Research on media sustainability has a long tradition of criticising climate change and environmental issues, mainly through content, and while it is important to do so, it seems that the sector is oblivious to the impact that it itself generates. Moreover, sustainability is often (and wrongly) only related to environmental impact, and very little research exists on how the audio-visual sector can be sustainable not only from an environmental standpoint, but also from a socio-cultural and economic one. This article constitutes a relatively new area that has emerged from the notion of Green Shooting, a term used to describe all the practices ranging from the pre-production, production and post-production to the publicising of an audio-visual product: Documentary, television series (including those of streaming platforms), videogame, film, festival or an advertisement. There has been little previous evidence of an academic article that brings together all the practices that several companies and initiatives worldwide have already implemented as emerging solutions to mitigate their impact, including new roles such as eco-assistant. The authors aim to develop an overarching theoretical framework of what already exists in the practical field, and make it available to the academic community.

Screen culture and conglomerates are starting to echo the green shooting phenomena; roles such as sustainability director, eco-manager, eco-consultant, and eco-assistant are taking a more prominent space in the entertainment and cultural industry to achieve the goal of creating sustainable productions. In this current context, there seems to be a need for an agent to catch the attention of the audience to make a claim about green policies and contribute to a green literacy fabric. This opinion article recognizes that there are two types of voices, internal (scholars and practitioners) and external (celebrities and audiences), that have arisen in the audiovisual industry from different perspectives. Hence, through a theoretical approach, it tackles the particularities, typologies, and the role celebrities play as hot spots to push both viewers and creators into better decision-making models. The results show two main typologies: celebrification, in which a person becomes famous due to their sustainable actions, provoking a metonymic effect, and recelebrification, when famous people or well-known figures redefine their status by acting sustainable, producing a synecdoche effect. In conclusion, it is difficult to define what goes before and what goes after: whether it is the celebrity who passes the attributes onto production or whether it is the production that, by its characteristics, passes its attributes onto the celebrity.

Television series act as one of the primary sources of information on mental and neurological disorders. However, research on the accurate representation of mental disorders and clinical reality still lacks, especially since it requires an interdisciplinary approach with higher complexity. This article analyses the narrative depiction of depression, autism without intellectual disability, and antisocial personality disorder in three case studies: Atypical (Netflix, 2017-present), My Mad Fat Diary (E4, 2013-2015), and The End of The F***ing World (E4 & Netflix, 2017-2019). The aim is to identify which stereotypes are still predominant on-screen and determine whether they are reliable with their clinical reality. Hence, the authors propose a narrative content analysis based on the medication, symptoms, diagnosis, and treatment according to the Diagnostic and Statistical Manual of Mental Disorders (DSM-5) and Stahl’s Essential Pharmacology Guide. The authors applied a methodology based on the standard analysis measurement of different case studies under a unified pattern for mental disorders’ intrinsic socio-economic and gender aspects. The results showed that TV series try to opt for better representations, but many still perpetuate misconceptions and misrepresentations due to a tension between showing realistic, educational values (edutainment) and opting for a gripping audio-visual and narrative drama. In conclusion, diverse realities are hardly achieved. Moreover, TV series criticise how the anger is placed on oneself instead of the system.

TV series’ depictions of mental disorders have received considerable scholarly attention. However, few studies have considered the role of aesthetic elements in representing mental disorders. Therefore, in this study, we analysed how aesthetic features influence the representation of “psychopathy” in British coming-of-age TV series through the case study of The End of the F***ing World. We chose to analyse psychopathy due to its over-representation in the media and its often-mistaken conflation with the actual mental disorder of antisocial personality disorder (ASPD). We applied an aesthetic methodology in our analysis. We analysed the series in terms of language, appearance, behaviour, music and sound, technical devices, and intertextuality, closely observing three sequences of various episodes that correspond to the character’s symptoms, diagnosis, medication, and treatment. Our findings show that the aesthetic characteristics, characters, and events of the plot can act as expressive means through which the experience of living with a mental disorder can be accurately represented and simultaneously entertain viewers with drama and suspense. The series challenges the reductionist perspective and previous stereotypes of audio–visual pieces related to ASPD, suggesting that future TV series can better represent mental disorders with the correct use of television aesthetics and cinematic devices.

This article aims to foster a better theoretical understanding of the narrative representation of mental and neurodevelopmental disorders, specifically depression, antisocial personality disorder (ASPD), and autism (ASD), without intellectual disability on British and U.S. coming-of-age and dramedy television series. A research pilot showed that very little research has been performed on TV series and mental disorders, which confirms the need for this particular study. To do so, the authors explore, through a systemized literature review, the depiction of medical aspects found in the Diagnostic and Statistical Manual of Mental Disorders (DSM-5), which correspond to symptoms, diagnosis, medication, and treatment within the narrative. The theoretical results seem to indicate that there has been an improvement regarding the framing of mental and neurodevelopmental disorders, but there are still copious misrepresentations and a lack of depictions of the economic realities of the healthcare system. Only a few exceptions show non-normative Western aspects, such as physical traits and gender intersectionality. In conclusion, more profound and analytical knowledge of narrative elements will provide creators with a better capacity to recognize and counter stigmatizing portrayals of these disorders to have a more positive social impact and contribute to edutainment.