Nowadays, the media make a major contribution to the medical education of the population. However, people who are not experts are hardly able to assess the accuracy of the situations depicted. To test the reliability of the statements made, this paper deals with the analysis of the accuracy of the pharmacological content in the television series Dr. House. The database is currently around 20years old. The series was first broadcasted in the United States in 2004.The aim of this study was to check the quality of the pharmacological content. In addition, it analyzed the education by the TV series Dr. House in the field of pharmacological knowledge.Ten episodes containing 105 pharmacological items were analyzed. The analysis was illustrated with eleven comparable parameters of the items. This includes, for example, naming the drugs, evaluating the indication, assessing the therapy, and presenting the drug within the scene. In addition, the course of the series was analyzed for the first and eleventh episodes of each season. This resulted in 131 additional pharmacological contents.The study shows a high usage rate of international non-proprietary names (INN). The indications are often correctly stated, and an appropriate therapy is initiated. A particular and quite unusual feature of the series is that drugs are used as diagnostic tools to come to the correct diagnosis. Antibacterial drugs and psychotropic drugs are strongly presented. The analysis also highlights differences in the use of drugs between various genres in which drugs play an important role. Due to the cynical character traits of Dr. House, there were issues of concerns such as lack of patient information and use of dangerous/experimental therapies. There were also several medication errors. The way of drug administration often remained unclear and the mechanism of action was not explained. A comparison of the seasons throughout the series reveals a decline in the quality of naming, explanation, and accuracy of indications and presentation of pharmacological content. The lowest quality is evident in season 6, with a marked improvement in seasons 7 and 8.Despite some concerns regarding ethical issues, the TV series Dr. House makes a valuable contribution to introducing to the public a broad diversity of pharmacological topics.

This study examines how implicature in the Indonesian television series Preman Pensiun communicates social justice and tolerance values, situating the analysis within broader discourses in Asian media. Drawing on pragmatic theory, particularly Grice’s implicature framework, the research explores how indirect meanings embedded in dialogue convey moral and cultural lessons beyond explicit speech. Data were collected from selected episodes through qualitative discourse analysis, focusing on conversational exchanges highlighting themes of justice, fairness, and tolerance in everyday interactions. The findings reveal that implicatures often emerge through the deliberate flouting of conversational maxims, especially those of relevance and manner, generating hidden moral messages that resonate with audiences. These implicit lessons demonstrate how entertainment media do more than entertain; they actively shape public attitudes and cultural understandings of justice, tolerance, and community life. The representation of masculinity and solidarity in Preman Pensiun reflects local cultural values, particularly regarding authority, cooperation, and morality within Indonesian society. By situating the analysis within discourse studies, this research contributes to scholarship on Asian media by illustrating how popular culture embeds moral discourse within casual communication. At the same time, the study acknowledges its limitations, as the analysis remains largely descriptive. Stronger integration with critical discourse analysis would provide deeper insight into power, ideology, and representation issues, especially regarding gender roles and authority. Future research should expand the dataset, compare similar narrative strategies across Asian television, and explore intersections between local discourse, globalization, religion, and social change.

The subject of the study is the process of cross-cultural communication and adaptation of the mythological Chinese archetype of the White Snake in foreign screen adaptations (movies, television series, anime, opera). The authors of the article analyze philosophical and cultural meanings, the issue of preserving the demonic nature of the character and the loss of human nature through the prism of various media and civilizational interpretations. The intercultural adaptation of myth is presented in the article as a high-level form of cultural reception, an important research model of intercultural communication (using the example of the Western, Japanese and Thai models). The purpose of this study is to propose effective strategic solutions to overcome the problems associated with the passive perception of media interpretations by audiences in different countries, thereby contributing to the development of a more efficient and autonomous system for exporting Chinese culture to the international level. The research methodology is comprehensive: the article compares and analyzes the adaptation options of the image of the White Snake, a traditional Chinese mythological archetype, in other civilizations of the East and West. The authors of the article carry out an attribution analysis and clarify the structural boundaries of intercultural understanding and the problem of passive perception at the strategic level. The relevance of the presented research lies in the cultural strategy and sovereignty of the export of Chinese culture (the form of cultural conflict and dialogue as a process of cross-cultural adaptation is analyzed). The study is relevant for China and other countries seeking to effectively and equitably represent their cultural heritage on the world stage, bypassing exoticism and orientalism. The article also explores the way in which mythological archetypes are perceived through audiovisual media, and the transformation of the modern media landscape. The scientific novelty of the study is to identify more of the negative aspects of the issue under consideration than the positive ones. This approach reveals the semantic barriers of intercultural communication contained in the fundamental difference between cultural code and ontology. The mythological archetype is considered in the article as a communicative cultural strategy, a comparative and semiotic analysis of the visual image of various civilizational areas is carried out. The authors draw conclusions about the need for inter-civilizational dialogue through the strengthening of cultural symbols, empathy of narrative, localization of archetypes.

