{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":16,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":16,"direct_label_status":"direct model label, unvalidated","prediction_status":"machine_predicted_unvalidated (Codex and Gemma teacher distillation)","score_status":"score_only:v0-immature-baseline (scores rank; they never assert a category)","snapshot":{"source":"OpenAlex, pinned release, all 482 partitions","release":"2026-06-24","frame_built":"2026-07-12","author_layer_release":"2026-06-26"},"query_hash":"f79908594fef","filters":{"venue":"The Journal of Popular Television"}},"results":[{"id":"W2738120138","doi":"10.1386/jptv.3.2.213_1","title":"Supersize vs. Superskinny: (Re)framing the freak show in contemporary popular culture","year":2015,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Culinary Culture and Tourism","field":"Agricultural and Biological Sciences","cited_by":10,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"FREAK; Spectacle; Entertainment; Framing (construction); Politics; Popular culture; Popularity; Media studies; Scrutiny; Prime time; Aesthetics; Ethnography; Sociology; History; Art; Visual arts; Law; Political science; Anthropology","authors":[{"name":"Allison Leadley","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05509636667870137,"gpt":0.2596221035491094,"spread":0.204525736870408,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004945742,0.0006705687,0.0004216599,0.002423589,0.01505141,0.012433,0.001142772,0.002750788,0.006619534],"category_scores_gemma":[0.00583977,0.0004227373,0.0002519356,0.001327309,0.04139373,0.007353181,0.007482939,0.005136988,0.0005139895],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006904165,"about_ca_system_score_gemma":0.001984144,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01581844,"about_ca_topic_score_gemma":0.02773839,"domain_scores_codex":[0.9954456,0.003159438,0.00006557118,0.0003849809,0.000304345,0.0006400425],"domain_scores_gemma":[0.996644,0.002300484,0.0002702486,0.0002618435,0.0002345803,0.0002888647],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00004227298,0.00002023052,0.001337457,0.00006520013,0.000004954582,0.0003694661,0.8817322,0.00004089469,0.0005390054,0.1079845,0.002485241,0.005378654],"study_design_scores_gemma":[0.000005007617,0.00004734238,0.003394607,0.0002317689,0.000008412839,0.0003072982,0.9145662,0.00009787376,0.0003626273,0.005360102,0.07559087,0.00002783431],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8387026,0.002149763,0.001632101,0.009932407,0.0004433936,0.00003080974,0.00003644775,0.00004391946,0.1470285],"genre_scores_gemma":[0.9945867,0.0003647346,0.0001711945,0.0005038601,0.00006261052,0.00001797095,0.00001060693,0.00004358777,0.004238822],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01581844,"threshold_uncertainty_score":0.05009347,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2315659116","doi":"10.1386/jptv.2.1.77_1","title":"Here comes a lot of judgment: Honey Boo Boo as a site of reclamation and resistance","year":2014,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Geographies of human-animal interactions","field":"Social Sciences","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Narrative; Spectacle; Laughter; Resistance (ecology); Reality tv; FREAK; White (mutation); Reality television; Class (philosophy); Aesthetics; Sociology; Field (mathematics); Literature; History; Art; Media studies; Computer science; Political science; Philosophy; Law; Epistemology; Biology; Ecology","authors":[{"name":"May Friedman","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0178681722032126,"gpt":0.3056694023775997,"spread":0.2878012301743871,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001836625,0.000273157,0.000194854,0.000771623,0.01157529,0.006570481,0.0007132952,0.002024316,0.007106395],"category_scores_gemma":[0.003729135,0.0002329823,0.0001420914,0.0005518061,0.01593043,0.003409112,0.003129893,0.003300654,0.0005617124],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003928574,"about_ca_system_score_gemma":0.000952708,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0226464,"about_ca_topic_score_gemma":0.0340698,"domain_scores_codex":[0.9975998,0.001757055,0.00001932187,0.0001302108,0.0002135481,0.000280088],"domain_scores_gemma":[0.998059,0.001111519,0.0002033909,0.0001248057,0.0002012718,0.0003000321],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00005449857,0.00