With online services like iTunes and Vudu offering consumers the chance to buy movies and TV shows digitally, has the relatively new 4K Blu-Ray arrived at the wrong time? How much longer will DVD formats in general last?
It may be worthwhile to look into media history comparing Blockbuster and Netflix to see how they adapting to changing consumer trends in the same DVD and streaming challenge. – Munjeera7 years ago
Good topic. In my opinion I don't think DVD will die, maybe it will evolve more and more but never completely die. Some people love to have their own physical copy. Just like people collection toys, cards, decors, some people collect physical copies of their favorite movies. As an example, look how vinyls have done a huge comeback, and all because people love to have a collection of them, even if there are services like Spotify, Deezer, Apple music and more. Actually, digital music has been around for quite a while, but physical copies still sell. – Andres Tovar7 years ago
Analyse why the new Chinese movie Wolf Warrior II have witnessed great success in such a comparative low budget? And also, what is the advice for making national cinema to go internationally competitive in the Hollywood context? Would big budget or cooperation with Hollywood crew be a must?
It would be interesting to expand this topic to include examples of other medium-to-low budget Oriental films that have had great success globally and, perhaps what impact or influence these may have had on Western film makers. I confess I haven't seen Wolf Warrior II, so I'll put it on my 'to watch' list. Also worth addressing is whether there is actually a need to compete with Hollywood when domestic audiences in China or South Korea for example do engage with their domestic film makers enthusiastically. – Amyus7 years ago
Frank Grillo does decent work. On the other hand, ‘The Great wall’ was not as successful as Matt Damon had hoped it would be. – Dr. Vishnu Unnithan5 years ago
The British science fiction comedy TV series 'Red Dwarf' (1988-1999)(2009-Present) has gained a cult status and follows the misadventures of what are essentially four less than intrepid blokes stuck in Space. With the main characters frequently exhibiting flaws such as cowardice, laziness and downright incompetence, the stories provide a welcome, humorous antidote to the morally upright characters typically found in many science fiction series. The latest series is due to appear in October 2017 and the fact that the lead actors are no longer the spring chickens they once were has not gone unnoticed by the show's main writer, Doug Naylor, who has already started to include jokes at the expense of his ageing characters. Could this perhaps lead to the birth of a new comedy genre that would playfully examine the inevitable encroachment of advancing years and a second childhood in a Sci-Fi setting?
This is an interesting point. One of the newest trends emerging out of the UK has been the changing focus of target audience age groups. One of the best examples of this has been 'Dr Who' with the return to an older doctor with both Peter Capaldi and Jodie Whittaker. In many ways this is a logical choice as the aging baby boomers are still the largest generation and are now progressing into a period of having greater disposable incomes and time, it makes sense then that there is a return to nostalgic childhood, but explored through the aging "grey" actors. – SaraiMW7 years ago
Using second person point of view isn't exactly common when it comes to literature. It often brings to mind "Choose Your Own Adventure" stories, but not likely much else. Novels often seek to put the reader into the protagonist's shoes so to speak, which second person point of view literally does, so what accounts for its limited use? Examine what puts this type of narrative at a disadvantage compared to the more popular first-person and third-person points of view in novels. What are some examples that make good use of second person point of view and how they successfully navigate its pitfalls and/or subvert its expectations?
