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Many viruses contain surface spikes or protrusions that are essential for virus entry. These surface structures can thereby be targeted by antiviral drugs to treat viral infections. Nervous necrosis virus (NNV), a simple nonenveloped virus in the genus of betanodavirus, infects fish and damages aquaculture worldwide. NNV has 60 conspicuous surface protrusions, each comprising three protrusion domains (P-domain) of its capsid protein. NNV uses protrusions to bind to common receptors of sialic acids on the host cell surface to initiate its entry via the endocytic pathway. However, structural alterations of NNV in response to acidic conditions encountered during this pathway remain unknown, while detailed interactions of protrusions with receptors are unclear. Here, we used cryo-EM to discover that Grouper NNV protrusions undergo low-pH-induced compaction and resting. NMR and molecular dynamics (MD) simulations were employed to probe the atomic details. A solution structure of the P-domain at pH 7.0 revealed a long flexible loop (amino acids 311-330) and a pocket outlined by this loop. Molecular docking analysis showed that the N-terminal moiety of sialic acid inserted into this pocket to interact with conserved residues inside. MD simulations demonstrated that part of this loop converted to a ß-strand under acidic conditions, allowing for P-domain trimerization and compaction. Additionally, a low-pH-favored conformation is attained for the linker connecting the P-domain to the NNV shell, conferring resting protrusions. Our findings uncover novel pH-dependent conformational switching mechanisms underlying NNV protrusion dynamics potentially utilized for facilitating NNV entry, providing new structural insights into complex NNV-host interactions with the identification of putative druggable hotspots on the protrusion.

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In the scientific world, Professor Jean-Martin Charcot is known for his contribution to the establishment of the anatomo-clinical method in neurology in Paris at the Salpêtrière hospital. However, media attention in the late 1800s has focused on his work on hysteria. In this article, we aim to review how he has been depicted in two recent French movies: Augustine (2012) and Le Bal des Folles (The Mad Women's Ball) (2021). We will compare his image in those two films to articles at the time of his death and contrast how he is represented in other biographical works. Both in the newspapers and in the movies, Charcot's public lessons and experimental work on hypnosis in hysteria are put forward. The two movies offer a new perspective, as both directors were women, and both movies focus on a woman patient's journey at La Salpêtrière. His depiction remains superficial in Le Bal des Folles, portraying a cold, insensitive, and despotic approach to patients. He plays a more central role in Augustine, in which he develops intimacy with one of his patients and a more human and caring side is displayed, in parallel to his authoritative and meticulous figure. Both movies refer to him as a divine authority, but they also allude to his scientific method. In summary, Charcot's recent representations in cinema add a woman's perspective to life under Charcot at La Salpêtrière, which continues to shape further the image we have of this founder of modern neurology.

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Converging evidence suggests that emotions are often dulled in one's foreign language. Here, we paired fMRI with a naturalistic viewing paradigm (i.e., original vs. dubbed versions of sad, fun and neutral movie clips) to investigate the neural correlates of emotion perception as a function of native (L1) and foreign (L2) language context. Watching emotional clips in L1 (vs. L2) reflected in activations of anterior temporal cortices involved in semantic cognition, arguably indicating a closer association of emotion concepts with the native language. The processing of fun clips in L1 (vs. L2) reflected in enhanced response of the right amygdala, suggesting a deeper emotional experience of positively valenced stimuli in the L1. Of interest, the amygdala response to fun clips positively correlated with participants' proficiency in the L2, indicating that a higher L2 competence may reduce emotional processing differences across a bilingual's two languages. Our findings are compatible with the view that language provides a context for the construction of emotions.

