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"But in the blink of an eye, our fantastic northern Doctor was gone and replaced with The Tenth Doctor, who manages to become an icon for the programme to a whole new generation."

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Welcome to the News & Reviews section here at Doctor Who Online! This is where you will find all the latest Doctor Who related news and reviews split up into easy to use sections - each section is colour coded for your convenience. The latest items can be found at the top, and older items follow down the page.

Archived news and reviews can be accessed by clicking on the relevant area on the News / Reviews Key panels to the right.

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Welcome to the News & Reviews section here at Doctor Who Online! This is where you will find all the latest Doctor Who related news and reviews split up into easy to use sections - each section is colour coded for your convenience.

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"The first victim wanted to be sacrificed and is horrified that it's stopped, and Tlotoxl reckons that any goddess who comes down and explains that God doesn't actually want human sacrifice is a false god...the primary accounts of the Spanish Conquest agree that this is pretty much what happened. Rescued sacrifices were horrified that they'd been 'rescued'; the new Christian religion's idea that God didn't want this was indignantly rejected by the Aztec priests."

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Viewing 8 posts - 1 through 8 (of 8 total)

As the first entry in our Female Time Lord retrospective, and because I just didn't get time to post it during our First Doctor retrospective, we're going to be discussing "The Aztecs". The story starts with the ominously titled episode "The Temple of Evil". That adds more fuel to my supposition that George Lucas is a fan.

I don't think Susan can really be considered a Time Lord but, as the Doctor's granddaughter, she's more than likely a female Gallifreyan. We never did learn much about her and, of course, while she was on the show the whole concept of Time Lords and Gallifrey had yet to be fleshed out.

I think this is the first of the 'historical' Doctor Who stories we've watched together, and as such it's slightly different from what we're used to these days. Here Doctor Who is fulfilling its educational mandate and is teaching the viewers something about the past rather than featuring scary sci-fi monsters. There is, however, still plenty of drama.

In this first episode the TARDIS has landed in an Aztec tomb. Barbara is quickly captured but is mistaken by the High Priest of the Temple for the reincarnation of the god Yetaxa. Barbara has expert knowledge of the Aztecs and intends to use her new status to end the practice of human sacrifice. The Doctor is adamant that she should not rewrite history, "not one line".

For the best viewing experience this story is available to buy. You can get it from Amazon for less than 7 of our British pounds - other retailers are also available (except the BBC, which has sadly closed its online store). It may also be on your Netflix, Prime or Hulu, or whatever else you subscribe to.

Remember, we're discussing this story one episode per week, as it was originally broadcast. If you've seen it before, for the convenience of anyone approaching this for the first time, NO SPOILERS for subsequent episodes please.

And did I mention Barbara is a total badass?

Ahh, "The Aztecs". This was why I fell in love with show at the age of 13. The whole idea of engaging with different cultural assumptions in a historical context was a revelation to me at that age. I am certain it was one of the reasons I would end up pursuing academic life.

Watching it again, I am still impressed by how it made thoughtful points about history and culture in a way that was relatable to children, like me, who would have been watching it back in the mid-60s. Also, watching it now, I realise that what it did in this story, although gradually (and alas) forgotten by "Who", would be made again by some of the better ST:Next Generation stories (which probably explains my fond memories of that show).

And, if I am not mistaken, is there the possibility of a December romantic fling for the Doctor being set up? I suspect that went over my head at age 13. Can't wait for the next instalment!

@winston This is a perfect entree into BG Who. I hope you enjoy it.

My first comment would be that the Special Edition of the DVD is amazing value - for seven of our British Pounds, you get The Aztecs AND a reconstructed version of Galaxy 4. You also get two child orientated introductions to the Aztec people, various making of/commentaries/documentaries about Who. Plus How the Aztecs Made Cocoa. 🙂

Okay. Title: The Temple of Evil. A hint that this is not going to be a revisionist history of the Aztecs. Basically the scriptwriter has seemed to take the attitude that, civilised as the Aztecs were in many ways, human sacrifice is a no-no. We're not talking one or two people a year, here - estimates vary, but a minimum is 20,000 people per year, a maximum is 250,000. Per year. This split is emphasised by the two priests we see - Autloc is willing to recognise Barbara's 'servants', greets them politely and means them no harm. Tlotoxl, on the other hand, wants blood, and lots of it. 🙂

John Ringham, who plays Tlotoxl, has clearly decided he's not going to be asked to play Richard III at this stage in his career, so is going to go for a 'Richard III' Tlotoxl for all he's worth. Complete with crooked back and Laurence Oliver style enunciation. 😀 Plot no. 1: get the young, possible warrior killed off quickly using promotion-by-combat. Plot no. 2: get the young handmaiden killed off for interrupting the sacrifice. We're not even past the first episode...