002245897,0.002189903,0.00005046647,0.000007893832,0.0009763949,0.9092999,0.00004530098,0.001459219,0.06504248,0.01289544,0.007956004],"study_design_scores_gemma":[0.00000636761,0.00004288873,0.004743315,0.000131988,0.00001078393,0.0004389519,0.7857467,0.0001796024,0.0006179544,0.00420487,0.2038494,0.00002716239],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6944789,0.00144379,0.002024032,0.03224169,0.0006223003,0.00002546472,0.00004379166,0.00008091135,0.2690391],"genre_scores_gemma":[0.9884692,0.0002075241,0.0001717929,0.001089759,0.00006791446,0.000007916206,0.00000878505,0.00004339753,0.009933774],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0226464,"threshold_uncertainty_score":0.04502916,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4240699754","doi":"10.1386/jptv.4.1.75_1","title":"Canadianization revisited: Programme formats and the new cultural economy of the Canadian broadcasting industry","year":2015,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Media Studies and Communication","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Broadcasting (networking); Cultural industry; Business; Telecommunications; Economy; Political science; Economics; Engineering; Computer science; Computer security","authors":[{"name":"Zoë Druick","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05672636715721564,"gpt":0.3040885523720633,"spread":0.2473621852148477,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001735925,0.0003748394,0.000299215,0.003277564,0.01249036,0.01320968,0.001433638,0.001116442,0.01567764],"category_scores_gemma":[0.004781309,0.0002604225,0.0003209151,0.005544393,0.01249078,0.003263087,0.003304757,0.002208186,0.0003411566],"about_ca_system_candidate":true,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.164787,"about_ca_system_score_gemma":0.1322013,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9925817,"about_ca_topic_score_gemma":0.9948487,"domain_scores_codex":[0.9971676,0.0003742006,0.00003903593,0.0002213919,0.001270747,0.0009270071],"domain_scores_gemma":[0.9967076,0.0007406661,0.0002236242,0.0001649619,0.001522711,0.000640469],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.00006817234,0.00003272311,0.005351217,0.0001298031,0.00001014172,0.0004159055,0.038637,0.0005049709,0.0004415299,0.90261,0.01802881,0.03376987],"study_design_scores_gemma":[0.00005010592,0.00004267018,0.05309559,0.0006036948,0.00005244759,0.000261953,0.1493428,0.001458673,0.0007792505,0.04139352,0.752794,0.0001253801],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2496295,0.003565143,0.001011693,0.04297309,0.000219569,0.00005990273,0.0006645083,0.00004353804,0.701833],"genre_scores_gemma":[0.9764442,0.001934305,0.0004190882,0.001519197,0.00004948028,0.00001255634,0.0001143355,0.00002530751,0.01948147],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.164787,"threshold_uncertainty_score":0.9687287,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2890302810","doi":"10.1386/jptv.6.3.339_1","title":"From ambivalence to acceptance: Representations of trans embodiment on American television","year":2018,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Gender, Feminism, and Media","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia; Concordia University","funders":"","keywords":"Ambivalence; Television series; Prosperity; Reality television; Aesthetics; Sociology; Social psychology; Beauty; Psychology; Gender studies; Media studies; Art; Political science; Law","authors":[{"name":"Marc Lafrance","is_ca":true},{"name":"Jay Manicom","is_ca":true},{"name":"Geoff Bardwell","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03446900426406756,"gpt":0.3690670647442206,"spread":0.334598060480153,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003665462,0.0003810079,0.0002508967,0.00136525,0.009152902,0.01048553,0.0009607826,0.001954002,0.004580434],"category_scores_gemma":[0.005967604,0.0002830812,0.0002165878,0.001118073,0.02479108,0.00610043,0.006345532,0.006420083,0.0002761358],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003756161,"about_ca_system_score_gemma":0.001343519,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01248968,"about_ca_topic_score_gemma":0.01399181,"domain_scores_codex":[0.9957806,0.00290334,0.00006039448,0.0001833371,0.0006478101,0.0004244797],"domain_scores_gemma":[0.9961355,0.002326366,0.0004537917,0.0002622335,0.0004443292,0.0003778324],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