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Serious games (SG) or educational games are complete games designed for a specific purpose that fulfill both their classic function of entertainment and promote the learning of specific concepts or skills and optimize health care in general. In the pediatric setting, these games combine strategies to educate about health issues, promote healthy behaviors, provide therapy or medical treatment. SG have been shown to promote adherence to treatment in children with chronic diseases, reduce anxiety in those undergoing invasive medical procedures, and stimulate the development of cognitive, emotional, or psychomotor skills. However, it is important to emphasize that the success of SG in pediatrics depends to a large extent on game quality, their design based on clear objectives, and their accurate adaptation to the individual needs and preferences of patients.

Los juegos serios, serious games (SG) o juegos formativos son juegos completos diseñados con un propósito determinado, que cumplen tanto su función clásica de entretenimiento como la de estimular el aprendizaje de conceptos o habilidades específicas y optimizar la atención médica en general. En el ámbito de la pediatría, estos juegos combinan estrategias para educar sobre temas de salud, promover comportamientos saludables, proporcionar terapia o tratamiento médico. Los SG han demostrado favorecer la adherencia al tratamiento en niños con enfermedades crónicas, reducir la ansiedad en aquellos que se enfrentan a procedimientos médicos invasivos y estimular el desarrollo de habilidades cognitivas, emocionales y/o psicomotoras. Sin embargo, es importante destacar que el éxito de los SG en pediatría depende en gran medida de la calidad de los juegos, del diseño basado en objetivos claros y de su adaptación precisa a las necesidades y preferencias individuales de los pacientes.

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In today's world, it is becoming increasingly important to address not only the need for awareness of mental illnesses but also the undue glorification of the same by certain segments of society. Social media has been a major influence on Generation Z in terms of self-diagnosing mental illnesses and romanticizing them. More and more individuals have started recognizing online trends of self-diagnosis of mental illness, and it is increasingly plausible in the process of normalizing the conversation around mental health through memes, TikTok videos, and viral tweets; this has had the paradoxical effect of romanticization of mental illness in certain segments of society.  Through this editorial, we would like to highlight this important issue and urge the mental health community to be cognizant of this phenomenon, lest it curtail society's recent advancements in mental health destigmatisation.

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Pharmacology has broadened its scope considerably in recent decades. Initially, it was of interest to chemists, doctors and pharmacists. In recent years, however, it has been incorporated into the teaching of biologists, molecular biologists, biotechnologists, chemical engineers and many health professionals, among others. Traditional teaching methods, such as lectures or laboratory work, have been superseded by the use of new pedagogical approaches to enable a better conceptualization and understanding of the discipline. In this article, we present several new methods that have been used in Spanish universities. Firstly, we describe a teaching network that has allowed the sharing of pedagogical innovations in Spanish universities. A European experience to improve prescribing safety is described in detail. The use of popular films and medical TV series in biomedical students shows how these audiovisual resources can be helpful in teaching pharmacology. The use of virtual worlds is detailed to introduce this new approach to teaching. The increasingly important area of the social aspects of pharmacology is also considered in two sections, one devoted to social pharmacology and the other to the use of learning based on social services to improve understanding of this important area. Finally, the use of Objective Structured Clinical Evaluation in pharmacology allows to know how this approach can help to better evaluate clinical pharmacology students. In conclusion, this article allows to know new pedagogical methods resources used in some Spanish universities that may help to improve the teaching of pharmacology.

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Recently, multiple health organizations and advocacy groups have pushed for giving an R-rating for movies depicting tobacco imagery. This study examined several predictors of U.S. adults' opinion toward an R-rating policy for movies depicting cigarette smoking. We used data from the Health Information National Trends Survey (2020 cycle), for a nationally representative sample of 3,865 US adults (aged ≥ 18). The outcome variable was opinion toward an R-rating policy (support, neutral, and oppose) for movies depicting cigarette smoking. A weighted adjusted multinomial logistic regression analysis with comparisons of support versus oppose, support versus neutral, and neutral versus oppose was performed. About 48.2% of respondents were supportive of, 31.1% were neutral toward, and 20.7% were opposed to an R-rating policy. Adults aged 50 to 64 years (adjusted odds ratio [aOR] = 2.28, p = .008) and ≥65 years (aOR = 4.54, p <.001) (vs. 18-34 years) were more likely to support the R-rating policy than oppose it. Non-Hispanic Black respondents (vs. non-Hispanic Whites) were 1.74 times more likely to support than oppose the policy (aOR = 1.74, p = .04), whereas adults with a household annual income of US$75,000 or more (vs. <$20,000) and those with moderate (vs. liberal) political viewpoints were more likely to be neutral than oppose the policy. Former and current e-cigarette users (vs. never users) were less likely to support than oppose the policy. Tailored messaging addressing the rationale behind R-rating policy should be directed towards communities based on age, race/ethnicity, household income, e-cigarette usage, and political ideologies.

