TV

This topic would explore why The Walking Dead became so successful as both a comic book series and a television series, and how its story has suffered such a drastic decline in actual plot development since the Prison Arc. A major cause that would require further research might be the fact that the story has no end because the virus overtaking the world cannot end, and thus, the horde of zombies will never die; so the question to ask is, can a story continue to be interesting if the main conflict cannot be resolved? Of course you have an onslaught of new villains every few seasons, but by and far they are not different characters by any means.

Analyze the emergence of therapeutic discussions of violence, tragedy and character killing in the Walking Dead spin-off called Talking Dead.

Is Marvel’s Luke Cage, a superhero of today’s society? In the new Netflix series, Luke Cage is a black, bulletproof man with his only costume being a hoodie and when it is up, it is worn as superman wears his cape in a fight of justice. The significance of the hoodie touched on a real life matter we faced four years ago, in regards to the death of seventeen year old, Trayvon Martin. With all the shootings and killing of black men today, it is important to many that we have a hero that is black. Whether it is real or not doesn’t even matter, it is the point that our youth can watch Luke Cage and see a black hero who actually takes pride in who he is and acknowledges it. I think the series is literally and symbolically trying to make a connection with black people, culture, society, and the issues and injustice certain individuals may face today. Do you think this series succeeds or fails, barely touching the surface in making a connection to society today?

What is the role of pregnancy in the first two seasons of American Horror Story? In the first season, we have the housewife pregnant with a monster that eventually kills her in childbirth. In the second, we have two women pregnant who are pregnant from the same man. There are many factors that make them different, even to the extent that one is black and one is white. There could be interesting "black and white" comparisons drawn between their roles in their lover's life, how they become pregnant, how they handle their pregnancy, etc. What are the implications of using pregnancy as a plot device?

Time travel. It is always something that everyone knows that should not be messed with, but people tend to go with the flow and try to do something about it anyways whether it is leading to the past, present or future. But the one thing, everyone know is once you do it, there is no going back. In characters we have seen throughout films or television, such as Back to the Future, a memorable trilogy well-known for its flying Dolorean that can travel throughout any time with one Doc and McFly changing their own fates as well to those they care for or in the Flash, about a determined superhero who's more than fast abilities can lead him to travel throughout time with the use of the speed force, but by doing that can lead to massive consequences. How important is knowing time travel? Do we already know what consequences can lead to them? Or what becomes of by using it? Or is it something we end up learning can never change on our own?

What makes Gilmore Girls different from other shows? Is it the fast-paced dialogue and the type of humor, how real it feels? Is it how the writers always leave you a little unsatisfied, never really giving you what you want? All the above? Something totally different? Compare the show to other hit comedies and/or dramadies and talk about what sets it apart.

Matt Sautman's recent article on the popular and strange FX series "American Horror Story" and its new sixth season, Roanoke, prompted me to again pose a reasonable question about the program. Mostly, from a narrative standpoint, I've not heard or read any persuasive argument for what makes the series good.

I suppose part of it is contemporary and topical – horror, in the form of ghosts and zombies and whatnot, is a saleable cultural commodity today. But what I don't understand is how the program works narratively. I appreciated the first season, which seemed straightforward by comparison, to what followed and what we're seeing today in Roanoke. Asylum, Coven, Hotel, and Freak Show introduce a complex cacophony of characters, motivations, conflicts, and arcs. Some of the best and most acclaimed TV introduces a full cast and varying conflicts, but the seasons of The Wire or Girls or The Sopranos or Breaking Bad don't push such radical variance in the characters and dynamics.

I wanted very much to enjoy Asylum. But, as an example of the sort of narrative problem in each season I'm describing, Asylum layers horror on horror on horror on horror ad nauseam. As I wrote before, you get an old asylum (sufficiently disturbing), layer on a set of Catholic nuns (again, sufficiently disturbing), layer on demonic/Satanic possession of a kid (right), layer on a transfer of that possession to one of the junior nuns (terribly disturbing), layer on a Nazi eugenics doctor in hiding (um), layer on that the Nazi is breeding scifi monsters and interacting with aliens (what?), layer on an interracial couple and alien abduction (…), layer on a serial killer who decorates his home with human remains (wait), and so on. Add, of course, that the show tries to keep you invested in roughly the same number of characters as the number of the episodes in the season.

Again, I don't see that Coven, Hotel, Freak Show, or Roanoke did anything all that differently, from a narrative convention. Sautman can use it as a pop culture vehicle to critique racial politics in the US, but I would like someone to address the program and its structure, its coherence. I mean it seems as if the writers choose a setting and then have the team brainstorm everything horrible that might occur in that setting, even if those horrible things might not fit the genre evoked by the setting (e.g., devil-possessed nuns and Nazis and

The HBO success "Game of Thrones" brings on screen a wide variety of characters with clear mental issues. From Joffrey's violent nature, which lacks any form of remorse, to Ramsay's damaged personality or Jamie and Cersei's incestuous relationship (also Sansa Stark, Jon Snow and Theon Greyjoy can be interesting examples). It would be fascinating to use psychoanalytical concepts, taken from Freud, Jung or Klein, in order to offer a reading of these characters and their backstories and objectives.