00003507401,0.00001710408,0.001827401,0.0000362795,0.000006183413,0.0003854396,0.9038684,0.00005178548,0.0006286139,0.08652841,0.002196017,0.004419265],"study_design_scores_gemma":[0.000006014841,0.00004756518,0.004559154,0.0002023409,0.00001743866,0.0006145781,0.888828,0.0003319751,0.0004481144,0.01081048,0.0941015,0.00003289249],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7164995,0.001570787,0.003567251,0.01598804,0.000512477,0.00002262611,0.0000505567,0.0000525714,0.2617362],"genre_scores_gemma":[0.9957919,0.0003768212,0.0001562827,0.0005546585,0.00008803265,0.000008329356,0.0000131462,0.00002461727,0.002986169],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01248968,"threshold_uncertainty_score":0.02725303,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2315245053","doi":"10.1386/jptv.1.1.69_1","title":"Two men and a moustache: Masculinity, nostalgia and bromance in The Good Guys","year":2013,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Media, Gender, and Advertising","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Red Deer Polytechnic","funders":"","keywords":"Masculinity; Action (physics); Wish; Gender studies; Form of the Good; Art; Aesthetics; Psychology; Sociology; Literature; Philosophy; Epistemology","authors":[{"name":"Carlen Lavigne","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02226145334604184,"gpt":0.3107016686914575,"spread":0.2884402153454156,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001773384,0.0003520004,0.0003030728,0.0007606593,0.00799989,0.004544539,0.0003048126,0.001579177,0.003715183],"category_scores_gemma":[0.002123133,0.0002300202,0.000161009,0.0004441706,0.02174471,0.002595144,0.002906515,0.002574098,0.0003991973],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001630302,"about_ca_system_score_gemma":0.0007029504,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.005714945,"about_ca_topic_score_gemma":0.01279095,"domain_scores_codex":[0.9982893,0.001211516,0.00001927399,0.0001044475,0.0001948932,0.0001805709],"domain_scores_gemma":[0.9988703,0.0006670248,0.0001356667,0.00007177432,0.00006269455,0.0001924704],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001053033,0.00004916186,0.002285591,0.00007719878,0.00001247768,0.001393761,0.7453946,0.00002592428,0.001087904,0.2191692,0.01451261,0.01588618],"study_design_scores_gemma":[0.00001958728,0.0001471574,0.005836292,0.0002949945,0.00002236836,0.002323784,0.4794917,0.0001185533,0.001020747,0.01798075,0.4927043,0.00003976346],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5902121,0.02242932,0.001408069,0.05803554,0.001998797,0.00002454909,0.00003701612,0.00006717279,0.3257874],"genre_scores_gemma":[0.9637744,0.001510862,0.0001627898,0.001888322,0.0004019263,0.00000454309,0.000004386322,0.00003297787,0.0322198],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.00799989,"threshold_uncertainty_score":0.01242852,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4321512462","doi":"10.1386/jptv_00083_1","title":"Resentment and ressentiment as motivating forces in Better Call Saul","year":2022,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Law in Society and Culture","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Resentment; Character (mathematics); Feeling; Brother; Hatred; Psychoanalysis; Law; Aesthetics; Psychology; Sociology; Social psychology; Philosophy; Political science","authors":[{"name":"David Pierson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0164473371437486,"gpt":0.3065542543958672,"spread":0.2901069172521186,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001902194,0.0003734779,0.0001505229,0.0009537194,0.004003159,0.005911097,0.0005838152,0.001727086,0.002654135],"category_scores_gemma":[0.003212495,0.0001842661,0.0003054054,0.0003362496,0.02014915,0.004517388,0.004445739,0.003050994,0.0002861875],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001882313,"about_ca_system_score_gemma":0.0008679119,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001232074,"about_ca_topic_score_gemma":0.002462064,"domain_scores_codex":[0.9973994,0.001722601,0.00003544171,0.0001241648,0.0003918794,0.0003264837],"domain_scores_gemma":[0.9976896,0.0009399672,0.0005972644,0.0001476451,0.0001744922,0.0004510629],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001063551,0.0001657877,0.005570189,0.000129485,0.00002308704,0.001241157,0.388085,0.0002506211,0.003373223,0.5748747