The mission of popular science is to "lead people through the door," and professors, even academic-level scientists, undoubtedly serve as the most trustworthy "guides." The popular science short video team, "No-Test-Drilling Grandma Wu," where the author works, focuses on creating short video IPs with the on-screen commentary by Wu Yuren, a scientist. This article analyzes the creative experiences of Wu Yuren's short video team in balancing the depth of content and the breadth of audience appeal. It explores their practices of selecting hot topics and focusing on cutting-edge technologies, utilizing everyday props to demonstrate small experiments, optimizing video effects through editing, and finding new topics through interactions, fostering an atmosphere of mutual learning by inspiring viewers to think critically.

In the era of new media, short videos has grown into one of the popular video forms among Chinese netizens. Popular science short videos, as an important branch of short videos, play a pivotal role in the popularization of science, eliminating the barriers of time and space in knowledge dissemination. Taking "Zhang Chenliang's popular science daily" account as the research subject and utilizing content analysis, this study reveals the techniques and Tao of creating popular science short videos in the field of life sciences. The techniques mainly include the popular science themes, release time, types of titles, presence of advertisements, language style, and keeping up with current trends. The Tao refers to scientific spirit, mission commitment, cultural cultivation, and educational sentiment. By extracting the key elements possessed by excellent popular science short videos, this study aims to provide valuable insights for content producers in the field of popular science short videos.

Liu Cixin is a domestically recognized "essential Sci-Fi" writer, whose works have the cultural character of "engineering practicism" and carry grand narratives and ultimate questioning. Its specific manifestations include: the pursuit of the beauty of engineering creation, the value of engineering practice based on historical rationality, and the pioneering and enterprising engineering strategic thinking. This not only enables Liu's Sci-Fi to show a calm Chinese style and a calm and rational modern style, but also enriches the dimension of exploring the relationship between man and nature in science fiction, and embodies the cultural spirit of China's rapid industrialization process. "Engineering practicism" is an important factor for the realization of the social responsibilities of science fiction in Liu Cixin's works, and it also helps to understand the substantive internal unity of some textual conflicts in his scientific writing.

Released in 2022, the domestic sci-fi comedy Moon Man marked a significant milestone in the realm of science and film integration in China, primarily due to the pivotal role of its scientific consultants. This film has emerged as a paradigmatic example for teams dedicated to the fusion of science and cinema. Technological advancements have catalyzed the industrialization of the film sector, while the synergy between science and artistry has amplified the allure of science fiction films. This article delves into the film's innovative appeal and its success factors, examining the amalgamation of science fiction with comedic elements, the nexus between scientific principles and artistic representation, and the profound impact of scientific consultancy. The insights gleaned from this analysis offer valuable reference points for future endeavors in science fiction film innovation and the broader science-cinema integration mechanism.

There is an inextricable relationship between popular science writing and children's literature writing. The concepts of "popular science", "science literature and art" and "children's literature" have their own independent connotations and extensions, and it is important to pay attention to the differences and the independent qualities of each, but also to the connections among them. The creative values of popular science and children's literature are undeniable, and they can be promoted and developed together from various paths.

Since the beginning of the new century, Chinese nature literature has gradually developed into a unique genre that stands alongside American nature literature and environmental literature. This article focuses on the contributions of Han Jin, who is a writer and critic, to the theoretical development of Chinese nature literature and his achievements in the study of Liu Xianping's nature literature. The author believes that Han has tracked and commented on Liu's nature literature, constructed a self-contained theory of Chinese nature literature, and for the first time has provided a theoretical account of the historical lineage and future development of the "Anhui phenomenon" in Chinese nature literature from a theoretical perspective. The author looks forward to more new works by Han in this field, and that more scholars will participate in the study of Chinese nature literature represented by Liu's works. At the same time, the Chinese nature literature and criticism community should also engage in more dialogues and exchanges with American nature literature, environmental literature writers, and Western environmental aesthetics thinkers.

American contemporary biologist, naturalist, and popular science writer Edward O.Wilson has strong ecological consciousness, he vigorously advocates ecological ideas, such as "Biodiversity", "Half-Earth", "Biophilia" and so on, in his popular science works. Wilson has practiced these concepts by dedicating himself to the protection of biological diversity, pursuing the symbiosis of nature and human beings, and building an intimate relationship between man and nature. The formation and development of Wilson's ecological consciousness is largely due to his strong interest in the study of nature and his relentless pursuit of scientific truth. His ecological thoughts, ecological practice, and popular science works are valuable references and inspirations for contemporary ecological literature and ecological popular science writing.

"Cyborg" is based on the technical replacement, enhancement, or extension of the body, and "body" is a key dimension of its image that cannot be ignored. Among the many "cyborg" images in contemporary Chinese science fiction literature, the "miniature" conception of body structures, related to the "miniaturization" orientation of cognition and technological development, implies a desire to seek breakthroughs in material boundaries, forming a unique aesthetic sense of "mutuality" with the whole body. The "miniaturization" of the body implies a re-examination of human values and aesthetics. In the subsequent stages, the process of human-computer adaptation has individual differences due to differences in technical complexity and understanding of the relationship between mind and body, and this variation is reflected in hierarchy and diversity of the "symbiosis" process. In the final stage, the transformation of the body leads to a change in identity, and t the concept of "human" changes dynamically in the "new human-old human" divide resulting from the integration or non-integration of technology, while the "swarm intelligence" setting is an experimental presentation of the shifting relationship between the individual and the collective.

Chinese science fiction tends to have the mandate to enlighten the public and popularize science, Taiwanese author Egoyan Zheng's full-length science fiction novel The Dream Devourer not only popularizes science but also demonstrates the lyrical dimension of Chinese science fiction, expressing the identity concerns and cultural nostalgia of the post-human era. While constructing a technocentric post-human landscape, The Dream Devourer attempts to respond to the call of posthumanism by subverting anthropocentric views. However, the novel reduces humanity, a norm of values, to emotion, making it the key to distinguishing between human and non-human. Ultimately, the novel remains a quest for the "Man". At the same time, the novel uses "emotion" as a medium to explore the path of human redemption in a post-human era with technology at the center, but it also exposes the limit of humanist emotions. In conclusion, The Dream Devourer shows the "emotion-orientation" of Chinese science fiction, but also presents a post-human myth.

The fun features of Li Yupei's mathematical fairy tales allow children to increase their knowledge and pursue truths while having fun, ultimately achieving the effect of fun and enjoyment in learning. Under the "double-reduction" educational policy, Li's mathematical fairy tales complement the classroom and achieve the purpose of reducing students' learning pressure and increasing their learning effectiveness. This article focuses on fun features of the texts and analyzes Li's fairy tales from several aspects, including literary images, subject matters, storylines, styles, social relevance, and ideological guidance. This paper attempts to demonstrate the disciplinary features of mathematical science fiction, analyze the fun elements of Li's stories and summarize the main reasons for the excellence of his works, so as to present his works as a reference path and a quality model for the creation of mathematical popular science books of the new era.