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A variety of studies have suggested that at least some children with autism spectrum disorder (ASD) view the world differently. Differences in gaze patterns as measured by eye tracking have been demonstrated during visual exploration of images and natural viewing of movies with social content. Here we analyzed the temporal randomness of saccades and blinks during natural viewing of movies, inspired by a recent measure of "randomness" applied to micro-movements of the hand and head in ASD (Torres et al., 2013; Torres & Denisova, 2016). We analyzed a large eye-tracking dataset of 189 ASD and 41 typically developing (TD) children (1-11 years old) who watched three movie clips with social content, each repeated twice. We found that oculomotor measures of randomness, obtained from gamma parameters of inter-saccade intervals (ISI) and blink duration distributions, were significantly higher in the ASD group compared with the TD group and were correlated with the ADOS comparison score, reflecting increased "randomness" in more severe cases. Moreover, these measures of randomness decreased with age, as well as with higher cognitive scores in both groups and were consistent across repeated viewing of each movie clip. Highly "random" eye movements in ASD children could be associated with high "neural variability" or noise, poor sensory-motor control, or weak engagement with the movies. These findings could contribute to the future development of oculomotor biomarkers as part of an integrative diagnostic tool for ASD.

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BACKGROUND AND PURPOSE: Children in developed countries spend a significant portion of their waking hours engaging with audiovisual content and video games. The impact of media consumption on children's health and well-being has been widely studied, including its effects on tic disorders. Previous studies have shown that tic frequency can both increase and decrease during activities like gaming and television watching, resulting in mixed findings. METHODS: To better understand the impact of audiovisual media on tics, we conducted a fine-grained tic manifestation analysis. We focused on the effects of the impact of a movie scene with suspensful elements and a video game designed to heighten anticipation, thought to stimulate phasic and striatal dopamine release. We closely monitored tic frequency throuhghout these experiences based on moment-to-moment tic annotation. The study included 20 participants (19 males aged 7-16) diagnosed with tic disorders (Yale Global Tic Severity Scale≥8), and we tested the replicability of our findings with an independent group of 36 children (15 females, aged 7-15) with tic disorders. RESULTS: During film viewing, we observed significant synchronization in the temporal tic patterns of various individuals despite diversity in their tic profiles. Furthermore, employing a video game developed for our study, we found that tic frequency increases during anticipation of a pending reward. This finding was replicated in a second experiment with an independent cohort. CONCLUSIONS: Our results indicate that tic frequency is affected by media elements in the short-term, and call for further investigation of the long-term impacts of exposure to such tic triggers.

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In this article, we introduce the Chinese Children's Lexicon of Oral Words (CCLOOW), the first lexical database based on animated movies and TV series for 3-to-9-year-old Chinese children. The database computes from 2.7 million character tokens and 1.8 million word tokens. It contains 3920 unique character and 22,229 word types. CCLOOW reports frequency and contextual diversity metrics of the characters and words, as well as length and syntactic categories of the words. CCLOOW frequency and contextual diversity measures correlated well with other Chinese lexical databases, particularly well with that computed from children's books. The predictive validity of CCLOOW measures were confirmed with Grade 2 children's naming and lexical decision experiments. Further, we found that CCLOOW frequencies could explain a considerable proportion in adults' written word recognition, indicating that early language experience might have lasting impacts on the mature lexicon. CCLOOW provides validated frequency and contextual diversity estimates that complements current children's lexical database based on written language samples. It is freely accessible online at https://www.learn2read.cn/ccloow .

