Analyse existentialism and Thanos as a free and responsible agent of change through his own genocidal acts in the name of environmentalism, make a comparison to the environmental concerns we face today and if Thanos was right in his efforts to decrease or eliminate the population.

This topic involves an examination of the animated opening/ending credits sequences that bookend most popular modern anime. In anime, an opening credits sequence often highlights main characters, hints at plot arcs, and features the names of studio staff, all while synchronized to music. Analyze how an opening may influence the "tone" of a show, and how that may correlate to sub-genre. What does a "good" opening sequence do for an anime? What does it do or provide for audiences? Perhaps look into the history of opening/ending credits sequences in anime to compare how fans view & share these openings today online. (I had some trouble coming up with a catchy title, so any and all suggestions are welcome!)

The Vampire Diaries and its spinoffs (The Originals, Legacies) and canonically full of mostly heterosexual relationships, but a significant portion of the show’s followers and fans are deeply committed too gay, lesbian, bi and pan ships that have little chance of setting sail or solidifying. Is this because of the show runners? Is this because of the channels it’s airing on?

Mob Psycho 100 is a series from the creators of One Punch Man. Focusing on the title character of Shigeo "Mob" Kageyama. Mob is a esper, he learns as a child that his powers are link to his emotional state. As a result he is emotionally muted and appears with a blank expression. He has no friends (in the beginning) and is social awkward. In contrast, the character of Reigen is the opposite of Mob.

Reigen is the boss and master of Mob. He is a con man, whom, uses the power of his words to manipulate his clients into believing he is helping them with their problems. A common theme that is brought up in the series is the idea that Mob’s psychic powers are one aspect of him and he is no better than other’s. Reigen believes that his powers are really no different from someone who can sing, dance or play a sport. Basically, everyone has something special about them.

Explore the theme from the series, that we all are special in different ways. Question what the difference between being ordinary and extraordinary is. Explore how the various characters, specifically, Mob and Reigen display the theme.

Fan fiction seems to be a bit like Marmite: fans of original fiction either love it or hate it.

When I took my ‘first foray’ into the realms of fan fiction, I was surprised to encounter a wider range of sub-genres, tropes and terminology than I had realised…

Sequels and prequels to other authors’ narratives, along with spin-off texts, new characters and ‘non cannon’ rewrites can prove contentious–especially when fans feel that the new text undermines or distorts aspects of the original work.

Yet, for some people, it extends the enjoyment gained from the original text and adds dimensions to the fictional universe in question. It can prove satisfying to read (or write) a character’s backstory or find out what happens next–even if these events and characters were created by someone else and/or not generally considered to be ‘cannon.’

In some cases, prequels, sequels and rewrites by different writers–without the approval or authorisation of the original author-have become published or otherwise firmly established in mainstream culture. Examples include Jean Rhys’s ‘Wide Sargasso Sea’ (a prequel to Charlotte Bronte’s ‘Jane Eyre’), and Andrew Lloyd Webber’s stage adaption (and rewrite) of Gaston Leroux’s ‘Phantom of the Opera’ and a sequel, ‘Love Never Dies.’

In the case of the latter, Lloyd Webber’s narrative is arguably better known than the story it was based on.

Does this mean that, what essentially began as a form of fan fiction has now entered the literary/cultural ‘cannon’? If so, at what point does this happen and how do we decide which ‘fan fictions’ become ‘cannon’?

I’d love to hear other people’s thoughts on the topic of fan fiction, particularly with regards to ‘intertextuality’ and Barthes’ theories on ‘The Death of the Author.’

Analyse what makes a silent protagonist work and what doesn’t: when does a game benefit from having one? When does it not? What are some instances where a silent protagonist could have been better as a speaking one, or vice versa?

Or maybe, what warrants the use of a silent protagonist, particularly in plot-heavy, character-driven series’ like Persona? How are they characterised, if at all, and why?

Analyse the history and evolution of the Mills and Boon romance novels. How the content and cover art changed throughout the years.

Obviously, COVID-19 has seemed to stop everyone in their tracks, even postponing blockbusters including No Time to Die (James Bond) and Black Widow. What does this mean for the theatres? Will the pushing back of highly desired films start the habit of staying at home and opting for an online streaming service (ex. Netflix/Hulu)? Will movie theatres be an item of the past? How have movie theatre sales been affected by past trauma?