There is an entire field dedicated to the study of place-based literature (spatial studies) and it is interdisciplinary, but there is less discussion about the draw of particular places for writers. Why do certain writers choose the places they set their stories in? This could be extrapolated out into the examination of how secondary world fantasy and science-fiction draw on mimetic qualities of our real world, or it could be a closer examination of why an author chooses to set their narrative in New York instead of Las Vegas.

There are already a number of authors who have written in the same places, drawing from locales that have personal meaning. It would be interesting to look at the decisions they made around returning to particular settings. For example, Coco Mellows uses New York in both her novels, but in the second also draws on London where she lived for a time. But other authors use locations they have never lived, but perhaps have an affinity with. It would be interesting to explore, from a writer's perspective rather than a theorist's perspective, how writers choose the places that resonate in and across their works.

This article could analyze the recent resurgence of 90s and early 2000s TV shows on streaming platforms, exploring why series like Friends, Sabrina, the Teenage Witch, Buffy the Vampire Slayer, and Gilmore Girls—among others—continue to captivate both nostalgic fans and new viewers alike. It could analyze how the thematic elements of these shows—such as friendship, humor, and a focus on "simpler" times—resonate in today’s fast-paced world.
You might also consider discussing how streaming enables a new level of accessibility, allowing these beloved series to find fresh audiences and establish intergenerational appeal. Examining how this nostalgic inclination affects modern media and the potential influence these shows may have on future releases would add another level of complexity.

One of the "hottest" books on Amazon right now is Chain Gang All-Stars, by Nana Kwame Adjel-Brenyah. It's billed as a hard-hitting drama in which American prisoners compete for their freedom on a bloody, Gladiators-style reality show on which "elimination" means actual death. Detractors look askance at the hype and writing style, but despite the book's newness, Adjel-Brenyah already has plenty of fans.

Chain Gang All-Stars brings to mind several other novels with this "reality show" conceit, from more lighthearted examples like Chicken Sisters and Take the Lead to Death Warrant and Cinderella is Dead. Whether or not elimination from these fictional reality competitions means one's life is forfeit, books like these usually offer discussion fodder regarding the deceptive nature of reality TV and social media, the meaning of trust and alliances, and other multifaceted topics.

Examine some examples of "reality literature" from any genre you like (thriller, rom-com, YA, or any combination). You could, of course, include Chain Gang All-Stars. Compare and contrast your examples, looking at character development, depth of themes, use of tropes, and any other issues you like. Examine what this particular subgenre is trying to say to readers, and how writers might keep its messages fresh in a world that continues in saturation of fast-paced reality shows, online influencers, cancel culture, and more.

True crime documentaries and narratives are intensely popular, particularly on streaming services. Many people, particularly women, report watching this type of documentary for relaxation, much to the amusement of social media (e.g., memes, reels, comedy bits). A plethora of true crime podcasts also exist, and these often get listeners talking "in real time" over radio waves when other subjects may not.

However, fictional crime was a popular genre long before true crime, and remains so. Mystery movies, detective television series, and movies centered on the lives, escapes, and even last days of inmates, garner tons of views, reviews, and discussions every day. Some fictional crime stories, such as The Shawshank Redemption or The Great Escape, have taken their place among "classic" films.

With true and fictional crime getting so much attention, many questions arise. Namely, which type attracts what sort of audience, and why? Is there any overlap, and where does that exist? Perhaps most importantly, is there any way to tell whether true or fictional crime is more appealing?

Analyze this last question in light of the other two, as well as factors such as the nature of the crimes (e.g., "cozy mysteries" vs. "harder" crimes), storytelling choices and mechanics, casting choices, or any other factors you choose. If you choose to gear your argument toward one side or the other, choose some examples to prove why that version is the stronger, more appealing one.

The original Jumanji (1995) remains a nostalgic classic almost 30 years after its release. Its technologically updated sequel might have gotten the side-eye from the original film's devotees, but also pulled in a flock of new fans, as evidenced when a third movie invited viewers back to its jungle. Zathura, which featured a space-themed board game, is arguably less beloved than the Jumanji films but has plenty of fans. And the new film Family Pack has thrown players of yet another magical game into 1497 France to face werewolves while grappling with their personal problems, deep emotions, and general dysfunction.

Analyze the presence and appeal of magical board games in family films. What makes magical board games the right catalysts to bring families, siblings, or even strangers (thus, "found family") together in these films, as opposed to say, video games or a game on the sports field or court? Do these films have something special to say to families in today's technology-driven age and if yes, what is it? Do "magical board game" stories have potential as a bigger subgenre, and if yes, what other board game themes, family structures, or themes of the human condition could be explored? Use the mentioned films as a jumping off point, but feel free to explore what as-yet-untapped plots might look like.

With the Wicked movie coming out, it'd be nice to see an analysis of how wildly different the Broadway musical is from the novel it's loosely based on.
Compare characters and their arcs. For example, Fiyero in the musical is like a Disney prince, while the book version was much more serious.
Compare plot details. The musical's ending is quite different from the book's.
Compare themes. The book goes deep into political and ethical questions; does the musical do these ideas justice?

Analyse Hayao Miyazaki's use of picturesque European-inspired aesthetics in his movies. Think "Howl's Moving Castle", "Kiki's Delivery Service", and "Porco Rosso" – all are either inspired by 19th and early 20th century Europe, or in the case of "Porco Rosso" use real countries such as Italy in the 1930s. How does Miyazaki draw on these elements of aesthetic to create beautiful and magical settings? How does the source material, British author Diana Wynne Jones' novel "Howl's Moving Castle", and the real world influences of the time period, World War 1 etc, influence Miyazaki's renditions? What does he include, what does he exclude? What is the affect of these renditions on Japanese and international audiences especially when considering Japan's relationship with the West? You can also compare these European aesthetic/story films with the Ghibli films set in Japan, such as "My Neighbor Totoro" and "Spirited Away". Plenty of questions to ask yourself when doing this article. I recommend potential narrowing down the subject to certain aspects of the aesthetic, such as subject, technology, colour etc.

Uglies on Netflix brings back the dystopian genre, but the trend has been out of the spotlight for a while now. Shows like Snowpiercer and others have thrived by taking advantage of the TV series format, which allows for deeper world-building and character development. In contrast, dystopian films often struggle to fit complex narratives into limited screen time. Could Uglies have benefitted from being a series instead of a standalone movie? Let’s explore how dystopian stories are evolving and why the TV format might be their best future.