The first example that comes to mind is Tolstoy's "Sevastopol in December," but you're correct to note its rarity. Epistolary novels can also, to a certain extent, be seen as utilizing second-person narration, since authors of letters are directly addressing an implied reader with a unique identity; this, however, becomes complicated by the commingling of the first-person "I" of the letter-writer and the second-person "you" of the recipient, thus reducing the formal purity of a single focalizing voice. It's interesting that you should bring up interactive narratives, since another possible example in that vein are so-called "first-person" video games. These may be better interpreted as actually being second-person, since the avatar through which the player experiences the game is less of a narrator than a participant à la "Choose Your Own Adventure." The true narrator in such cases is the text which appears on screen to provide instruction to the "you" who experiences the ludonarrative. – ProtoCanon7 years ago
Here's a recent one--Jemisin's "Broken Earth" series. Of course, it's phrased as being told by someone to someone else, but that's just the frame of it. It never leaves "you," and knows everything. – IndiLeigh7 years ago
This is something I'd really love to explore. I think often times in writing or English classes we are told not to bother with second person point of view because it's so rarely used and thus, we don't get to learn about it or appreciate it like other view points. – ReidaBookman7 years ago
A detailed analysis of the existentialist nature of films by Woody Allen. It's pretty interesting how many of his films challenge contemporary societal issues through existentialist ideologies. This article could be a break down of his various films and the manner in which they explore ideas relating to existence and the meaning of life, often in a comical manner. From Bananas to Annie Hall to the more recent Cafe Society, Woody Allen films are typically incredibly humorous whilst also a great insight into the meaninglessness of life. What you all think?
I would love it if someone explained Woody Allen. I have never gotten the appeal. – Munjeera8 years ago
Perhaps a disclaimer could be written to focus on the movies only and not his personal life. I was never a fan and his point often escaped me anyway. – Munjeera8 years ago
That's a good point Munjeera! I feel like often the point of his films can go over your head. They're not necessarily supposed to be extremely thought-provoking or anything (excluding Interiors and a few others) but they still have that reoccurring theme of existentialism which I personally quite enjoy and find very interesting.
– ninaphillips278 years ago
I take great interest in revisiting the past works of screenwriting. I felt the same way about Robin Williams; could never really engage with his early comic charades, his escapades into worlds of fantasy, and finally his masterpieces: Dead Poets Society, Good Will Hunting. All the pieces of that literary puzzle eventually came to light. Robins and Allen teach us that life is as jovial as it is entrenched in trivial matters--much ado about nothing--if I may. – lofreire8 years ago
His films certainly have a cynical overture too them, this article could reveal the intimidation of existentialism and that it often leads to pessimism. – Iliasbakalla7 years ago
There tends to be a negative stigma attached to Young Adult literature these days. It's too cliché, it's all the same, there too many vampires, angels or oppressing dystopian societies etc etc. And it seems once you've passed a certain age you're looked down on for still reading and enjoying these books. Do you, as an adult, walk down the Young Adult aisle and fear the judging eyes on you from behind? As if they're silently telling you to grow up? Is this a problem within the genre or people in general? Do you believe that we need a fresh wave of writers to bring a new edge to the idea of Young Adult literature to crack this stigma attached?
I completely understand your concern about the stigma surrounding YA. I would be the first to disagree with you and the genre, except that I found that the true value in YA is with the wisdom entrusted within the prose and the imagination. Nothing ever changes in life, the more we progress in time, the more certain things remain constant, is the way I see it. I find myself going back to the tried and true pages of text, and realizing how powerful the messages were, I was just too distracted and inexperienced to make sense of it. YA is at the bottom of my list of books to read, but certainly will remain a vital recourse when I ever hit that road block every writer faces. – lofreire8 years ago
YA is going through a trilogy phase for sure. – Munjeera8 years ago
There has also been a trend in YA of forced social issues taking precedence over the plot. If these themes are at the forefront, it starts to feel more like a lecture than a narrative. Social issues should happen organically in fiction and leave the reader with enough information to discuss and form their own opinions. – AGMacdonald8 years ago
I'm suspicious of the YA designation because so much of the time, the books seem to be pretty similar (not necessarily with plot devices or dystopian view, but in their view of young adulthood as-told-from privileged adulthood). Also, YA is a pretty profitable market, hence the cliches and repetition. The genre designation is very convenient as a marketing and book-sales tool. As for "outgrowing" YA, that's why the publishing industry has a growing interest in the term New Adult, which is a kind of transitional term between YA and Adult fiction -- that might be an interesting place to look to answer this question of stimga. – belindahuang188 years ago
That judgment is precisely why I don't buy YA in bookstores (I usually use Kindle). Having admitted I do read it, I'm also pretty picky about what I do choose. YA literature does, in my opinion, need something of a facelift. It's become stereotypical; most people think YA is either dystopian or saucy teen romance. As we know though, it's much more than that. – Stephanie M.7 years ago
I am quite the contrary to the opinion held of YA, and my preference in regarding this topic. My position is though--modestly, different.
