The social dimension of cinema and television series has increased through the use of the Internet as a technological support, which also modulates the viability of the contents. Thus, through the Web layer, the network of networks has been, for the last decade, the main route for the distribution and consumption of cinema and television series. This has led to changes in audiovisual language and in the role of science. Indeed, the new communicative dynamics includes important variations and communication sciences can influence the new designs: they can propose novel aims, offer different processes, and seek results that were previously not possible (or only to a small extent achievable).  (i) From an internal perspective, there are changes in terms of audiovisual language, which leads to an abundance of possibilities: (1) original and impacting content is sought; (2) the narrative varies, to follow a different audiovisual rhythm; and (3) the duration of works is adapted to the new type of audience. (ii) From an external perspective, there are very important changes in the social environment: (a) viewers now have the maximum role in selecting films and series; (b) access to content becomes immediate; and (c) audiovisual proposals now have a planetary realm.  Faced with this powerful communicative impact, strongly marked by technological support and the new social demand (increased during the pandemic), the scientific response faces major challenges. One of them, which is of philosophico-methodological relevance for communication sciences, is in terms of content. Because now cinema and fiction series can generate a proliferation of fake news. Indeed, through audiovisual language, there are many more ways of proposing false information (misinformation) or offering biased or tendentious information (disinformation) in films or television series based on real events.  In this paper, faced with the problem of fake news in films and television series, we reflect on how communication sciences, understood as sciences of design, can contribute to three tasks: (I) the prevention of the problem in the design of films or series with a historical theme; (II) how to detect misinformation and disinformation when the product is released to the public; and (III) how to solve the problem of fake news once it is known, so that the damage can be at least partially repaired. In each of these three cases, proposals are offered.