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Examine the incorporation of branded marketing in the history of film and TV, and how the normalization of sponsored content has allowed for successful films like The Lego Movie to branded documentary series like Margot vs. Lily by NikeWomen. Is it changing the world of advertising or is it changing the world of entertainment?

Examine how shows like Stranger Things and Mr. Robot incorporate virtual reality content as supplements to their series. Will we see more of it? When will virtual reality stand on its own? Looking at how VR has exploded in recent years (Facebook buys Oculus for 2.3 billion) and how VR's growth in the video game sector is creating a wider base of VR headset owners, which could benefit TV shows adopting VR content.

Analyzing the films that go against the common belief in Hollywood that every great story with a female lead must contain a love story. Meaning, there's a clear love interest for her character. Looking at films that follow and defy this tradition, and at what cost. From the top grossing film of the year that follows (Rogue One) to indie favorites that don't (Lost in Translation), what is gained and what is lost by following this trope? And why can male leads go against this tradition? Would Master and Commander be a bigger hit if he had a damsel to rescue? Or could the Matrix survive without Neo's love for Trinity? Compare the loveless 2001: A Space Odyssey vs. the love-driven Interstellar. Both are successful films with male leads. Why aren't there more non-romantic films lead by women? Take a look at the film Housekeeping, which stands out from the pack.

Keeping Up With The Kardashians is reality TV. I Am Cait is a docu-series. What's the difference, and what's the reason for the change? Across the board, documentary series have exploded (Making a Murderer, Chef's Table, OJ: Made in America, The Jinx). Is reality TV trying to repackage their reality TV content to catch the wave?

Analyzing the paradigm shift created by the new studios (Netflix, Amazon, HBO) and how they've given courage to a new breed of content creators (YouTube Red, AwesomenessTV, Vimeo Originals). What is the result? The emergence of Netflix-worthy shows on a whole new array of platforms, and a race for other media companies to become "content creators."