A new educational campaign developed by the Department of Paediatrics at the University of Oxford aims to make neurodevelopmental disorders easier to understand through a series of animated videos. 

The “Genes, Brains, and Breakthroughs” initiative was developed in collaboration with families, researchers, and international patient advocacy organisations. to improve public understanding of genetic and neurological conditions. The campaign covers conditions including Alzheimer’s disease, Parkinson’s disease, and Trisomy 21 (more commonly referred to as Down syndrome), through simplified explanations of genetic mutations and chromosomal differences. 

As part of the project, 16 animated videos have been created to explain conditions affecting children’s brain development in an accessible and visually engaging way. The videos explore topics including neurodevelopment, genetic diagnoses, and emerging therapeutic approaches, including gene therapy. 

Each animation is inspired by questions and experiences shared by parents and carers seeking to better understand the science behind these conditions. According to the project team, this collaborative approach combines scientific expertise with lived experience and reflects the campaign’s mission to “involve families directly in shaping public engagement with health communication initiatives”.

Dr Narjes Rohani, the lead researcher behind the animations, said the campaign responds to a growing need for trustworthy and accessible information about neurodevelopmental disorders among families, educators, healthcare professionals, policymakers, and the wider public. This project comes after a recent investigation by The Guardian regarding concerns of false health advice being popularised online by AI-generated videos. 

The educational resources will be shared widely across digital platforms, healthcare settings, schools, and community networks to support greater awareness and inclusion for people living with neurodevelopmental disorders and their communities. 

The project is hosted by Oxford University’s Department of Paediatrics. The videos were developed by an international team of scientists, doctors, patient groups, and industry specialists working to improve treatments for rare diseases. 

Funding for the initiative was provided by the Public and Community Engagement with Research (PCER) Fund at the University of Oxford and the National Centre of Research Excellence (CoRE) in Therapeutic Genomics. Both organisations support public-facing projects designed to translate scientific discovery into practical outcomes, including improving diagnosis and treatment for genetic conditions.

Twelve University of Oxford researchers have been elected as fellows to the Royal Society, the UK’s national academy of sciences. They join a cohort of 90 scientific researchers elected this year from around the world who specialise in fields ranging from “astronomy and cancer research to mathematics and biotechnology”.

The election is considered “one of the highest honours in the scientific world, awarded to individuals who have made impactful contributions to knowledge”. 

Sir Paul Nurse, who is the President of the Royal Society, said in an article on the organisation’s website: “I am delighted to welcome this newest group of exceptional scientists to the Fellowship …. Their contributions reflect the highest standards of scientific endeavour. Whether advancing our understanding of vaccines or exploring the transformative potential of mathematics and computation, their work exemplifies the enduring value of curiosity, creativity and rigorous inquiry.” 

Tim Coulson, Professorial Fellow in Zoology and Environmental Sustainability Fellow in Jesus College, was among the Oxford researchers elected to the Royal Society. Coulson told Cherwell that his initial reaction to his election was a combination of joy and shock. He added: “I could never have got this without all the remarkable students and postdocs I have collaborated [with] … Being awarded [this honour] for doing something I enjoy seems almost unbelievable.”

Paul Riley, a Professor of Regenerative Medicine at the British Heart Foundation and Professorial Fellow in Medicine at Jesus College, echoed Coulson’s sentiment of disbelief. Riley told Cherwell that he was “initially surprised and somewhat shocked” by his election, “having gone through the application process for several rounds”. He also told Cherwell that “becoming a fellow of The Royal Society is a huge personal honour, but importantly one that recognises the quality and impact of my group’s science over the years … One agency described becoming a member of the Fellowship as the scientific equivalent of a lifetime achievement Oscar; so it feels like the culmination of a career in research for which I feel very humble but with a huge sense of pride and satisfaction”. 

Stuart West, a Professor of Evolutionary Biology and Nicholas Kurti Senior Research Fellow at Brasenose College who researches genetic adaptation and social behaviours across various species, highlighted the significance of his team in his election. He told Cherwell: “My election reflects on the team that I have been lucky enough to work with over the years … Obviously, I cannot have all the skills needed to carry out this diversity of work, and so our progress often relies on the expertise of my group members or our collaborators.” He added that the “Department of Biology provides an exceptionally supportive and interactive environment.”