Notably, the Doctor seems to have more than a working knowledge of the Aztecs himself. And doesn't like being called an 'old man', or handed over to the retirement home. No wonder he was annoyed when he found his regeneration wasn't 'younger'. And yes, @blenkinsopthebrave, the Doctor clearly fancies Cameca.

Ixta even looks thick. And that's a very slow stage fight, though possibly they were going for 'practice fight with menace'.

And here we have the main intra-Team TARDIS conflict. Barbara and Ian would cheerfully alter history in favour of banning human sacrifice early; the Doctor knows they mustn't do that. Though he's still trying to protect Susan from this sort of nastiness, as is Barbara.

Aaand we see the first set of problems with trying to change the world (never mind trying to change Whovian fixed points). The First Victim wanted to be sacrificed and is horrified that it's stopped, and Tlotoxl reckons that any goddess who comes down and explains that God doesn't actually want human sacrifice is a false god. Somebody's done their research, and they are trying to accurately convey the real history in a child-friendly way - the primary accounts of the Spanish Conquest agree that this is pretty much what happened. Rescued sacrifices were horrified that they'd been 'rescued'; the new Christian religion's idea that God didn't want this was indignantly rejected by the Aztec priests.

And yes, Barbara is indeed a badass.

@craig This looks great and I look forward to watching it later today! @blenkinsopthebrave I just finished the 4th Doctor stories called E-Space and The Ark in Space and the 3nd Doctor in Death to the Daleks and the 2nd Doctor in Power to the Daleks and I am fast becoming a fan of BG Who. This will be another story to check off. My lovely son and my library keep me supplied in BG Who for this fantastic journey. There is enough to keep me going for awhile.

Well, not that bad actually. And the first thing that you're struck with is just how different the TARDIS dynamic is, how low in the mix the Doctor is, as it were. In the context of templates for a female Doctor, this (and the other Hartnell we've watched) suggests to me that Barbara is a much better fit than Susan. Jacqueline Hill is once again great here - although Babs is perhaps a bit too light-fingered for her own good. Going a bit Lara Croft on us and no mistake.

In general, I'm afraid I don't really love the historicals and it's for a couple of reasons which @bluesqueakpip touches upon above. Part is the sheer theatricality of them (which seems to get dialled down a bit in the SF ones so not sure it can be chalked up to the standards of the time). And it's not so much Old Vic as bog-standard provincial rep. The sheer amount of ham being served up always ends up putting me off.

The second is that I feel there's always something vaguely colonial about the historicals - and some of the SF stories of the Hartnell era. That there's a vibe of nice middle-class white people being injected into other cultures to comment on how odd (and often how wrong) they are. It might just be the authoritarian nature of the set-up in the Hartnell era, that got swept away by the time you get to Troughton, or I might just be overstating it, but there always seems to be something a bit post-imperial about stories like this to me.

On a story note, I notice that Babs and Susan once again quickly make sure they're not saddled with the Doc. Not fast enough, Chesterton. Not fast enough.

Just wanted to say I enjoyed this (not seen it before).

Agree with pretty much everything above ("Richard III" made me laugh @blue!).
Interesting insight that this hammy-ness might be more prevalent in historicals@jimthefish - I don't know the historical stuff well enough but something I'll watch out for (maybe its a reflex when actors where togas etc).

And agree with you about the Doctor being "low in the mix".
I've only seen a couple of Hartnell era stories (here to be honest), and if the show wasn't called "Doctor Who" I wonder if anyone watching would think it should be called "The Time Travellers", "Journeys Through Time" or similar, as the Doctor seems to be just another of the travellers in the Tardis (albeit one with most of the 'knowledge' like the 'scientist' is in stuff like the film Journey To the Centre of The Earth).

Anyway, what do I know - I'm off to be silly on the Music thread.

So, the audio commentary: the late Verity Lambert is running the interview, with William Russell and Carole Anne Ford.

Verity comments that the historicals had to be completely accurate - right dates, right costumes, authentic designs. Several decades later, they're pretty impressed by the set and costumes (quite rightly, I'd say). Though the authenticity caused a couple of problems - apparently the feather headdresses were prone to tickle, and the actor bowing could easily 'get' the actor being bowed to. There's also a problem with camera focus - choice of focusing on face, or face with headdress. But the sets are much admired, especially the garden set.

And we're not the only ones to think John Ringham is doing Richard III - it's the first thing Verity Lambert says, and the other two promptly agree. Later on they reckon he's copying Laurence Olivier. 🙂 But Verity also notes how truthful the acting is (even Richard III); also that given the time to prepare and rehearse, everyone has tried to create something as accurate as possible. No cutting corners, or relaxing because 'it's just for kiddies'. Quite a lot of favourable comment about the way Jacqueline Hill varies her performance to play Yetaxa.

