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abstract:To feel nervously and apprehensively “creeped out” is a familiar emotional state, but its cause—what makes something or someone “creepy”—is poorly understood. A recent evolutionary account of creepiness suggests that the emotion arises from a perceived “ambiguity about the presence of threat” (McAndrew and Koehnke 10). However, not all ambiguous threats are perceived as creepy. This article argues that specifically creepy threats arise from disrupted mentalization, by which is meant difficulties in apprehending the mind of another being in such a way as to make that being seem threateningly unpredictable. The authors propose that this explanation of creepiness also explains “the uncanny,” a concept that is closely related to creepiness and to which a much older and larger research literature attaches. Finally, it is suggested that the present account can make sense of some iconically creepy figures of horror fictions, including zombies, ghosts, and ominously unhuman children.

Disney’s animated villains have recently changed to show less conventionally villainous traits: They look and express themselves more like sympathetic characters, and they are usually only outed as villains late in the plot. This shift has prompted much academic com­mentary on the psychological and cultural significance of Disney’s new villains. We add to the existing literature on Disney’s new villains in two ways. First, we analyze shifts in the vocalizations of villains between the 1990s and 2010s. Second, we integrate this analysis in a biocultural account of Disney’s shifting overall representations of villains. We argue that while Disney has long employed evolutionarily explicable cues to villainy, such as a foreign accent and an unappealing exterior, the company is now reacting to challenges to norms of social representation that proscribe the linking of such overt traits with immorality. Con­sequently, recent Disney films do not employ socially stigmatizing cues. However, Disney continues to employ nonstigmatizing cues, such as evil laughter and abiding anger, because these cues foster antipathy in audiences at no sociomoral risk.

This article investigates the nature and appeal of morally ambiguous protagonists, or anti-heroes, through an evolutionary lens. It argues that morally ambiguous protagonists navigate conflicts between prosocial and antisocial motivational pulls. In so doing they present audiences with a window onto the conflicts inherent in human sociality. Working from this premise, the article analyzes the morally ambiguous protagonist Walter White from the TV series Breaking Bad, complementing the analysis with survey results. The article finally discusses critically the role of moral disengagement in enjoyment of stories with morally ambiguous protagonists.

How far has the Darwinian revolution come? To what extent have evolutionary ideas penetrated into the social sciences and humanities? Are the “science wars” over? Or do whole blocs of disciplines face off over an unbridgeable epistemic gap? To answer questions like these, contributors to top journals in 22 disciplines were surveyed on their beliefs about human nature, culture, and science. More than 600 respondents completed the survey. Scoring patterns divided into two main sets of disciplines. Genetic influences were emphasized in the evolutionary social sciences, evolutionary humanities, psychology, empirical study of the arts, philosophy, economics, and political science. Environmental influences were emphasized in most of the humanities disciplines and in anthropology, sociology, education, and women's or gender studies. Confidence in scientific explanation correlated positively with emphasizing genetic influences on behavior, and negatively with emphasizing environmental influences. Knowing the current actual landscape of belief should help scholars avoid sterile debates and ease the way toward fruitful collaborations with neighboring disciplines.