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The study provides a comprehensive picture of the effect of subtitles on the gaze behavior of the participants while watching continuity editing and discontinuity editing style cinema. Three video clips (with English subtitles and without subtitles) of continuity editing and discontinuity editing styles were presented to participants. The video clips came from English movies and the participants were not native English speakers. Entry time, dwell time, first fixation time, scan path, and average fixation duration were taken as dependent variables in this within-group study. The eye-tracking data gathered were subjected to repeated measures of two-way ANOVA and paired t-test. Results revealed that the appearance of subtitles at the bottom of the screen changed the eye movement pattern of the participants during the shot changes. Timing of the subtitle starting point (before the cut or after the cut) also affected the gaze behavior. The editing style, however, did not make any difference in the gaze behavior of participants while watching subtitled video clips. Further, participants preferred reading subtitles to seeing visual images even if the subtitles were presented during the shot changes.

Este estudio provee una imagen completa del efecto de subtítulos en el comportamiento de la mirada en múltiples participantes viendo películas elaboradas con edición continua y discontinua. Tres videoclips (con y sin subtítulos en inglés) con estilos de edición continua y discontinua fueron presentados a los participantes. Los videoclips fueron extraídos de películas de habla inglesa, y los participantes no eran hablantes nativos de inglés. Tiempo de entrada, tiempo de permanencia, tiempo de primera fijación, trayectoria de escaneo, y duración promedio de fijación, fueron tomados como variables dependientes en este estudio entre grupos. La data de rastreo ocular recolectada fue sometida a un ANOVA de dos vías de medidas repetidas y a pruebas-t pareadas. Los resultados revelaron que la presencia de subtítulos en la parte baja de la pantalla cambió el patrón de movimiento ocular de los participantes durante los cambios de toma. El momento de aparición de los subtítulos (antes o después de los cortes) también afectó el comportamiento de la mirada. Sin embargo, el estilo de edición no generó ninguna diferencia en el comportamiento de la mirada de los participantes mientras veían los videoclips subtitulados. Adicionalmente, los participantes prefirieron leer los subtítulos que ver las imágenes visuales, incluso si estos subtítulos se presentaban durante cambios de toma.

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The position and orientation of the camera in relation to the subject(s) in a movie scene, namely camera "level" and camera "angle", are essential features in the film-making process due to their influence on the viewer's perception of the scene. We provide a database containing camera feature annotations on camera angle and camera level, for about 25,000 image frames. Frames are sampled from a wide range of movies, freely available images, and shots from cinematographic websites, and are annotated on the following five categories - Overhead, High, Neutral, Low, and Dutch - for what concerns camera angle, and on six different classes of camera level: Aerial, Eye, Shoulder, Hip, Knee, and Ground level. This dataset is an extension of the Cinescale dataset [1], which contains movie frames and related annotations regarding shot scale. The CineScale2 database enables AI-driven interpretation of shot scale data and opens to a large set of research activities related to the automatic visual analysis of cinematic material, such as movie stylistic analysis, video recommendation, and media psychology. To these purposes, we also provide the model and the code for building a Convolutional Neural Network (CNN) architecture for automated camera feature recognition. All the material is provided on the the project website; video frames can be also provided upon requests to authors, for research purposes under fair use.

