films. – WriterMan13 months ago
Interesting topic! I'd recommend for the topic taker to research what fatigue does do the body and then tie that to how that might extrapolate to a superhero based on their powers and how that would potentially compact things. – Siothrún3 months ago
Branching off of what others have said, I believe a reference to other film waves for comparison along with what made Superheroes so much more overwhelming for the audience. – Sunni Rashad2 weeks ago
One of my favorite topics to talk about honestly. The end of the article needs to talk about what is being done to potentially turn this around and fix the fatigue that has been brought upon audiences. Both DC and Marvel have changed things to fight this, so it needs to be mentioned that there is some hope for this genre. – Starlight182 weeks ago
Analyze the progression of the antihero trope. How does it reflect changing social anxieties? Look at examples from classic cinema to modern streaming hits.
The article can be structured as a timeline first. Film Noir laid the groundwork, and TV’s prestige era exploded the antihero trope. Film Noir is a classic antihero breeding ground (cynical detectives, femme fatales, etc.). Another excellent point to cover here would be to highlight TV’s greater creative freedom and depth that allowed for more nuance than cinema often could. Now, I cannot think of all the classic movies, but some ideas do come to mind. Of course, there are many more examples to dissect properly.
40s/50s film noir has “The Private Detective” such as Philip Marlowe (The Big Sleep), Sam Spade (The Maltese Falcon) – world-weary, morally compromised, yet with an inner code. Then we had the “Femme Fatale” trope. Think Phyllis Dietrichson (Double Indemnity) – manipulative, uses sexuality for her own goals, challenges traditional female roles.
60s/70s Westerns saw a different breed altogether, I believe. First, you got the spaghetti Western Antihero, still relatable. A good example would be Clint Eastwood’s "Man with No Name" (A Fistful of Dollars, etc.) – self-serving, violent, but audiences root for him against even worse figures. Soon afterward, they were quick to offer more revisionist examples in cinema. There are many examples of this one but the main one is William Munny (Unforgiven) – haunted by past sins, questions the "heroic" myth of the cowboy.
Then let’s come to the 70s/80s. This is the neo-noir and crime thrillers age, kind of like an evolution. Travis Bickle (Taxi Driver) is the prime example here. Deeply disturbed but the isolation-amid-urban-decay is a point that almost every city-dweller can relate with, pretty much. Thelma and Louise covers women taking agency, breaking free, and similar concepts, even when it means violence. This is an early example of the female antihero, and worth highlighting.
2000 onward we have the TV/streaming age. Three examples here: 1) Tony Soprano (The Sopranos) – quintessential modern antihero – mobster, yet we see his family struggles and therapy humanize him. 2) Walter White (Breaking Bad) – from mild-mannered to ruthless drug lord, his transformation is both horrifying and strangely compelling. 3) Joe Goldberg (You), Villanelle (Killing Eve) – pushing boundaries, playing with audience sympathy
2000s onwards is about 20 years not to mention the 90s where antiheroes were omnipresent. There's a lot of history for the writer to look into. – Sunni Rashad2 weeks ago
A comparison of characterization, compatibility, and narrative function of the Robins within the Batman and greater DC universe.
The writer has five potential options to choose from, Dick Grayson a.k.a Nightwing, Jason Todd a.k.a Red Hood, Tim Drake a.k.a Red Robin, Stephanie Brown a.k.a Spoiler, and Damien Wayne.
Each served as Robin for an extended period and all contrast Batman in their own ways. The writer can present a case for and against each of them both from the text and metatexually such as referring to sales or fan receptions.
Good start. Rather than just "who's the best," however, consider going deeper and doing a full compare/contrast between the five incarnations. Consider the strengths and weaknesses of everyone, and when you choose an overall "winner," explain why their strengths rise above the others', while their weaknesses are less egregious or more humanizing/endearing. – Stephanie M.7 months ago
In stories where some characters are immortal – i.e. living for a very long time without aging – the subject of romance can be a touchy topic. It is hard to find people with shared life experience when everyone else measures life in decades rather than centuries. There is often a question of power imbalance when one side of a relationship is so much older than the other. On the other hand, an immortal character finding romance with a regular mortal is an example of love bridging gaps. It means the immortal has chosen to care about people, even though he will outlive all of them. Examine arguments for and against these age-gap romances. Examples include Buffy the Vampire Slayer, Twilight, the Immortal and Dupli-Kate from Invincible, Thor and Jane Foster from Marvel, and more.
Diana Prince and Steve Trevor. – T. Palomino4 weeks ago
Love triangles are often associated with romantic fiction, but are also common in other genres like young adult, fantasy, or speculative fiction. A love triangle usually involves a female protagonist being pulled between two male love interests, but can be gender-inverted or use LGBTQ examples.
This trope is popular among many readers, but just as many claim to hate love triangles. Detractors say the trope is overused, with players often too attractive or otherwise perfect to be believed, and surrounding situations that are contrived if not outright cliche.
Using some of your favorite–and perhaps least favorite–examples of love triangles, discuss what sets some apart from others. What does it take to write a love triangle well? What are some common mistakes authors make when writing this trope? Why and how can a badly written love triangle still have legions of fans? Has the trope evolved in any significant way, and if so, what new versions and expectations should authors be aware of?
I'd also potentially really look at how this is done in LGBTQ+ works, and consider examining what makes that structure different from other written love triangles, if there is any difference at all. – Siothrún1 month ago
In addition to the exploration of LGBTQ love triangles, another interesting angle would include polyamorous relationships that develop through this trope. In literature, YA novel "Iron Widow" by Xiran Jay Zhao could be examined as an example. – Emma13 hours ago