I am an adolescent, presently I do not take interest in YA literature, though I must admit no young adult commonly prefers philosophy instead. It isn't enjoyable to me (YA) , though I enjoy the "boring" stuff. Anyone up for discussion, just let me know. – Mindovermatter7 years ago
I think this stigma around YA is actually an opportunity for writers to take the challenge to break this stereotype and produce new creative stories, such as focusing on character development or less typical youth scenarios/issues. – EmilyJarvie7 years ago
Was John Lennon a multi-talented individual or did his success arise from a mixture of personal and professional acquaintances, geographical destinations, life experiences, or generational appetite? Examine the events leading to his early struggles as a fledgling art student, to the final years of masterful composing in order to isolate and understand the potent recipe for musical ascendancy.
Interesting idea. I lean toward Lennon being a singular talent. He obviously benefited from his band mates in the '60s, but his solo material subsequently is quite wonderful. I think you could make a compelling argument for either side of this issue. – John Wilson7 years ago
Maybe worth considering: It seems like he had most of his eccentricities and strange musical proclivities ironed out by the Lennon-McCarntey song writing machine and producer GeorgeMartin. – DeanJr7 years ago
Modern performances rely on young actors amid outlandish worlds of fantasy and fable. It is often conveyed through technological devices such as computer graphics or scale mock-ups. But years ago, child performers had only their voice, their dancing feet, their counterpart, and a reliable stream of antics to deliver entertainment to audiences. In the tradition of Shirley Temple and Little Rascals, show how much or how little technological advancement in screenplay has impacted the burgeoning and maturing actor into a unique form or into a rambunctious version of the original model. By all means, incorporate relevant patterns of the genre by configuring actors such as Mickey Rooney (who started in silent film) into the prose, or the Brooke Shields foray into fashion, modeling, and advertising.
Relevant article: https://the-artifice.com/secret-life-of-shirley-temple/ – Misagh7 years ago
An interesting suggestion for an article! There's a great history of cinema to draw upon indeed, but might I also suggest widening the subject to include a look at young actors/actresses' development outside of Hollywood? – Amyus7 years ago
A lovely topic with plenty of research to draw from. I'd be especially interested in the writer's take on Shirley Temple. Both my grandmas had some of her movies, so I watched her as a kid. I liked her, but even when I was little I felt her acting was overdone and whiny. I wonder now if that was encouraged because of a lack of technology, or if today's child stars have similar problems. (Personally, I've seen some really good ones and some that can't act to save their little lives). – Stephanie M.7 years ago
Discuss the political climate that existed in the American entertainment industry in the early 1950s that was exploited by Senator Joseph McCarthy and the House In-American Activities Committee (HUAC), and ramifications of the committee's investigations.
This could be a great topic. There is a play that deals with it, "Are You Now or Have You Ever Been?" Check it out!
https://www.goodreads.com/book/show/1844626.Are_You_Now_or_Have_You_Ever_Been_and_Other_Plays – L Squared7 years ago
Movies can be said to entertain us, thrill us, scare us, and even make us cry. However, there are certain movies that reach a new level of violence that can cause nightmares, tears, and the desire to copy it and send it back out into the real world causing real harm to others just because it looked cool in a movie. When is too violent?