,0.003535413,0.02264502],"study_design_scores_gemma":[0.00005479962,0.0003250034,0.05015628,0.0004572828,0.00005980398,0.003025411,0.4651938,0.00142934,0.004283963,0.1297734,0.3450569,0.0001840383],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5306714,0.001906433,0.007601442,0.01212279,0.0004311489,0.00004630796,0.00001520963,0.00009782643,0.4471074],"genre_scores_gemma":[0.9931357,0.0002278373,0.0004890151,0.0005307908,0.00009276536,0.00001485571,0.000004477939,0.00002454271,0.005480023],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.005911097,"threshold_uncertainty_score":0.01365721,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3093083387","doi":"10.1386/jptv_00029_1","title":"Distributing CanCon: CBC strategies for international distribution","year":2020,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Media Studies and Communication","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Broadcasting (networking); Protectionism; Conversation; Context (archaeology); Corporation; Political science; Intersection (aeronautics); Relation (database); State (computer science); Media studies; Advertising; Public relations; Sociology; Business; Computer science; Law; International trade; Engineering; Geography; Computer security","authors":[{"name":"Giulia Taurino","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0511413171114184,"gpt":0.3470038669130769,"spread":0.2958625498016585,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005234227,0.0008575137,0.0003474208,0.004733648,0.01326321,0.01747359,0.002697322,0.00331833,0.01409727],"category_scores_gemma":[0.01193596,0.0003293774,0.0003425371,0.004335621,0.01227699,0.004915793,0.005190739,0.003680876,0.001460473],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.07693249,"about_ca_system_score_gemma":0.09719466,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.8900214,"about_ca_topic_score_gemma":0.8985352,"domain_scores_codex":[0.9919369,0.0007841199,0.0001695384,0.0008060437,0.004247041,0.002056357],"domain_scores_gemma":[0.9928418,0.001020005,0.0003148232,0.000608622,0.004227816,0.0009869335],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001825643,0.00002004739,0.001164467,0.00005969357,0.000007477528,0.0001410977,0.006812115,0.0005457628,0.0004295581,0.9005634,0.04732076,0.04291731],"study_design_scores_gemma":[0.00001351483,0.00001411813,0.00243172,0.0002153404,0.00001560488,0.00009929499,0.008767175,0.0006824767,0.0005990911,0.03478665,0.9523289,0.00004600503],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01967277,0.00215255,0.01354301,0.02881853,0.0004634922,0.0002162938,0.0001927823,0.000238053,0.9347024],"genre_scores_gemma":[0.6478415,0.002446898,0.01295459,0.01169751,0.0003214864,0.0002442746,0.0003181354,0.0004185394,0.3237571],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.1099786,"threshold_uncertainty_score":0.5581869,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4321512379","doi":"10.1386/jptv_00085_1","title":"Disrupted and deranged: The formless and the abject in Twin Peaks: The Return","year":2022,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Alberta","funders":"","keywords":"Metaphor; Narrative; Humanity; Aesthetics; Sociology; Psychology; Psychoanalysis; Literature; Art; Philosophy","authors":[{"name":"Amanda M. E. Thomson","is_ca":true},{"name":"Andrew Thomson","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01921635047884039,"gpt":0.2264367599005503,"spread":0.2072204094217099,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001579484,0.0004332983,0.000269941,0.0007021948,0.009721156,0.01077366,0.000831756,0.001684569,0.006011272],"category_scores_gemma":[0.004099301,0.0003564189,0.0002877081,0.0006302864,0.02501278,0.009265343,0.007334115,0.005014736,0.0005502326],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002189734,"about_ca_system_score_gemma":0.001066033,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008182932,"about_ca_topic_score_gemma":0.01534194,"domain_scores_codex":[0.9983754,0.0009734842,0.00002532578,0.0001422526,0.0002004775,0.0002830644],"domain_scores_gemma":[0.9988356,0.0005053611,0.000155934,0.000142811,0.00009210956,0.000268132],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00008853694,0.00002463816,0.002162857,0.0000631837,0.00001057179,0.0007868326,0.7754523,0.00006583236,0.0008513958,0.2080442,0.004737428,0.007712365],"study_design_scores_gemma":[0.00001078703,0.0000646495,0.003719435,0.0001644235,0.00002155478,0.001220025,0.8101028,0.0002392259,0.0008487549,0.02695506,0.1566165,0.00003679548],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.741385,0.002849687,0.008900582,0.01609786,0.0007664652,0.00004216455,0.0000637199,0.0001087128,0.2297858],"genre_scores_gemma":[0.9876093,0.0003917365,0.0003226925,0.0005641587,0.00007420711,0.000007839226,0.00001534688,0.00008299894,0.01093183],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01077366,"threshold_uncertainty_score":0.02010971,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4401818918","doi":"10.1386/jptv_00125_1","title":"‘It’s