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SUMMARY: A corpse is the body's final destination and, as a social construction, it challenges Western cultural taboos and practices around the corpse, having been shown in cinema. The present paper aims to analyze 17 films that portray Human Anatomy, identifying which themes specifically related to morphological sciences are addressed, namely: a) reactions to first contact with a cadaver, b) medical school and dissection classes, c) origin of cadavers, d) anatomy and suspense or horror movies, e) romance, drama and comedy, f) body snatchers/ resurrectionists, g) anatomical techniques, h) racism, prejudice and anatomy. This is a critical review of films in which, after thorough triple- blind analysis by the authors, it was observed that the encounter with the cadaver provides a series of emotions to the characters participating in the practical anatomy classes shown in the films, such as apprehension, fear, disgust, curiosity, etc. Generally, this surprising contact between the living and the dead is associated with the practice of dissection, which often results in the accentuation of emotions previously reported. From all this, it is concluded that the history of the teaching of Human Anatomy has been interestingly portrayed in cinema from different points of view.

Un cadáver es el destino final del cuerpo y, como construcción social, desafía los tabúes y prácticas culturales occidentales en torno al cadáver, habiendo sido mostrado en el cine. El presente trabajo tuvo como objetivo analizar 17 películas que retratan la Anatomía Humana, identificando qué temas específicamente relacionados con las ciencias morfológicas se abordan, a saber: a) reacciones al primer contacto con un cadáver, b) clases de medicina y disección, c) origen de los cadáveres, d) anatomía y películas de suspenso o terror, e) romance, drama y comedia, f) ladrones de cuerpos/resurreccionistas, g) técnicas anatómicas, h) racismo, prejuicio y anatomía. Se trata de una revisión crítica de películas en las que, tras un minucioso análisis triple ciego por parte de los autores, se observa que el encuentro con el cadáver proporciona una serie de emociones a los personajes que participan en las clases prácticas de anatomía que se muestran en las películas, tales como aprensión, miedo, repugnancia, curiosidad, etc. Generalmente, este sorprendente contacto entre vivos y muertos se asocia con la práctica de la disección, lo que muchas veces resulta en la acentuación de las emociones anteriormente relatadas. De todo ello se concluye que la historia de la enseñanza de la Anatomía Humana ha sido interesantemente retratada en el cine desde diferentes puntos de vista.

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BACKGROUND: Media has a reputation for painting a narrow, simplistic, sensationalized portrait of eating disorders. There is little analysis of how film and TV portray eating disorders nor the implications of this representation. This study fills that gap by comparing demographics of US film and TV characters since the 1980s to actual population demographics of people with eating disorders. METHODS: We compiled a dataset of TV and movie characters with eating disorders and categorized characters' gender, age, race/ethnicity, and sexual orientation. We narrowed the dataset to include only US media depictions to facilitate comparisons with empirical prevalence, resulting in a total of 66 characters over the period 1981 to 2022. We then compared the demographic characteristics of our sample to national statistics on eating disorder prevalence. RESULTS: US media depictions of eating disorders overrepresented characters who were heterosexual (75.56%), White (84.85%), women (89.39%), and under age 30 (84.85%). This does not accurately reflect the populations experiencing eating disorders in the US. CONCLUSIONS: Eating disorders have an image problem. TV and movies inaccurately portray them as primarily affecting heterosexual, White, women under age 30. Misrepresentation could fuel existing stigmas that inhibit individuals with eating disorders from seeking and receiving treatment. It could also perpetuate stereotypes that fuel misperceptions of the disease by medical providers, families, and policymakers. We recommend more accurate representation in the media to better reflect current demographics and increase awareness of the range of people who can experience eating disorders.