An interesting topic, and definitely one worth pursuing. It might also be interesting to see how the standards have changed. When some films from the 70s and 80s were transferred to DVD, their censorship ratings were often downgraded, particularly in regards to violence. You might also consider how Western society seems to be far more squeamish and conservative about sex (even to this day). A perfect example was seen here in Australia. Game of Thrones has been given an R rating every season except for season 3, despite this being the season containing The Red Wedding. A pregnant woman was stabbed in the stomach, and yet this was the only season (so far) to be given an MA15+ rating. So, apparently fifteen year olds can watch the murder of a unborn child, but they're not mature enough to watch characters having sex. – AGMacdonald8 years ago
Are we making a distinction between the demographic who watch them and the demographic who they are intended for? If a film is a incredibly violent and it's classification accurately conveys that then the demographic watching the film likely won't find it too violent. I don't quite understand your topic, unless you were to focus on something like issues with film classification, as AGMacDonald mentioned in the above comment. – LeonPatane8 years ago
I think people are only hit with "too violent" when the movie was improperly advertised. People dumb enough to reenact violent things from movies are going to happen, so debating the censorship of all movies ever made isn't quite helpful. I think the focus should be on movies that went too far from what viewers were made to expect, and how that impacts people. I remember liking to watch horror movies with my friends as a preteen and we popped in something we thought was strictly a suspense slasher. Blood, gore, and a little bit of soft core porn were considered acceptable. But then five to ten minutes of the movie was spent depicting rape. My friends were deeply disturbed and wanted to shut it off, for them that was "too far" whereas I agree with AGMacdonald in that our idea of certain kinds of violence over others at a certain age is terribly askew. What levels and types of violence are acceptable at not just which age rating but in which genres? – Slaidey8 years ago
As someone in the filmmaking world, I don't ever want to tell someone to "tone down" their movies. I think movies are great ways of communicating something important in an entertaining way. But I agree with Slaidey, they need to be properly advertised. Also, I think if you are someone who knows they will be offended by strong violence, it's your job to find out before watching a movie if it's going to offend you and then make a decision as to whether you will watch it or not. Good topic, I think it's one worth pursuing. – maxxratto8 years ago
Most of the comments I would have made regarding this topic have already been more than adequately addressed by other commentators. Perhaps an historical context would work best, as suggested by AGMacdonald, combined with a look at the psychology (or should that be psychopathy? [sic]) of violent films that would, unfortunately by necessity, have to include an acknowledgment of snuff movies. As long as there is an audience for this stuff then extremely violent films and/or TV series will continue to be made...sadly. – Amyus7 years ago
This is certainly an interesting question, but one that might be impossible to answer. Perhaps if you changed the question, such as, "How violent is too violent for X demographic?" There's plenty of research and controversy on what kids, teens, and even adults should expose themselves to. I think choosing one demographic will help your article tremendously. – Stephanie M.7 years ago
What would happen if John Williams' theme for Star Wars played in the background of a sensual, romance scene? Or if a whimsical tune from Alice in Wonderland played as characters were being savagely slaughtered in a horror movie?
This piece of writing would deal with why music is so important to a movie or television show and how song selection can make or break the impact of scenes. It would speak about why composers use specific instruments, sounds or techniques over others to portray certain moods.
