In December 2021, Netflix released a comedy feature film, ‘Don't Look Up’. The film follows two scientists who discover an extinction-level comet heading for Earth, which they then attempt to warn humanity about. The makers of the film have publicly stated that the film is meant as a satirical metaphor for the response to the climate emergency. The film presents representations of science, scientists, and science communication. In this set of commentaries, experts have been selected to explore these representations and the lessons the film presents for using satire in science communication.

The film ‘Don't look up’ engages a woman science advisor, historically a very male-dominated role. Because the character of woman scientist Kate Dibiasky (Jennifer Lawrence) cannot be easily transformed into a commodity, she is side-lined as a scientific voice as she attempts to warn Earth of the coming apocalypse. For marginalised scientists, their value depends on how their identity markers are used. ‘Don't look up’ is a satire of audience apathy, corporate greed, and media manipulation but still offers a very nihilistic vision of the impact of scientists and their expertise.

‘Don’t Look Up’ tells the story of a team of astrophysicists whose efforts to warn politicians, media makers, and the public about an apocalyptic comet impact on planet Earth are undermined by fundamental skepticism toward their expertise. On the one hand, the film offers a rich portrayal of contemporary anti-science sentiments, their societal conditions, and the media and communication ecology surrounding them. But on the other hand, ‘Don’t Look Up’ ignores and exaggerates several facets of those sentiments and the communicative settings in which they spread. This commentary analyzes this contrast through a science communication lens: it scrutinizes the (mis)representation of science denial and science communication in ‘Don’t Look Up’ — and aims to inspire further debate about portrayals of anti-science phenomena and potential remedies within popular media.

In this invited comment, we discuss portrayals of risk and scientific (un)certainty in ‘Don't look up’. Specific scenes of the movie were selected, to reflect how within and between the spheres of science, politics, journalism, and economics an upcoming risk and its scientific (un)certainty is (re-)interpreted and (re-)framed, in line with the respective sphere's logic. We extend our assessment by common criteria of film analysis and comparisons to climate change, where applicable. This comment emphasizes how in the movie the logic of economy is taken over by politics and journalism, and how it prevails over the logic of science.

One of the recent “crises” experienced by science is associated with a decline in its public support. We conducted two factorial surveys among university students aiming at broadening our understanding of the information cues influencing the wider publics' judgments of science. We found that sociological and criminological research results are perceived as less plausible compared to neuroscientific and physiological research, but as more plausible than results from genetics. In contrast with the previous data on the importance of funding and institutional prestige cues as the indirect indicators of the research quality among academic experts, we discovered the absence of any effects of funding or institutional prestige for the selected type of general audience.

The practice of science communication is fundamentally changing. This requires science communication practitioners to continuously adapt their practice to an ever-changing ecosystem and highlights the importance of reflective practice for science communication. In this study, we supported 21 science communication practitioners in developing a reflective practice. Our study shows that reflective practice enabled practitioners in becoming aware of their own stance towards science or assumptions regarding audiences (single-loop learning), underlying and sometimes conflicting values or worldviews present in science communication situations (double-loop learning), and facilitated practitioners to adapt their practice accordingly. Triple-loop learning, allowing practitioners to fundamentally rethink and transform their mode of science communication, was less observed. We argue that reflective practice contributes to opening-up public conversations on science — including a conversation on underlying values, worldviews, and emotions, next to communicating scientific facts.

YouTube videos offer a potentially useful vehicle for the communication of science, health, and medical information about COVID-19 to children. Findings from this research showed that primary characters appearing in children's educational YouTube videos about COVID-19 were most often adults, with about an equal number of men and women and few characters from diverse racial and ethnic backgrounds. Primary characters frequently demonstrated and modeled protective health measures. Adult expert characters (medical professionals and scientists) appeared to some extent in these videos. Directive discourse frames appeared most frequently, followed by the informative and persuasive discourse frames when communicating scientific and health information. Changes in the use of informative, directive, and persuasive frames before and after the U.S. Centers for Disease Control (CDC) announced guidelines on how to communicate about COVID-19 with children are explored.

In recent years, access to science content production has been democratized. New actors can make their discourses reach large audiences through popular platforms with no institutional gatekeeping. However, it remains unclear which conceptions of the science-society relationship underlie science content created by non-corporate individuals. To explore how science communication cultures of boosters and critics inform this kind of science content in Spanish, we conducted a qualitative content analysis of a sample of 50 videos from ten YouTube science channels. Our results suggest that more accessible science communication does not necessarily entail a democratized view of science but may reinforce a traditional perspective.

Participatory media has the ability to engage people in stories of science in ways that are personal, profound and culturally relevant. This essay launches from my experience as a scientist-turned-filmmaker and my establishment of the Ocean Media Institute, a global media collective that serves as a participatory platform for the communication of ocean science. Through collaboration and innovation, we as science storytellers have the ability to shape narratives that are factual, evidence-based and embrace greater inclusivity. Only when we invite diverse perspectives that draw from all ways of knowing, will we be able to provoke deeper dialogue and ignite change.

Justin Gest's book “Mass appeal. Communicating policy ideas in multiple media” illustrates how to communicate research effectively. He offers insights into different mediums and provides practical examples of each. While the author has a background in policy research, his ideas and insight are of interest to a much broader audience with an interest in science communication.