Professor of Genetics in the Department of Biochemistry at Keble College, Rob Klose, also told Cherwell that “the fellowship is a wonderful recognition of the dedication, creativity, and ingenuity of the members of my lab, who consistently amaze me with their discoveries.” Professor of Neurology and Cognitive Neuroscience Masud Husain added that “it’s a wonderful recognition for 30 years of research dedicated to understanding the mechanisms that underpin human attention, memory and motivation and how it can go wrong in people with brain disorders”.

Something unprecedented is happening in the world of cinema this year. In less than a month, a horror film made by a relatively unknown director in his twenties, on a budget of less than $1 million, has grossed over $224 million at the time of writing. It achieved the rare feat of earning more in its second week and third weeks than its first – the first film to do so since E.T. in 1982. It’s the film on everybody’s lips: Obsession.

Without spoiling too much, Obsession follows a music store employee, played by Michael Johnston, who buys a mysterious ‘One-Wish Willow’, which he uses for a seemingly innocuous end: he wants his crush, played by the incredible Inde Navarrette, to love him “more than anyone in the f*cking world”. This wish, however, results in unexpected and horrifying consequences. What follows is an incredibly effective horror film, with plenty of uncomfortable moments and scares – it’s a film I strongly and wholeheartedly recommend everybody reading to see (but maybe not on a first date). 

What makes Obsession so effective is that its supernatural premise is only a slight exaggeration of something that is recognisably human. The wish begins as a familiar romantic fantasy: to be wanted completely, unquestioningly, and above everyone else. Obsession twists this into something claustrophobic, and makes you question the ethics of what is being done. Johnston is especially good at making Bear both sympathetic and uncomfortable: he never plays him as a monster, which makes his choices more disturbing. Navarrette, the breakout star of the film, has the hard task of playing Nikki as charming, frightening, and pitiable all at once, which she does masterfully.

The film was directed by Curry Barker, a 26-year-old known for his sketch comedy on YouTube and TikTok. He made his feature-length directorial debut in Milk and Serial in 2024, an extremely underrated horror film, available to watch for free on YouTube. That it was made with a budget of only $800 is remarkable. Considering Barker’s comedy background and relative lack of experience in the director’s chair, Obsession is a surprisingly well-made horror movie, with great acting, great pacing, great cinematography, and great writing. Most mainstream horror films tend to be lacking in at least one of these departments, but Obsession succeeds at what it sets out to do – it made me uneasy, and it lingered in my head long after I watched it. So many details only made sense to me after the film had finished, and I found myself continually recognising just how clever this film was days after I had watched it. Soon, I found my Instagram Reels had been taken over by Obsession content – interviews, memes, clips, theories – and I completely fell down the rabbit hole.

I don’t seem to be the only one taken over by Obsession obsession. The film’s continual growth in popularity can be largely attributed, it seems, to word of mouth, since there was a very limited amount of promotion done for it. Everyone I’ve spoken to about it has either seen it and loved it, or heard about it and wanted to see it. It didn’t try to get a Super Bowl ad, or a brand tie-in, but instead relied on its quality to gain the interest of potential viewers. This was one of my favourite qualities about it: it is a film which inherently creates discussion, without being designed for virality. This is done through the ambiguity of some of its themes, which have left people on the internet divided. For those about to see it, I have some questions for you to consider: Is Bear a good person? What really happened to the cat? What would you wish for?

Its success also speaks to a wider hunger for original filmmaking. Obsession does not have a pre-sold cinematic universe behind it, nor any big names. It has spread because people want to talk about it. Its premise is clean, but its moral questions are not, and its ending leaves enough unresolved to send viewers back through the film for clues. That is exactly the kind of engagement Hollywood often tries to manufacture through marketing. Here, it has happened organically. 

What I hope Hollywood learns from this unexpected smash hit is to take more risks on young, passionate filmmakers. Audiences have been missing original stories and fresh voices, and Obsession provides both. We do not need another $100-million-budget Star Wars or Avengers spin-off. We do not need another remake, sequel, or nostalgic cash-grab. We need creative risks, and the hope that it is possible for creative young people to break into this industry without needing to use a One-Wish Willow themselves. 

Obsession is a taste of what the next generation of filmmakers looks like. Not only is it a great movie, but it is evidence that it is possible for Hollywood to change.