There's a really good Youtube channel called 'Sideways' that discusses media music; check it out! – m-cubed7 years ago
A fascinating subject for a topic. It might also be relevant to make note of those composers who have deliberately created music for a particular scene that appears contrary to the mood of that scene and yet somehow seems to compliment it. Just one example off the top of my head is the music for the model train chase in Aardman Animation's 'The Wrong Trousers'. – Amyus7 years ago
Horror films often do this, like at the end of Halloween II when they play Mr Sandman through the credits. Creepy. – AGMacdonald7 years ago
I would suggest focusing--this is a very old, very broad topic. – IndiLeigh7 years ago
Accidentally posted before finishing--I suggest talking about different genres and using mostly examples of recent movies (e.g., Atomic Blonde, Darjeeling Limited, Moonlight). – IndiLeigh7 years ago
In my university major studies I did one subject called Survey of Film Music with Dr James Wierzbicki at USYD, in which we were introduced and discussed through the history of film music and the trends of making film music throughout the long film history. In classic Hollywood era, major studios hire full-time composers (most of them from Germany) and orchestra to compose music after the visual part is finished, whereas in contemporary film music making, there are also avant-garde or experimental films of which the film editing is after the music is written. "Film Music: A History (Routledge, 2009)" might be a good choice if you are looking further for film music history since the pre-cinema era. :) – Chenlei7 years ago
It's not about Hollywood, but in Bollywood, mostly movies are famous for their music and songs. – Vinita7 years ago
There is also the element of actually using these songs from one "classic" film in another film. The example that comes to mind is the use of the theme from 2001 in Clueless. – derBruderspielt7 years ago
An example of this that comes to mind is the use of Joanna Newsom's "The Sprout and the Bean" in The Strangers http://www.westword.com/music/joanna-newsoms-the-sprout-and-the-bean-created-the-perfect-horror-movie-moment-7745761 – midado7 years ago
"The 100" has become known for its morally gray characters. In the TV show, warring clans often use the justification "[insert devastating action] was done for my people." However, "The 100's" stance is not so clear cut. Discuss the TV show's portrayal of moral relativism. Does "The 100" agree with the justifications characters provide for their actions (i.e. committing genocide "for [their] people")? Or does it want viewers to challenge the ideologies behind the "heroes" behavior? What evidence contributes to your conclusion, whether it be cinematography, symbolism, plot parallels, etc?
Almost all characters have their "gray" moments, but Marcus Kane's season 1 arc was very important in defining the show for me. – IndiLeigh7 years ago
An interesting topic, and worth discussing within also the framework of the moral dilemma at the heart of the narrative - the concept of the sacrifice of few to save more. Moral relativism is a complex area to examine, but this show indeed touches on a number of areas because it is removed from the pre-existing framework of a recognisable socio-cultural setting. – SaraiMW7 years ago
Many classic rock songs were written poetically and had a message or story behind them. Now the element of strong writing behind music has shifted away from rock and towards hip-hop. An example could be juxtaposing Bohemian Rhapsody to Beyonce's Formation, or a politically charged song about the Vietnam War to one of Kanye West's songs. Analyze this shift and how the music scene has evolved as well as the poetic value of some of these songs.
I would also include a discussion of Kendrick Lamar and the underground hip-hop and rap musicians that have been creating complex and poetic songs for years. Some artists like Mos Def and Talib Kweli have been killin it since the late 90s. – Jonathan Judd7 years ago
Netflix recently released its live action adaptation of Death Note, and people were less than impressed by it. A few people who have not seen the original have said that they enjoyed the film for what is was. Without associating it with the source material, is there joy and entertainment to be found here? Also, is it possible that the whole 'white washing' element cast a dark cloud over the whole production (which seemed a bit odd considering that it is the most diverse iteration of Death Note with a wide array of characters from many different races). It would be very interesting to find reasons while the Netflix adaptation, though flawed, was not as bad as people made out.
I feel like what made people so upset about this was not necessarily the "white washing", but the uprooting the entire premise of the show and moving it to America. – ees7 years ago
It's embedded in the nature of adaptation. Rampant fandoms prove to be a consumer lock but also a social media nightmare. Manga/anime fandoms are serious and tough. If we were talking about any number of other adaptations, it wouldn't be that big of a deal. That people are mad for the Obha & Obata manga (and subsequent, concurrent anime series) automatically sets an absurd bar for any adaptation. Check *Oldboy,* maybe. It's done a series of adaptation loops. Regardless, good topic. – Paul A. Crutcher7 years ago
eSports and competitive video gaming competitions have become a serious industry in recent times and are poised to change the overall video gaming industry in big ways. Attracting the attention (and funding) of corporations primarily involved with traditional sports, eSports is set up to not only affect the way future games are developed, but is also set to make some serious revenue. What's your take on how the involvement of large sporting corporations and the rise of elite gamers will effect the overall video gaming industry?