the hope that kills you’: Challenging cisheteropatriarchal possibilities of romance, friendship and care in Ted Lasso","year":2024,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Historical Psychiatry and Medical Practices","field":"Psychology","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Victoria","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Friendship; Romance; Lasso (programming language); Psychoanalysis; Psychology; Sociology; Medicine; Social psychology; Computer science; World Wide Web","authors":[{"name":"Samantha Thompson","is_ca":true},{"name":"Julian Barr","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03157899735076417,"gpt":0.3343455074689347,"spread":0.3027665101181705,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002353841,0.0003609784,0.0002602616,0.0007087631,0.01102887,0.006554815,0.0006726323,0.0009968238,0.004823702],"category_scores_gemma":[0.003573454,0.0002603251,0.0001891815,0.0004400942,0.01539581,0.00398692,0.003110707,0.003405626,0.0004723938],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002760299,"about_ca_system_score_gemma":0.0007113208,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01560104,"about_ca_topic_score_gemma":0.0337314,"domain_scores_codex":[0.9978496,0.001590029,0.00001885321,0.0001090828,0.0001520639,0.0002805162],"domain_scores_gemma":[0.9978123,0.001412763,0.0002152971,0.0001055761,0.0001463125,0.0003078074],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00006284126,0.00002650966,0.002799561,0.00002872359,0.000004799434,0.0009195473,0.9601406,0.00004452379,0.0006642822,0.02827937,0.003765787,0.003263492],"study_design_scores_gemma":[0.00000554822,0.00002562659,0.004220334,0.00006536643,0.000004539849,0.0004548279,0.9127998,0.0001960824,0.0005078085,0.001587668,0.08011246,0.00002008565],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"other","genre_scores_codex":[0.8953671,0.0005320801,0.001394838,0.007804397,0.0002062621,0.00002840919,0.00007646059,0.00003481245,0.09455569],"genre_scores_gemma":[0.9913748,0.0001236939,0.0001324721,0.000414424,0.00004307573,0.00001103773,0.00001811697,0.00002769828,0.007854753],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.01560104,"threshold_uncertainty_score":0.03102046,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3190128519","doi":"10.1386/jptv_00051_1","title":"All things keep getting better: Queer Eye and the makeover of American masculinity","year":2021,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Media, Gender, and Advertising","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Queer; Masculinity; Politics; Popular culture; Sociology; Aesthetics; Gender studies; Psychology; Media studies; Art; Political science; Law","authors":[{"name":"Naveen Minai","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02100278870435832,"gpt":0.3108267670098063,"spread":0.2898239783054479,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001797525,0.0001913915,0.0001271838,0.0007553761,0.009638603,0.005506122,0.0003519623,0.001708132,0.004720347],"category_scores_gemma":[0.00271946,0.0001520366,0.0001287521,0.0006025754,0.02209321,0.005409317,0.001913897,0.004204769,0.0003136051],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002636655,"about_ca_system_score_gemma":0.001559937,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02819174,"about_ca_topic_score_gemma":0.06094637,"domain_scores_codex":[0.9989598,0.0006270116,0.00001071483,0.0000768923,0.0001362047,0.0001893659],"domain_scores_gemma":[0.9986019,0.0008657727,0.0001494303,0.00008612229,0.0001534223,0.0001434696],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.00003772567,0.0000287502,0.0019063,0.00002710657,0.000004647429,0.0002975555,0.3250597,0.0000208527,0.0002826108,0.6413964,0.01611984,0.01481844],"study_design_scores