This article examines the relationship of Don Cupitt’s thought to that of Friedrich Nietzsche and Ludwig Wittgenstein, particularly as articulated in the final episode of Cupitt’s Sea of Faith television series and in the accompanying book. It suggests that this has a significance beyond its place in the wider television series. In particular, it helps us to understand a recently articulated paradox regarding Cupitt’s ambivalent influence on the later theologians of ‘radical orthodoxy’. It also helps us to understand the later, quite different direction taken by Cupitt’s own thought. In the wake of Cupitt’s recent death, this article seeks to locate the wider significance of his thought through a snapshot of his thinking at a particular time and its relationship to other significant philosophers.

This paper examines the intersection between audiovisual archives and collective memory through a renewed approach to Yuruparí: Traditional Popular Art, a Colombian state documentary television series, focusing on the episode Angélica la palenquera (Gloria Triana and Jorge Ruiz, 1984). Developed in collaboration with the Kuchá Suto Communications Collective in San Basilio de Palenque, Colombia, the project involved the screening of the restored episode followed by a collective cataloging process. At its core lay a dialogue among local historians, musicians, and community leaders of different ages, allowing memories to nuance and reshape the historically imposed archival narratives on the communities. The project aims to broaden the categories and naming practices used by the archives that safeguard the Yuruparí collection, foregrounding the communities represented in the images and sounds in order to reclaim agency over the archives’ future. By proposing participatory approaches, it highlights broadcast archives as sites of creative engagement capable of challenging power dynamics of representation. Collaborative methodologies foster an ethical and dynamic form of access, grounded in ethnographic and qualitative systematization, while offering a framework for potential decolonial archival practices.

The aim of this research is to explore different examples of architectural model usage in recent fictional series. Architectural models function for architects as both a design tool and a presentation tool. For this reason, models constitute an important part of the architectural design process and architectural education. Accordingly, in fictional productions in which practicing architects are placed at the centre, architects are usually shown using models. In addition, the literature acknowledges that some directors use architectural models instead of actual buildings in wide-angle shots in films. Beyond these uses, architectural models have another field of use, which is addressed in this study: the depiction of architectural models made and used by non-architect, ordinary people in films or television series. This third type of usage, which is less discussed in the literature compared to the other two, constitutes the main focus of this study, which aims to contribute to filling this gap in the existing literature. The methodology of this research is Qualitative Visual Analysis, one of the qualitative research methods. Within the scope of the study, a sample consisting of five fictional films and television series released between 2021 and 2025 was selected. As a result of the analysis, it was understood that the architectural models used accompany the narrative at crucial stages of the plot, such as moments of conflict and resolution, and at times represent the characters and their relationships with space. While the models are used for different purposes in each production, it was observed that various materials such as wood, cardboard, plastic, and cake were employed. In this respect, these models differ from conventional architectural models.

ABSTRACT Across the world, the LGBTQ+ community continues to face political and physical attacks. However, research suggests that consuming LGBTQ-specific media has positive identity-related and well-being effects for LGBTQ+ audiences. Using a mixed-methods approach, the present study explored the utility of the Netflix television series, Heartstopper, on wishful reprocessing and identity-related outcomes among LGBTQ+ adult fans (N = 170; 18–40 years old, M = 26.11, SD = 6.68). The qualitative findings suggested that fans watch Heartstopper because it is a positive, authentic, and diverse portrayal of LGBTQ+ identities and experiences, and also to reflect upon their own adolescent LGBTQ+ experiences (i.e., wishful reprocessing). Mixed quantitative results were found for the moderation effects of wishful reprocessing; however, consuming Heartstopper alone was positively related to LGBTQ+ identity affirmation and negatively related to internalized homophobia, and these relationships were intensified when participants watched the series to reprocess their adolescence. Ultimately, this demonstrates the beneficial effects of LGBTQ±specific media among LGBTQ+ adult audiences.