It would also change the current social stigma around gaming, popularizing it more and creating a more serious community. – LaRose7 years ago
Egad. Timely. Especially since Elon Musk's AI just crushed human DOTA players (https://www.engadget.com/2017/08/12/ai-beats-top-dota-2-players/). Great idea. – Paul A. Crutcher7 years ago
In some sense I think it's stifling to game design. It seems that every multiplayer game that comes out is automatically assumed to be trying to be the latest eSport. This is not necessarily healthy for game design if there is a shift from developing fun multiplayer games to developing grueling and complex games with the potential of being an eSport. For example, PUBG is in early access and was still a buggy mess when people were already discussing its potential as an eSport and how the game would need to change to fit into the eSport world. Esports are only now at a stage where it is conceivable that a developer might design a game with the goal of being an eSport as the sole consideration, and that could have interesting results. – MarcoMorgan7 years ago
In the 1990s, Tim Allen starred in Home Improvement as Tim Taylor, wherein he raised his three sons Mark, Brad, and Randy with wife Jill. Around 2010, Tim returned to the dad role, this time as Mike Baxter on Last Man Standing. As Mike, he raises and supports three daughters, Kristin, Mandy, and Eve, with wife Vanessa.
The two shows are both great and bring to mind several questions. For instance, how is Tim Taylor, who raises sons, different in personality and approach from Mike Baxter, who raises daughters? Are they alike at all? Do the ages of the children make a difference–Baxter's daughters are pretty much grown up, and one is a mother (Eve, the youngest, is in high school. Taylor's sons were middle and elementary schoolers when Home Improvement began and age more slowly). Which character, if either, is the more realistic TV dad, or the better one? The better/more realistic husband? What does each show have to say about raising single-gender families?
I am so psyched to read this future post. – Emily Esten7 years ago
Thanks, Emily. I considered writing it myself, but I haven't watched enough Home Improvement to make any definitive calls. I am, however, a Last Man Standing fan. – Stephanie M.7 years ago
It's interesting because Tim Allen always seems to play the dad role - even in the Santa Claus movies. Something to consider with this too is the time of when these shows were on the air. When Allen was raising sons that show was broadcasted in the 90s, and now, being broadcasted since 2011, he's raising daughters. Society in the 90s was so different to how it is now. I haven't watched Home Improvement for years but from what I remember I don't know if there is a more realistic TV dad because both seem quite realistic to the era (putting the TV personality Tim Taylor aside). – CarliStas7 years ago
The world of TV Advertising has become ever more sophisticated and devious as the public has become more media-savvy. From the early days of a product being pushed in front of us and a cheery female voice or a man in a white coat suggesting we buy it, we've moved on – through an era of dancing bunnies high on battery power and roller skating young women extolling the virtues of certain feminine sanitary products, to a period when the product was rarely seen on screen and we were bombarded with imagery that seemed to bare no relation to the product being advertised. These days some TV adverts are like mini movies whilst others are projected deep into our subconscious and intended to make us feel slightly inadequate if we don't continue to play the consumer game.
However, is the advert break still a convenient excuse to nip to the loo or make a cup of tea? Is the Scientist in the white coat still regarded as an authority figure? Are we, the viewing public, too wise for our own good? Can we still be tricked into buying something we really don't need and, most likely, will become obsolete within a year? The artifice of advertising will always remain exactly that and yet there have been advertising campaigns that have gained a life of their own and even garnered artistic respect and admiration. Could advertising truly be considered an artform in itself?
Is advertising an art form? Yes; it requires creativity and finesse just like film, novel writing, and other similar pursuits. But what kind of art form is it? That's the perennial question, because as you mention, advertising is designed to push people into acquiring "stuff." Can we still be "tricked?" Oh, yes...but I think that raises the question, do we even care we're being tricked anymore? Or would we rather just enjoy a cleverly conceived commercial (or ten)? – Stephanie M.7 years ago
any discussion of advertising should necessarily reference Edward Bernays, one of the original admen who wrote on advertising and PR campaigns as having the ability to manufacture consent and control the "masses." Also an important scholars to reference and read would be Naomi Klein, who literally wrote the book on the evolution of the advertising agency and the rise of branding, "No Logo." – Jonathan Judd7 years ago
What role will the new Star Wars stories play in the unfolding expanded universe? The impact of Rogue One on the meaning and value of the data at the beginning of a New Hope may give us some idea, but there could be so much more. How will opinions of characters such as Han Solo continue to change and evolve? What about other characters such as Obi-Wan Kenobi?