_gemma":[0.00001581496,0.00004475902,0.006110842,0.0002222794,0.00001982343,0.0004241535,0.3487368,0.0001597447,0.0006775259,0.1101656,0.5333832,0.00003944455],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2475542,0.009520166,0.001229255,0.1534051,0.001245485,0.00001547918,0.00005482828,0.00003761173,0.5869379],"genre_scores_gemma":[0.9619284,0.001656883,0.0001911709,0.008531246,0.0003808133,0.00000746893,0.000007971011,0.00002710975,0.02726891],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02819174,"threshold_uncertainty_score":0.05605531,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3159974493","doi":"10.1386/jptv_00039_7","title":"‘Filming the invisible’: Barrie Gavin in conversation with John Wyver","year":2021,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Conversation; Filmmaking; Art; Art history; Performance art; Visual arts; Sociology; Communication; Movie theater","authors":[{"name":"John Wyver","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02369528637178268,"gpt":0.2216636473111029,"spread":0.1979683609393202,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00276349,0.0005019519,0.000523554,0.0006767233,0.01009907,0.008312425,0.0008185348,0.003723236,0.005944841],"category_scores_gemma":[0.009709659,0.0004223333,0.0001940281,0.0009300941,0.00810298,0.007554978,0.002891911,0.007402244,0.0008770917],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004838705,"about_ca_system_score_gemma":0.001632662,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03569607,"about_ca_topic_score_gemma":0.05304373,"domain_scores_codex":[0.997645,0.001586295,0.00004343134,0.0003061067,0.0001976776,0.0002215743],"domain_scores_gemma":[0.9965772,0.002276272,0.0002603497,0.00006407233,0.0002362429,0.0005858426],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0000952718,0.00006428982,0.001270645,0.0001726407,0.00001579901,0.001601711,0.1885332,0.00009742744,0.0006742298,0.0936864,0.6931886,0.0205998],"study_design_scores_gemma":[0.000005241343,0.00001520297,0.001159141,0.0004633327,0.000003604557,0.0003015919,0.04464172,0.00004551112,0.0001167135,0.00348097,0.9497473,0.00001970539],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.03112258,0.07502721,0.001332517,0.7659147,0.007581625,0.0000399276,0.00009100492,0.00005754237,0.1188329],"genre_scores_gemma":[0.509257,0.07413071,0.00237201,0.204137,0.008324469,0.0002207338,0.0001203802,0.0004698956,0.2009679],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.03569607,"threshold_uncertainty_score":0.07097656,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2891381371","doi":"10.1386/jptv.6.3.283_1","title":"Mental illness media and the paradox of ‘productivity’ in Elementary and Limitless","year":2018,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Mental Health Treatment and Access","field":"Psychology","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Lethbridge","funders":"","keywords":"Mental illness; Addiction; Narrative; Productivity; Psychology; Anxiety; Depression (economics); Work (physics); Mentally ill; Mental health; Psychiatry; Social psychology; Economics","authors":[{"name":"Sean Brayton","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02521474693430131,"gpt":0.341221976735005,"spread":0.3160072298007037,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001389916,0.0002059648,0.000207025,0.002095698,0.005983222,0.007870374,0.0005626074,0.001305187,0.008261446],"category_scores_gemma":[0.003837043,0.0002370216,0.0001347135,0.001254691,0.01199995,0.004764154,0.005013169,0.002735196,0.0003032537],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004158597,"about_ca_system_score_gemma":0.0007674072,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0157336,"about_ca_topic_score_gemma":0.01915767,"domain_scores_codex":[0.999067,0.0004851123,0.00002072276,0.00006121237,0.0001644102,0.0002015624],"domain_scores_gemma":[0.9970573,0.001601038,0.0004902153,0.0001433111,0.0001990194,0.0005091855],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001842347,0.0001203406,0.0197874,0.0001649687,0.00001981447,0.0009819882,0.8537273,0.00005898765,0.0009249016,0.09128405,0.01034715,0.02239881],"study_design_scores_gemma":[0.00002008363,0.00007472435,0.04439419,0.0003401637,0.00001997403,0.0007519462,0.827738,0.0001426921,0.0003813506,0.01175513,0.1143523,0.00002953333],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8589697,0.002031579,0.0003353877,0.02333643,0.0002744982,0.00000901068,0.000130902,0.00002640316,0.114886],"genre_scores_gemma":[0.996795,0.0003438524,0.00002522427,0.0006589659,0.00008402896,0.000002780708,0.00001629403,0.00001127152,0.002062567],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0157336,"threshold_uncertainty_score":0.03128403,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3158441268","doi":"10.1386/jptv_00040_1","title":"Music, metaphor