One of the themes manifested in cyberpunk discourse is the transformation of human corporeality under the influence of technological development of the environment. This topic is highly speculative and controversial. The under researched reasons for its popularity in Western culture present a pressing academic challenge, given the widespread international resonance of the cyberpunk subculture. The aim of this study is to describe and analyze a set of artistic models of corporeality transformation in the television adaptation of William Gibson's novel “The Peripheral.” The study identified four artistic models of corporeality transformation in the film adaptation of William Gibson's novel, three of which are rooted in Christian metanarratives. The model of corporeality objectification, exaggerated in both the novel and the television series and contrasted with Christian models, reflects a contemporary interpretation of one of the oldest popular myths adopted by the globalist ideology of transhumanism. The author emphasizes the close connection between the popularity of key transhumanist ideas and mythological consciousness and theoretically under-reflexive strategies for the total digital optimization of social governance. The article touches on a broad range of interdisciplinary theoretical discussions and will be of interest to film critics, literary scholars, researchers of popular culture, media, and body issues, as well as fans of science fiction series and the general public.

The purpose of this study is to examine the depiction of gender and the traditional role of characters in the television series Nightmares and Daydreams. The television series Nightmares and Daydreams was made to provide an explanation to the public regarding the dynamics of family life problems in Indonesia combined with science fiction works. This study uses a narrative analysis approach with Walter Fisher's narrative paradigm. The series featured in each episode of Nightmares and Daydreams shows that it has narrative possibilities in the context of everyday life. The traditional role of the figure reflects the cultural life of Indonesia, which has a tradition of talking while at home. Returning to the role of gender, which has an important role in depicting problems that are often experienced in life in Indonesia, by combining science fiction works. The findings show that the series challenges gender stereotypes through several main characters in each episode who are often placed in conflict between traditional values and personal identity. By using qualitative methods, this research explores how men and women are portrayed through social roles, emotional expression, and life dynamics in stories. This research also highlights how popular media can play an important role in shaping gender meaning in society.

BoJack Horseman is an animated television series that revolves around the life of an anthropomorphic horse. A major reason for the series’ reputation and positive reviews is its accurate portrayal of depression, mental illness, and trauma. Animation is best suited to illustrate aesthetically inventive metaphors of emotions, as it can display conceptual metaphors that are unavailable to language. The study objective is to analyse the visual manifestations of conceptual metaphors of depression in BoJack Horseman. Additionally, it is argued how some of them can be considered humorous, so viewers understand the characters’ feelings but are distanced at the same time from the suffering.

Since the advent of original content production by streaming platforms, the volume of scripted television has surged, making holistic academic study increasingly challenging. This is particularly true in Italy, where the absence of a national audiovisual archive complicates comprehensive research on domestic TV series. This paper proposes a stratified random sampling methodology for building a representative and updatable sample of Italian television seriality from 2000 to 2023. Using a dataset of over 22.000 episodes from 487 series, stratified by year, genre and distributor, we developed a sample of 431 episodes aimed at balancing representativeness, statistical power and data accessibility. The methodology includes corrective measures in sampling strategies and validation through statistical tests. This approach offers a robust framework for future research on Italian television, supporting diverse analyses while mitigating selection bias and facilitating systematic, replicable and interdisciplinary research in media and communication studies.