Interesting topic, with recent news I think you can add in the discussion of Obi-Wan Kenobi as a standalone. Also typo on Rogue One, as you've put 'Rouge'. – Marcus Dean7 years ago
Sequels are almost always what follow a successful film but what actually makes a sequel as good or better than the original? Everyone's seen a sequel that they thought was either an obvious step down from the original or didn't have a real reason to exist but a sequel that surpasses or keeps up with its previous iteration are much rarer. So what are the factors that actually make the story in a sequel story worth telling? Obviously if the production is good then you could make a case for it but what narrative factors influence the worth of a sequel being told? And what are the unique characteristics of those sequels that did actually surpass their originals? What made them great?
I think this is a good discussion topic, especially seeing all the new sequels coming out. Could you give some examples to help narrow down the discussion? – birdienumnum178 years ago
I would say some really good ones to talk about would be the Harry Potter series, Hunger games, Divergent series and Fast and Furious. These are the ones I could think of from the top of my head :) – claraaa8 years ago
You're right I should have included some examples. The specific upcoming films that gave me the idea were actually Blade Runner 2049 and the new Pirates of the Caribbean. I think these would be good to talk about as the latter will probably fall into the "doesn't need to exist" category while the former could really go either way (I have unrealistically high hopes.) – JakeV8 years ago
I think this question is also applicable to book and television series.The largest draw for me to continue on with the sequel is if I find the main characters' stories unfinished. If readers or the audience are only there for compelling characters they genuinely care about, and those characters have "completed their arc" so to speak, there isn't really much motivation to pick up the sequel (in my opinion) where in most cases, are sustained through the introduction of new characters and less-than-spectacular plots that sometimes mar the main characters' consistency and lack purpose. What is the point in writing this sequel? (Perhaps for commercial purposes/ entertainment value if the first book/movie/season is well-received?) (I guess this wasn't so much a "helpful note" as it was an opinion. Apologies!) – autumnlights8 years ago
You could also look at Blade Runner 2049 and the new seasons of The X Files and Twin Peaks and Prison Break that have come out decades after the original. Isn't there a reason there wasn't a Blade Runner sequel in the 80s - and a reason all those shows were cancelled? – sophievannan8 years ago
My primary reason to watch a sequel is, did the characters make me say, "I want to see what happens to them next?" Did they make me say, "I miss/want to spend more time with these people?" If not, then it's likely I won't watch that sequel. – Stephanie M.7 years ago
If you run out of examples, you could even expand on this and talk about the modern remakes they're doing of movies. What makes these new elements worth telling? Doesn't the original stand on it's own? – Dani7 years ago
I think this is a more interesting discussion in the context of stories that didn't specifically set out to be a series. My favourite example is Toy Story. Toy Story 2 is a great movie and many would say better than the first. What makes it a sequel worth watching? It doesn't directly continue the story of the first film, instead it presents the characters with new challenges that build on the growth seen in the first film. – MarcoMorgan7 years ago
How does the 2017 YA shortlist fare against the timeless classics? Is it full of another stream of overused and cliched story lines and characters, or has it emerged into a fresh line of strong protagonists and insightful morale messages?
Well, I don't know enough about the current short list to write this topic, but I'm definitely interested in what the writer comes up with. There are certainly plenty of clichéd storylines, especially in the dystopian genre. But I have seen some unique twists on familiar premises. – Stephanie M.7 years ago
Hmm, this should be interesting. After what I feel has been a pretty dry spell in YA novels in recent years, I'd be happy to see an uptick in originality for sure. – jaysongoetzz7 years ago