and modernism: Barrie Gavin’s composer portraits","year":2021,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Portrait; Metaphor; Modernism (music); Repertoire; Interpretation (philosophy); Art; Musical; Presentation (obstetrics); Visual arts; Art history; Treasure; Performance art; The arts; Literature; Aesthetics; History; Philosophy; Linguistics","authors":[{"name":"Edward Venn","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.038765415281878,"gpt":0.2390454814647389,"spread":0.2002800661828609,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007959791,0.0004595126,0.0002738587,0.001006038,0.006108629,0.005732062,0.0006664434,0.002081926,0.003618679],"category_scores_gemma":[0.00182647,0.0001904268,0.0001370289,0.0006269293,0.01124304,0.004215628,0.003327682,0.003760105,0.0004745862],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002510644,"about_ca_system_score_gemma":0.0005760512,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006112987,"about_ca_topic_score_gemma":0.01210885,"domain_scores_codex":[0.9992637,0.0004727861,0.00001018025,0.00007063521,0.0001016384,0.00008107353],"domain_scores_gemma":[0.9995435,0.0003008384,0.00003542234,0.00002250662,0.00002078386,0.00007699176],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001193205,0.00004452253,0.0007928179,0.0001465708,0.00001240502,0.002951839,0.6129415,0.0002207647,0.002148563,0.2762307,0.08446746,0.01992344],"study_design_scores_gemma":[0.0000124162,0.00004416558,0.001442959,0.0003440152,0.000007617002,0.002197064,0.1356662,0.0002308318,0.0004196075,0.01836864,0.8412385,0.00002790002],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.191859,0.07374372,0.003181837,0.09829458,0.002776569,0.00003352892,0.00006823799,0.0001720959,0.6298706],"genre_scores_gemma":[0.915585,0.01402873,0.0007049608,0.004341239,0.001368592,0.00002875471,0.00002211135,0.0001410842,0.06377957],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.006112987,"threshold_uncertainty_score":0.01821601,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389333574","doi":"10.1386/jptv_00105_1","title":"Serial characterization as a feminist ethics of care in Better Call Saul","year":2023,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Social Movements and Cultural Identity","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Judgement; Character (mathematics); Argument (complex analysis); Narrative; Reading (process); Relevance (law); Sociology; Confession (law); Frame (networking); Epistemology; Aesthetics; Nonsense; ROWE; Computer science; Philosophy; Linguistics; Law","authors":[{"name":"Evan Thomas","is_ca":false},{"name":"Erica Haugtvedt","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03175252342523646,"gpt":0.3585504757230495,"spread":0.3267979522978131,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002435361,0.0004192099,0.0001711182,0.0005997476,0.00705464,0.00651162,0.0007005532,0.002404338,0.009650026],"category_scores_gemma":[0.004070431,0.0001597554,0.0002661709,0.0003155052,0.02978483,0.00544472,0.004836623,0.003572085,0.0006232834],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005235334,"about_ca_system_score_gemma":0.001766747,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00457549,"about_ca_topic_score_gemma":0.007750449,"domain_scores_codex":[0.9972417,0.001905537,0.00004639688,0.000233075,0.0002723808,0.0003008968],"domain_scores_gemma":[0.9985971,0.0007334041,0.0001611745,0.0001654625,0.0001668757,0.0001759409],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002047224,0.00001071451,0.0004215521,0.00003055624,0.000001939651,0.0001802259,0.09650303,0.0001686206,0.0003202317,0.8944244,0.002344264,0.005574072],"study_design_scores_gemma":[0.00001925828,0.00009051935,0.002425228,0.0003716726,0.00001221019,0.0009079502,0.140573,0.001377762,0.001901434,0.3958324,0.4564314,0.00005709714],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1845536,0.002186996,0.03828174,0.03379989,0.000547856,0.00006446841,0.00007362861,0.0001097307,0.7403821],"genre_scores_gemma":[0.9645706,0.0001635796,0.00202012,0.0009389874,0.00007002785,0.00003862443,0.00001357965,0.00005202832,0.03213242],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.009650026,"threshold_uncertainty_score":0.03798515,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4213297956","doi":"10.1386/jptv_00007_5","title":"Reviews","year":2019,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Medicine","authors":[{"name":"Cynthia