It was the aim of this study to investigate differences in fluoride bioavailability in different oral areas after the application of amine fluoride (AmF) and sodium fluoride (NaF). The null hypothesis suggested no differences in the fluoride bioavailability. The tongue coating was removed and biofilm samples from the palate, oral floor and cheeks were collected. All subjects brushed their teeth with toothpaste containing AmF or NaF. Specimens were collected before, as well as immediately after and at 30 and 120 minutes after tooth brushing. The fluoride concentration was determined. The area under the curve was calculated for each location and compared statistically. In the tongue coating, fluoride concentration increased faster after NaF application than after AmF application. After 30 minutes, the fluoride concentration decreased and remained stable until 120 minutes after AmF application and returned to baseline after NaF application. The difference between the baseline and the endpoint measurements was statistically significant. The fluoride concentration in the tongue coating remained at a higher level compared with the baseline for up to 120 minutes post-brushing. This may indicate that the tongue coating is a major reservoir for fluoride bioavailability. The results also indicate an unequal fluoride distribution in the oral cavity.

This article discusses online media’s contribution to the youthification of television through the case study of DRUCK (tr. Pressure, 2018–), the German format adaptation of SKAM (tr. Shame, 2015–17). Youthification is understood as the television industry’s attempts to reach and win back teen and tween viewers with strategies in production, representations, aesthetics and distribution. In DRUCK, online media are integral to the youthification in all these strategies. Our multifaceted analysis of this serial combines perspectives from media industry studies to investigate production strategies, sociological analysis of film and television to examine the thematic and narrative choices and theories of transmedia storytelling to make sense of the specific distribution choices.

The Redakteur, the commissioning editor in TV fiction, has frequently been criticized in current public and industry-internal discourse on ‘quality’ series and the supposed lack of them in Germany. This article takes a closer look at this hardly examined but very important actor in German television. Based on expert interviews, it discusses how this profession is negotiated within the industry and how its role is changing in light of the broader transformation and transnationalization of the TV industry in Germany. Shifts in fictional content and its distribution have led to fundamental changes in the work of editors and their involvement in collaborative project networks. For example, the demand for ‘quality’ serials, ideally distributed in different countries, is accompanied by the adoption of writers’ room and showrunner models. Hence, the relationship between editor and screenwriter is transforming, too. The previous cooperation between editor and producer is also ripe for discussion, as signs point to a move away from 100 per cent financing by broadcasters, which was the rule in German television fiction for a long time. New financing models are negotiated in conjunction with online distribution, which fundamentally restructures the editor’s role. However, so far, linear broadcasting slots still form a central basis of editors’ work.

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