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Three-dimensional (3D) anatomy models have been used for education in health professional schools globally. Virtual technology has become more popular for online teaching since the COVID-19 pandemic. This chapter will describe a project in which a series of virtual anatomical models of organs and structures were developed for educational purposes, and it will describe in detail how to build three-dimensional (3D) movies using DemoMaker. Although setting up the 3D system was complicated and challenging, the process of reconstructing 3D models from radiographic images and the steps of creating animations and 3D movies are exponentially simpler. These efforts require minimal training, thus allowing most people to be able to engage in this modeling process and utilize the moviemaking steps. Amira® software and computed tomographic angiography (CTA) data were used to create 3D models of the lungs, heart, liver, stomach, kidney, etc. The anatomical locations of these structures within the body can be identified and visualized by recording information from multiple CTA slices using volume and surface segmentation. Ultimately, these virtual 3D models can be displayed via dual projectors onto a specialized silver screen and visualized stereoscopically by viewers as long as they wear 3D polarized glasses. Once these 3D movies are created, they can be played automatically on a computer screen, silver screen, 3D system playback screen, and video player, and they can be embedded into PowerPoint lecture slides. Both virtual models and movies are suitable for self-directed learning, face-to-face class teaching, and virtual anatomy education. Model animations and 3D movie displays offer students the opportunities to learn about anatomy and the anatomical positions of organs in the body and their 3D relationships to one another. By observing and studying these 3D models, students have the potential to be able to compartmentalize the anatomical information and retain it at a higher level than students learning corresponding anatomy without similar resources.

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Background: Behaviours depicted in movies and TV shows can significantly affect one's behaviour. Children are particularly susceptible to these effects as their habits are still forming. Oral hygiene behaviours play a crucial role in preventing or slowing down the progression of dental diseases, which are among the most common yet preventable diseases in the world. Therefore, it is important to understand if popular movies include oral hygiene behaviours or risk-related behaviours, which can in effect influence children's behaviour. Aim: The aim of this study is to review the top grossing animated movies of all time to record and collect on screen portrayals of oral hygiene practices and risk behaviours related to oral health. Methodology: Top 30 highest grossing animated feature films (over 40 min duration) were coded using a structured coding instrument to capture oral hygiene and risk-related behaviours related to oral health. Two coders performed coding using the standardised instrument. Results: Overall, 93% of behaviours were coded as a risk behaviour, with 7% coded as positive oral hygiene behaviour. Within the risk behaviour category, the majority (74%) were based around the consumption of sugar with risk behaviour occurring in 23 out of 30 movies (76%), while oral hygiene practices occurred in 6 out of 30 movies (20%); one movie depicted neither oral hygiene nor oral health risk behaviours. About 53% of behaviours were purely visual, 10% verbal, and 37% a combination of verbal and visual. Anthropomorphic characters and movie settings resulted in more behaviours related to oral health, either hygiene or mainly risk behaviours, depicted. Conclusion: Despite their importance in shaping habits and attitudes, animated movies portrayed a significant number of risk behaviours related to oral health with depiction of beneficial behaviours remaining limited. Consideration should be given on how to best portray behaviours that promote and enhance optimal oral hygiene behaviours to achieve and sustain better oral health for children.

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To watch a person doing an activity has an impact on the viewer. In fact, the film industry hinges on viewers looking at characters doing all sorts of narrative activities. From previous works, we know that media and non-media professionals perceive differently audiovisuals with cuts. Media professionals present a lower eye-blink rate, a lower activity in frontal and central cortical areas, and a more organized functional brain connectivity when watching audiovisual cuts. Here, we aimed to determine how audiovisuals with no formal interruptions such as cuts were perceived by media and non-media professionals. Moreover, we wondered how motor actions of characters in films would have an impact on the brain activities of the two groups of observers. We presented a narrative with 24 motor actions in a one-shot movie in wide shot with no cuts to 40 participants. We recorded the electroencephalographic (EEG) activity of the participants and analyzed it for the periods corresponding to the 24 motor actions (24 actions × 40 participants = 960 potential trials). In accordance with collected results, we observed differences in the EEG activity of the left primary motor cortex. A spectral analysis of recorded EEG traces indicated the presence of significant differences in the beta band between the two groups after the onset of the motor activities, while no such differences were found in the alpha band. We concluded that media expertise is related with the beta band identified in the EEG activity of the left primary motor cortex and the observation of motor actions in videos.