This study explores the portrayal of adolescents’ relationship anxiety within the reconstituted family context,, as depicted in the Disney television series Dog With A Blog. With the increasing universality of the reconstituted family, the unique psychological challenges that adolescents confront within this family structure are worthy of attention. This paper defines relationship anxiety as a psychological state in which an individual continuously feels insecure and worried about their own value, sense of belonging, and relationship stability. This study will analyze relationship anxiety in three operational dimensions: trust crisis, loyalty conflict and alternative intimacy. Media representations play a crucial role in navigating adolescents’ perspective and behavior towards these potential challenges. Through a qualitative contextual analysis of the first ten episodes of the series, this study analyzes how relationship anxieties are shown in show’s context and the way the relationship anxieties could be resolve. The analysis reveals that the plot provides a vivid representation of the three dimensions: scapegoating leads to trust deficits, the acceptance of new sibling roles drives loyalty conflicts and the pursuit of intimacy relationship through virtual relationship. When the series provide positive resolutions towards the relationship anxiety, this show may risk at creating over-simplified expectations in resolving the familial difficulties. The study concludes that while considering the guidance of the media, we also need to notice the unrealistic relational challenge that might have negative impact towards adolecents’ mental health.

This paper explores the portrayal of Sati, a significant figure in Indian mythology, as reimagined in Amish Tripathi’s Shiva Trilogy and the television series Devon Ke Dev... Mahadev. Through a comparative study, the research examines how the mediums of literature and television reinterpret her character to resonate with contemporary audiences.The analysis delves into the narrative arcs, thematic emphasis, and cultural symbolism associated with Sati in these adaptations, highlighting her evolution from a traditional mythological figure to a modern feminist icon.By focusing on the mediums’ distinct approaches to storytelling, this study investigates how literature and visual media shape audience perceptions and cultural impact. The Shiva Trilogy presents Sati as a warrior and equal partner to Shiva, embodying strength and individuality, while Devon Ke Dev... Mahadev emphasizes her divine grace and spiritual essence. The research further explores the societal implications of these portrayals, particularly their influence on gender discourse and the reclamation of mythological figures as symbols of empowerment. This study aims to contribute to the growing field of mythology in popular culture, offering insights into the dynamic interplay between medium, mythology, and audience engagement.

ABSTRACT Despite extensive research on film-induced tourism, significant gaps persist: the lack of systematic analysis of distinct media components (Visual, Vocal, and Celebrity Effects), limited cross-cultural comparative studies, and insufficient examination of how these components differentially impact destination awareness and brand image. This study addresses these gaps by employing the Stimulus-Organism-Response (S-O-R) theory to investigate how Turkish and Korean television series influence tourism intentions. This study conducted a multi-group analysis comparing Turkish series (n = 160) and Korean series watchers (n = 142) in Pakistan. Findings reveal significant cross-cultural differences: Turkish productions primarily influence destination awareness through vocal effects, while Korean content leverages both celebrity influence and visual elements to shape brand image and visitation intentions. The study contributes to tourism marketing literature by decomposing media influence pathways, demonstrating how cultural proximity mediates entertainment-induced travel motivation, and establishing that identical media components function differently across cultural contexts, informing targeted destination marketing strategies for entertainment-producing nations.

Ecological concerns have been a significant theme in works of science fiction across various mediums. Juxtaposed against technological advancements and the overall progress of humanity are the horrors of ecological destruction, scarcity of resources, environmental exploitation, etc. found in novels like Dune by Frank Herbert (1965), films like Avatar (2009) and television series like Doctor Who (1963) or Star Trek (1966). Similar contrasts can be found in Ray Bradbury’s science fiction and/or speculative fiction. This paper is an ecocritical exploration of two of Bradbury’s short stories: “The Fog Horn” (1951) and “Here There Be Tygers” (1968). It will employ textual analysis and an ecocritical and ecofeminist approach to examine Bradbury’s portrayal of the relationships between humans and nature in the two short stories, and what this portrayal reveals about Bradbury’s perspective on modernity and progress. The findings show that these short stories reveal humanity as a dominating force that exploits and alienates elements of nature as they seek to take all they can from nature without considering the effect this can have on others. Ultimately, his works reveal that while nature may be threatening at times, the truly frightening and consistent forces of destruction are modernity and its anthropocentrism.

The divergence in intellectual currents between mainland China and Hong Kong is particularly noteworthy in works from the 1990s. During this period, Hong Kong's film industry produced numerous works rooted in traditional literature, most notably A Chinese Odyssey. Though sharing the 'Journey to the West moniker with China's classic Four Great Novels, this adaptation by Stephen Chow diverged significantly from both Wu Cheng'en's original text and Yang Jie's earlier television series. Instead, it drew upon the backdrop and character archetypes of Journey to the West to forge an entirely new narrative framework and storyline. This article selects A Chinese Odyssey as a case study, attempting through comparative cultural analysis to examine the divergent intellectual currents between mainland China and Hong Kong during the 1990s.