Felando","is_ca":false},{"name":"Christian David Zeitz","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03109829112128952,"gpt":0.2563907012880713,"spread":0.2252924101667818,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001495316,0.001129707,0.00134986,0.003840155,0.0009481745,0.005378772,0.002565608,0.002896143,0.2312918],"category_scores_gemma":[0.00839304,0.0004866853,0.0009449949,0.003817864,0.000875381,0.003724017,0.002355187,0.002700605,0.1763942],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002275704,"about_ca_system_score_gemma":0.005941455,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003370735,"about_ca_topic_score_gemma":0.005654852,"domain_scores_codex":[0.9980476,0.0003221779,0.0001921167,0.0003195159,0.0009462105,0.0001723889],"domain_scores_gemma":[0.9962203,0.0009707017,0.0002948948,0.0002976116,0.001771905,0.0004446808],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002210227,0.00001695112,0.00005237081,0.00211493,0.00001261985,0.00006236988,0.00007812199,0.00003455895,0.0001128539,0.00286374,0.8584968,0.1361326],"study_design_scores_gemma":[0.000002853804,0.000004253222,0.0000674948,0.0009390913,0.000004609675,0.00008470106,0.00003298337,0.000003419979,0.0000166404,0.0005065803,0.9983348,0.000002564203],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"other","genre_scores_codex":[0.0002937003,0.7329223,0.001116478,0.02806679,0.04995381,0.0001491649,0.002650928,0.0005326275,0.1843142],"genre_scores_gemma":[0.003019457,0.7055281,0.001714873,0.02474136,0.02584966,0.0002298373,0.004322384,0.0004399569,0.2341543],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.7687082,"threshold_uncertainty_score":0,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2326823854","doi":"10.1386/jptv.3.1.3_1","title":"From classical Greece to science fiction: Heroic aesthetics and the popularity of the Eagle pilot Alan Carter in Space: 1999","year":2015,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Contemporary and Historical Greek Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Ottawa","funders":"","keywords":"HERO; Beauty; Character (mathematics); Realm; Art; Aesthetics; Space (punctuation); Ideal (ethics); Romance; Literature; Art history; Philosophy; History; Epistemology","authors":[{"name":"Marie‐Pierre Bussières","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04856391830529155,"gpt":0.30520996291917,"spread":0.2566460446138784,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001062284,0.0002017817,0.0001510291,0.0006293536,0.006269103,0.004941923,0.0003457684,0.0009388282,0.006786441],"category_scores_gemma":[0.003166054,0.000115674,0.00007131339,0.0006611698,0.008624207,0.002177267,0.00317298,0.001886121,0.0006207228],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002580945,"about_ca_system_score_gemma":0.0005907521,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00343872,"about_ca_topic_score_gemma":0.006476762,"domain_scores_codex":[0.9989877,0.0005463931,0.00001975286,0.00009958039,0.0002118708,0.0001346824],"domain_scores_gemma":[0.9985267,0.0006467713,0.0001869673,0.00009595549,0.0002023935,0.0003412265],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0002370108,0.00007590969,0.005561819,0.0002842185,0.00001211103,0.002029225,0.6391105,0.0001909367,0.003517019,0.2506224,0.05265109,0.04570786],"study_design_scores_gemma":[0.00001190783,0.0001368151,0.007763679,0.0001983446,0.000006687633,0.001569333,0.3186423,0.00018407,0.001763882,0.005703402,0.6639874,0.00003212272],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6532406,0.002154952,0.0007647049,0.01003431,0.0005561129,0.00001883228,0.00004817079,0.00004293258,0.3331394],"genre_scores_gemma":[0.9855825,0.0003468998,0.0001115944,0.0004342598,0.00008804675,0.000004973951,0.00000954612,0.00003401128,0.0133882],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.006786441,"threshold_uncertainty_score":0.02270287,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}