The Future of SciComm 2.0 conference was a one-day event in Brussels on April 26th 2022. Focusing on the future of European science communication, sixty participants from twelve countries with different expertise discussed the current challenges and possible solutions for the field. Key themes centred around disinformation, communicating global challenges, evidence-based practices and institutional structures woven through the plenary opening, afternoon workshops and the closing public panel discussion. The conclusion is a need for an European science communication ecosystem that is transdisciplinary, connected and cooperative in practice, weaving between policy, research and industry. Finally, citizen science and open science could be included as scholarly praxes to facilitate societal interconnectivity.

Protest placards are an important part of School Strike 4 Climate (SS4C) protest culture and illustrate how protesters view, understand and share their environmental concerns. Many of the placards use humor to convey the messages of their creators. Bringing together science communication and humor studies, this paper examines the communicative functions of humor in Australian SS4C posters by asking to what extent protest signs can be understood as a vehicle of science communication. The paper reveals how humorous protest placards become the means of grassroots creativity, exploring bottom-up science communication in an ambiguous, but accessible and enjoyable form.

In an increasingly mediated culture, social institutions such as science, public health, and civic engagement exist within the same modes of discourse as popular media. As a human endeavor, science is also a cultural phenomenon, and there are webs of multidirectional and layered communication that occur between formal science communication, pop science, and, indeed, popular media. For public participants, engagement with science and entertainment may be one in the same. This essay draws from research of transformative works, fan studies, and memetics to examine how the public engages with science and popular media within digital cultures.

At last, a compilation of essays that provide fascinating insights into Health Communication and Disease in Africa. Falade and Murire (eds.) have produced a volume which needed to be written and will delight those with an interest in health and science communication, public health, social and behaviour change, and theoretical approaches to health communication. Broad themes cover stigma, beliefs and traditions, and rethinking approaches to health communication. A key element is the effort to bridge ‘classical’ approaches to health communication and behaviour change with indigenous knowledge systems of people in Africa.

The latest in a growing number of edited volumes that take science communication as a phenomenon to be explored through science cultures is a rich book full of theoretical and methodological rigour. There are 17 chapters included here from 33 authors across 16 different countries containing selected paper contributions from the 2018 Science & You conference in Beijing jointly organised by the Chinese National Academy of Innovation Strategy and the University of Lorraine, France. With an opening address by Massimiano Bucchi, chapters are arranged thematically, with emphasis on the roles of institutions, state and media in the social dynamics and public understandings of science and technology across global cultures.

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.

‘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.

‘Don't look up’ represents the news media as harmful to the public understanding of science. The news media turns honest scientists into corrupted and compromised media personalities. Its dynamics and demands make it unable to inform the public that a planet-killing comet, the film's allegory for climate change, is an existential threat. This commentary argues that these representations devalue the power of celebrity scientists to communicate science, ignore how journalists have placed climate change and ideas of climate catastrophe on the public agenda, and imply there is an idealised type of science communication — the deficit model — that journalists have corroded.

Satire has long been used as a tool in social commentary and political communication, and in some cases this has extended to commentary about science and its role in policy. This is certainly the case for the recent Adam McKay film, ‘Don't look up’, where an allegorical story about a comet heading for Earth is used to satirise the current political and media response to the climate catastrophe. While the film succeeds in making its point, how the humour interacts with objectives of science communication highlights some risks of using satire where there's overlap between the subject of the satire and a potential audience for communication.

‘Don't Look Up’ makes no direct reference to climate change, yet functions as a climate communication film, satirising political and societal responses to the scientific evidence of climate change and to the lack of concerted global climate action. As a popular cultural story of climate inaction, ‘Don't Look Up’ importantly critiques existing values of late-capitalism in the form of speculative techno-fixes, extractive capitalism and celebrity commodity culture. Yet as a mainstream Hollywood film, it privileges global north perspectives. More diverse stories that go beyond apocalyptic imageries are required to more clearly centre climate justice within popular cultural imaginaries.