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This article is a collective response to the 2020 iteration of The Manifesto for Teaching Online. Originally published in 2011 as 20 simple but provocative statements, the aim was, and continues to be, to critically challenge the normalization of education as techno-corporate enterprise and the failure to properly account for digital methods in teaching in Higher Education. The 2020 Manifesto continues in the same critically provocative fashion, and, as the response collected here demonstrates, its publication could not be timelier. Though the Manifesto was written before the Covid-19 pandemic, many of the responses gathered here inevitably reflect on the experiences of moving to digital, distant, online teaching under unprecedented conditions. As these contributions reveal, the challenges were many and varied, ranging from the positive, breakthrough opportunities that digital learning offered to many students, including the disabled, to the problematic, such as poor digital networks and access, and simple digital poverty. Regardless of the nature of each response, taken together, what they show is that The Manifesto for Teaching Online offers welcome insights into and practical advice on how to teach online, and creatively confront the supremacy of face-to-face teaching.

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The hybridization of television genres has led to numerous non-fiction television shows that base much of their success on audience engagement through social networks. This study analyses a specific case, that of La isla de las tentaciones (Temptation Island), to identify interpretive frames in reality shows and their interrelationships with audience involvement on Instagram. Based on a corpus of 8409 comments posted on Instagram by the followers of the program’s actor profiles, the article analyzes the lines between reality and fiction in this non-fiction television show about relationships and infidelity, and, in particular, how online “haters” play a performative role. The show’s participants who were unfaithful are insulted and receive numerous negative value judgments. The “coding and counting” method, drawn from Computer Mediated Discourse Analysis, is used for the coding. Results show that viewers barely allude to this show as fiction, do not differentiate between the actors and their characters, and empathize strongly with the stories they view. The study shows the need for media education, both for those who make the media and those who view it. The goal is not to detract from entertainment value, but to improve critical skills and to recover the educational function of media.

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Digital mediation is central to how children and youth grow up in the global North and in much of the global South today. In taking account of this situation, of late researchers have tended to draw on a sociology of the child in conjunction with an examination of how digitization is changing the experience of childhood itself. This article also begins by tracking key social, economic and cultural changes in young people's lives. We then link these changes to the immersive media life many children around the world are living today, and note the worries this raises among parents, educators and others. To conclude, we identify the paradox of participation that is shaping children's digital culture and forcing researchers and others to reconsider the relationships between consumerism and civic life.Growing up in the global North and in much of the global South today means learning the language of consumer media culture through a constant diet of screen images, audio tracks, and print messages that compete with schools and families as the primary storytellers and teachers in children's lives. Research from various quarters (Buckingham 2007;Cook 2004;Critcher 2008;Kline 1993) reminds us that this situation is not new, but the mediation of young people's lives is now thread through with digital technologies and practices that produce new tensions and possibilities shaping how children and youth play, feel, and think together.The media is, and always has been, larger than life. We live in its constant presence, even when we are not plugged in and turned on. As a consequence, it is now virtually impossible for children and youth to imagine what it would be like to grow up without the Internet, television, video games, and pop music. Such media welcome young people into the culture, values and mores of contemporary life in most of the world's cultures (Tufte and Enghel 2009). The result is contemporary mediascapes provide a powerful and complex catalogue of symbolic and affective commodities, including 'characters, plots and textual forms', that young people use to produce scripts about themselves and the 'imagined lives' of others (Appadurai 1996, 35-6). This is what it means to say our lives are mediated today; who we are, what we know, and how we act are all experiences now lived out as electronic and digitally mediated life.In taking account of children's digital lives, recent research has tended to draw on a sociology of the child in conjunction with an examination of how digitization is changing the experience of childhood itself (e.g.

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