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OBJECTIVES: There is evidence that humor interventions can impact chronic kidney disease (CKD) patients. Synthesize relevant literature to understand the elements and mechanisms of implementation of humor interventions. METHODS: Relevant peer-reviewed articles were searched. Data were extracted according to the Template for Intervention Description and Replication (TIDieR) checklist. RESULTS: The initial search yielded 261 articles. Nine were included in the scoping review. The studies included laughter (n = 5) and humorous video interventions (n = 4) in a face-to-face group format. The tailoring and fidelity process needs to be more detailed in most studies. None of the studies mentioned the theoretical basis. The humor videos were provided by nurses and required various types of equipment. The video interventions were conducted during dialysis. The laughter intervention consisted of 3-4 themes guided by qualified therapists. The timing of the laughter intervention is chosen based on the patient's dialysis schedule and is maintained for 30 min. CONCLUSION: The characteristics of the current study somewhat limit the understanding, replication, and implementation of evidence-based humor interventions. Future studies need to clarify the theoretical basis, tailoring, fidelity, and control groups. PRACTICE IMPLICATIONS: Ongoing reporting and evaluation of the implementation of humor interventions may help better understand their underlying mechanisms.

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Every day, the world of media is at our fingertips, whether it is watching movies, listening to the radio, or browsing online media. On average, people spend over 8 h per day consuming messages from the mass media, amounting to a total lifetime dose of more than 20 years in which conceptual content stimulates our brains. Effects from this flood of information range from short-term attention bursts (e.g., by breaking news features or viral 'memes') to life-long memories (e.g., of one's favorite childhood movie), and from micro-level impacts on an individual's memory, attitudes, and behaviors to macro-level effects on nations or generations. The modern study of media's influence on society dates back to the 1940s. This body of mass communication scholarship has largely asked, "what is media's effect on the individual?" Around the time of the cognitive revolution, media psychologists began to ask, "what cognitive processes are involved in media processing?" More recently, neuroimaging researchers started using real-life media as stimuli to examine perception and cognition under more natural conditions. Such research asks: "what can media tell us about brain function?" With some exceptions, these bodies of scholarship often talk past each other. An integration offers new insights into the neurocognitive mechanisms through which media affect single individuals and entire audiences. However, this endeavor faces the same challenges as all interdisciplinary approaches: Researchers with different backgrounds have different levels of expertise, goals, and foci. For instance, neuroimaging researchers label media stimuli as "naturalistic" although they are in many ways rather artificial. Similarly, media experts are typically unfamiliar with the brain. Neither media creators nor neuroscientifically oriented researchers approach media effects from a social scientific perspective, which is the domain of yet another species. In this article, we provide an overview of approaches and traditions to studying media, and we review the emerging literature that aims to connect these streams. We introduce an organizing scheme that connects the causal paths from media content → brain responses → media effects and discuss network control theory as a promising framework to integrate media content, reception, and effects analyses.

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BACKGROUND: TV-series and movies are important sources of knowledge about autism for the general public. AIMS: This study's purpose was to elicit autistic adults' opinions on portrayals of autistic characters in film and television productions and how this can be improved. METHODS AND PROCEDURE: In this study, we examined the recommendations of autistic adults (n = 798, Mage = 30.3, 48% female) and non-autistic adults (n = 1463, Mage = 35.0, 62% female) from 90 countries on how film and television productions can improve autistic portrayals. OUTCOMES AND RESULTS: Autistic adults rated three improvement factors as most important: (1) Appointing autistic writers, (2) Having an autistic consultant, and (3) Representing greater diversity in autistic characters. Compared to the non-autistic groups, autistic adults rated "Appointing autistic writers" as more important. Autistic participants also endorsed "Having an autism-expert consultant" and "Making the character display all relevant diagnostic criteria" significantly less than non-autistic groups. CONCLUSIONS AND IMPLICATIONS: Participants strongly endorsed that autistic adults should to a much larger extent be included as writers, consultants and actors to enhance the making of autistic characters in film and TV.

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