The problems with cinematic portrayal of psychopathology stem from the fact that popular cinema has a need for a story that is likely to be profitable at the box office (1). Film-makers, therefore, look for stories that the audience would want to see on “the silver screen,” and people often want what they already believe in. Beliefs, like myths, are oversimplifications that are driven by the need to resolve internal conflicts and reconcile contradictions in the absence of adequate information. Popular cinematic narrative, therefore, cannot avoid oversimplification, which, in turn, reinforce stereotypes. Stereotyping is a heuristic device that is used when capacity, or motivation, for processing “individuating” information is reduced (6). Intensity and brevity of action and emotion that are a hallmark of film narratives promote passive audience experience of oversimplified narratives. Such narratives fulfill the escapist need of the audience to identify with simpler solutions to life's complex difficulties. Thus, a typical cinematic experience creates a fertile substrate for the transmission of stereotypes. The McGhee and Frueh study (7) showed that heavy TV-viewers had more and more-sustained stereotyped perception of gender roles. Of course, such collective stereotyping may also be transmitted through other media forms, language, and social norms, but cinema reaches a broader audience than most others. It has also been suggested that, just as these tools transmit “collective” stereotypes, they may also be useful in reversing the stereotypes. Unfortunately, stereotype-confirming information is easier to assimilate because it protects the zeitgeist (6).