Johnson admits that television and film demand less decision-making skills than video games, but also says that the benefits from reading (attention, patience, retention, the parsing of narrative threads, etc.) are making a rise in television and film as well, despite its lack of translating letters to meaning or activating the imagination in quite the same way that books do. He discusses three principles of television and film: "multiple threading," "flashing arrow," and "social networks." "Multiple threading", according to Johnson, is marrying complex narrative structure to complex subject matter with multiple plots and subplots (for example, he states that shows like "ER" & "24" have up to 10 threads per episode). He states that a "Flashing Arrow" is a kind of narrative signpost purposely planted to help the audience keep track of what's going on, but there has been an increasing lack of arrows over the years both, and this lack of arrows is used to draw on intricate plotlines and obscure references. Finally, he states that "reality shows demand that we track multiple relationships, since the action of these shows revolves around the shifting feuds and alliances between more than a dozen individuals” Johnson says this activates social intelligence, defining it as “our ability to monitor and recall many distinct vectors of interaction in the population around us” and, thus, watchers shall be able to better understand social networks. He asserts that television is a "brilliant medium" for determining how skilled people are at understanding interpersonal connections, or their Autism Quotient (the higher a person's emotional intelligence, the lower their "AQ"), and that reality shows in particular realistically display the complexity of "social network maps" in human relations, where a group of people have complex and intertwined engagement.