The paper is a comparative analysis of certain narrative aspects of the Fallout digital game series and its television adaptation, Amazon’s Fallout. Using the theory of remediation, the paper compares narrative and worldbuilding techniques in both formats, highlighting how the television series diverges from the games due to media-specific qualities. Key aspects such as character construction, storytelling, spatial narrative, and pacing are analyzed to demonstrate how the adaptation both preserves and transforms the original’s thematic and aesthetic elements. The study underscores the significance of contextualizing media-specific practices within cultural and historical frameworks, contributing to a nuanced understanding of digital game adaptations as a form of remediation.

Purpose: This study examines how the Ghanaian television series YOLO (You Only Live Once), produced as an entertainment-education (E-E) programme to promote sexual and reproductive health awareness, represents women’s empowerment and gender roles. Design/Methodology/Approach: The study employed a feminist qualitative approach, combining textual analysis of 31 purposively selected YOLO episodes with in-depth interviews with 15 participants (10 women and 5 men) aged 20-35 years. The Feminist Media Studies framework and Entertainment-Education theory guided the analysis. Thematic analysis was used to identify recurring patterns in character portrayals, gendered performances, and audience interpretations. Findings: The findings reveal that while YOLO projects female characters as empowered and independent, particularly through motherhood, financial autonomy, and advocacy for sexual and reproductive health, it simultaneously reinforces traditional gender norms and Western ideals of womanhood. Empowerment is frequently equated with westernisation, suggesting that agency is attainable only through adopting Eurocentric lifestyles. This duality limits the program’s transformative potential and reproduces subtle gender stereotypes. Research Limitation: The study focused solely on the YOLO television series and a small sample of Ghanaian viewers, limiting the generalizability of the findings to other entertainment-education programs or broader cultural contexts. Practical Implication: The Ghanaian entertainment industry should integrate edutainment to address a broader range of social issues, including health, politics, and gender equality. Social Implication: While writers aim to create realistic stories that mirror Ghanaian society, the depiction of gender stereotypes should be minimised or avoided, as such portrayals may unintentionally endorse and normalise discriminatory gender beliefs. Originality: This study extends feminist analyses of entertainment-education by demonstrating how YOLO’s empowerment narratives operate within a Westernised framework that constrains authentic African agency. It highlights the need for culturally relevant feminist media strategies in sexual and reproductive health communication.

The Author believes that an authentic movie about heaven has not been made that squarely lines up with Christian theology and biblical texts. This study analyzes how existing mainstream movies and television series view the afterlife with a theme of disappointment, but these media titles speak about heaven from broader, not necessarily Christian, worldviews. Upon arrival, cinematic characters enter heaven but cannot fully enjoy paradise. This state of discontentment typically lands in three sub-motifs: 1) human romantic love is more important, 2) the person’s first life prevents them from completely enjoying heaven, and 3) heaven ultimately has a boredom problem. In total, the Author dissects ten movies and two television series that showcase these themes of afterlife disappointment. If moviemakers did ever produce such a doctrinally sound movie that draws (solely) from the Christian worldview, it might serve apologetically against these three sub-motifs, as Christian eschatology offers counter arguments to all three disappointment presuppositions.

In tandem with the rise of streaming services in the past decade, television series’ soundtracks have gained increasing visibility in the paratextual media sphere. Series composers now frequently participate in ‘making-of’ engagements that often spotlight physical musical instruments despite the ubiquity of virtual instruments and DAW-based soundtrack production environments. Synthesising approaches from media studies and organology, I elucidate how musical instruments in soundtrack featurettes guide the reception and interpretation of contemporary television series by taking Variety’ s ‘behind-the-score’ featurette for the Disney+ series The Mandalorian (2019–present) as a paradigmatic case study. By tracing television series music back to its instrumental elements, I aim to highlight how a soundtrack’s aesthetic and narrative impact is contingent upon the technology utilised as much as upon the inspired cognition of the composers, thus drawing attention to the material and practical conditions of soundtrack production and reception.