In the era of rapid advances in artificial intelligence and computer graphics, it is difficult for an untrained observer to be able to avoid, as well as recognise as such, an altered image, and now increasingly also an altered video. Known colloquially as "deepfakes," a portmanteau of "deep learning" artificial intelligences and "faked imagery", these seemingly seamlessly altered videos present challenges for notions of authentic representation, and much has already been written about their potential applications to and influencing of political discourses. Still, several aspects of "deepfakes," potentially made manifest both through high-end editing software and open access mobile applications, remain critically underexamined.
Most evident among these is perhaps the instantiation of "deepfake pornography," which relies on the digital superimposition of real people’s, almost exclusively women’s, faces and voices onto pornographic videos, predominantly for the consumption of male users. Often, the superimposed images and sounds come, or are alleged to come, from images that are considered part of the public domain, have been posted publicly by the individuals depicted or ones in possession of copyright, and in other ways allow for transformative use. The implication is, perhaps, that women’s bodies are to be seen as physical objects that, in an era of the incresing accessibility of image- and video-altering software, may as well be digitally recreated so as to be consumed in a way that circumvents any pesky discussions of consent. It is therefore necessary to take a closer look at deepfake technologies along with the exploitative, often violently mysoginistic as well as cisheteropatriarchal and white supremacist social and legal practices that commonly underlie their predominant uses.

Alex Garland has been making his name in the film industry for sometime now. Primarily with his contributions to the high concept, hard science-fiction genre. Writer of such films as 28 Days Later, Sunshine, and Dredd, as well as directing the films Ex Machina and Annihilation, Alex Garland has an ability to meld incredible storytelling about space travel, artificial intelligence, and futuristic tech with touching human emotion and true to life character flaws. His most recent endeavor has seen him take a step back from the big to the silver screen in his television debut, Devs: an eight-part stand alone series involving quantum computing, determinism, and humanity (in every sense of the word).

The article would highlight several aspects; Alex Garland himself, the technology of the show, the allegorical elements between technology and religion, and the philosophical and ethical issues such as determinism, multiverse theory, morality, and the illusion of free will. This article will be discussing the show in rather in depth details so a Spoiler Warning should probably be addressed rather early in the article.

Video games have been around for nearly fifty years now. Over the past few decades, trends have come and trends have gone within video game culture. When games started utilizing open worlds, many other games followed suit. When games decided that climbing mechanics were the next big hit, many games began to replicate this feature in their own way. But there is one game mechanic that no matter how much time passes or what stage in the video game zeitgeist we are in that remains, bar none, the best feature a video game can have. That’s right, we’re talking about grappling hooks.

There is just something so wholesome, so endlessly fun, and so rewarding about being able to traverse a wild terrain by slinging a grappling hook and getting the job done; perhaps there’s only one way to cross a wide ravine surrounded by waterfalls, maybe you need to gain the high ground on an enemy and lunge your katana into their torso from above, maybe you’re being chased by a horde of undead and a quick grappling hook to the rooftops if your best escape, or maybe you just want to see what happens when you grappling hook an enemy soldier and tether them onto a moving helicopter.

Explore the top games of the last fifteen to twenty years that featured grappling hooks and discuss the value of such a useful mechanic while also discussing other games, their mechanics, and how and why those mechanics are inferior (I.e. yellow markers to indicate climbable structures, active building mechanics, stealth mechanics, dual-wielding, etc.).

The third season of Netflix’s series appears to take a big turn towards scenes of "violent" sexuality in its most recent season, almost contrasting that of it’s previous two seasons where there is minimal to no scenes of sexuality. Nonetheless, they do have significance for individual character arcs.

Is this what audiences demanded? Are audiences taking it well, or will it turn off some of its core viewers? How does Castlevania’s video game community react to Season 3? And how do these scenes of sexuality change our previous understandings of characters?

R.K. Narayan’s Malgudi, Faulkner’s Yoknapatawpha County, and of course, L. Frank Baum’s enchanting Oz. These fictional places imagined by prolific writers possess great character, and ultimately reflect the author’s mindset, intention and desires. A greater understanding of each of these places is pieced together bit by bit through every engaging story written, and eventually come to represent different things in the ways that they are perceived by us, the readers. Interesting questions to perhaps ask would then be: what was the intention of the author in creating such an intricate or elaborate world (all three are depicted beautifully drawn maps) and how did people perceive such fictional towns at the time, as well as what these towns eventually came to represent.

Existentialism is often seen as a depressing philosophy, but I ultimately see it as a hopeful response to absurdity–a struggle for meaning and maybe a better life, whatever shape that may take. On that line of thought, popular shounen series with their various "never give up!" themes and questioning of humanity, morality, religion, and so on, seem to fit right into it. Naruto in particular reads like a bonafide Kierkegaardian Knight of Faith.

Does shounen anime/manga seem existentialist? If so, what kind of specific existentialist themes are in play? Does this help readers coming of age prepare for life by giving them a taste of having to figure things out in the face of adversity (and absurdity)? Or does it exceed itself and become naivety?

More broadly, what’s the relationship between philosophy and fiction? Does fiction “play out” the ideas of philosophy, or does it create its own philosophical ideas?

How do famous works of existential philosophy: particularly those published in the late 19th/early 20th century fit into the role of human extant today? Specifically to the younger generations that are experiencing a deep uncertainty and fear towards the future? This can be drawn from works by Hermann Hesse, Nietzsche, Camus, Sartre, etc.

Friends, That 70s Show, Community, The Office, Modern Family, the list spans kilometres. These kinds of ensemble tv shows, where rather than being just one main character, the focus is on a main group of characters, are incredibly popular today.
Investigate WHY that is. Is it something to do with the kind of show – many shows with ensemble casts are comedy or sit-com? Can viewers better find someone to relate to within a group, rather than with a designated sole protagonist? Does it open more expansive avenues for story-telling, when the focus is on six different people as opposed to just one? Does this keep viewers more invested, less bored? Is it the relationship aspect that draws viewers in? Do they enjoy feeling part of the on-screen group’s little family? Arguably, within a group, characters can afford to be more flawed as they have their peers to keep them in check, does this make for more relatable characters? Or is it the opposite, do these shows create caricatures (the smart one, the funny one, etc.) and is that why people enjoy it?

This article should offer specific examples of TV shows and what it is about them that people enjoyed.

There is something about this TV show formula that just works, and an article offering an answer to ‘why?’ could be very interesting and insightful.