The director chosen, John Crockett, was from BBC Schools, was 'academic', and was grabbed because he knew the Aztec period well. He took the 'educational' remit very serious and checked sets, costumes etc. for accuracy. Verity thinks he was the one who got them the composer Richard Rodney Bennett to do the incidental music - John Crockett knew him.

A few jokes about Ian's 'hidden talents' as a fighter and the way he reacts incredibly calmly to the news that he's going to be an Aztec warrior; William Russell remarks that he had about five minutes to practice the new moves.

Some discussion of which studio it was - D or G? And how the heck did they manage to fit all these sets in? Verity notes that she developed quite a reputation in the BBC for fitting more sets in a small space than anyone believed possible. Even for the 1960's, however, the Studio D and G facilities were old fashioned - 'out of the ark', is one comment, and the cables were a health and safety nightmare. The actors couldn't really run anywhere - they'd have gone flying. At one point you can see the camera jerk violently as it runs into something.

I note that Carole Ann Ford is obviously a fashionista - she didn't like Susan's costumes generally (Susan's top is 'shapeless'), but would have grabbed Jacqueline Hill's Aztec costume in an instant. That fits with Mark Gattis's An Adventure In Space And Time, where a row develops between her and William Hartnell after she buys one of the Marco Polo costumes. Whether or not that scene actually happened, it's clearly true to both her and Hartnell.

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Viewing 8 posts - 1 through 8 (of 8 total) As the first entry in our Female Time Lord retrospective, and because I just didn't get time to post it during our First Doctor retrospective, we're going to be discussing "The Aztecs". The story starts with the ominously titled episode "The Temple of Evil".

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"On this page you'll find a TARDIS-load of Doctor Who trivia."

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WhovianNet.co.uk is a UK Doctor Who fansite dedicated to providing Whovians with the latest series news, images, discussions and episode guides.

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"...show off all of your Doctor Who inspired creations!"

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WhovianNet.co.uk is a UK Doctor Who fansite dedicated to providing Whovians with the latest series news, images, discussions and episode guides.

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The first site is a chance for fans to watch "classic" episodes of Doctor Who and hold a discussion about them. This post is more objective than the second, analyzing the historical significance and representation in the episode. The second site is a review forum, where fans can review episodes of the show. This review in particular, although primarily emotional, is also subjective. The author attempts to analyze the episode from a subjective standpoint, but is clearly emotionally attached to the characters, actors, and writers.

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The first site values the accumulation of knowledge. Trivia facts that tell the ins and outs of the making of and the world of Doctor Who. The second page specifically looks at the accumulation of artifacts. It gives fans a chance to show off just how much of a fan they are, by showing their collections of artifacts.

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This forum is a place for people to share their fan art and creations related to Doctor Who. The first post in particular creates a text about what it would be like if Doctor Who were real. It acknowledges the flaws in the description, pointing at the play frame surrounding the text. It also opens the door for talk and meaning, asking fellow fans their ideas and analysis of the explanation. The second site is a place to show off fan art, texts inspired by Doctor Who.

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Clearly draws the line between typical fans and those who are obsessed more than may be thought normal. Explains why they are different and separate from other fans and fandoms. In addition, the second site shows how there can be a distinction between the fans of the various Doctors and generations.

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Doctor Who is a science-fiction television show produced by BBC. It has 26 seasons from 1963-1989, and 10 series from 2005-present. It has spawned spin-offs of various kinds of media, such as movies, television specials and shows, comic books, and novels. The Doctor Who fan base spans across the globe.

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"I'm relieved and ecstatic that the character I still care about is in a very, very safe set of hands. More than that, I think I've fallen in love with The Doctor and his TARDIS all over again."

"The direction, the locations, and the mood and feel of Doctor Who have all changed. This is a very different show to David Tennant's Who - or more correctly to RTD's Who."

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Written By: Steven Moffat

Original Airdate: 3/4/2010

Review Posted: 10th April 2010

It's Saturday, and it's just about to begin. There's a steaming mug of tea and numerous snacks next to me, the telephones are all switched off, the blinds are drawn and the Freeview box is recording. We've reached the much-anticipated, long-awaited and dear-God-I'm-worried-about-it first episode of the 2010 series of Doctor Who. New Doctor, new assistant, new TARDIS inside and out, new show runner and mostly new crew.

I'm not worried for the show itself; it's proven it can change and adapt and survive in today's climate plenty of times since 2005. I'm worried about my view of it. I'm like this every time there's a new Doctor, but that's not a bad or negative thing. I care about the character, I've emotionally invested a lot in my hero since I was knee high to a Zarbi, so it's important to me they get him right. However, mixed with that I'm also very aware it's not "my" show any more, it's for the kids that are growing up today; the family audience. Not aging fanboys with robot dogs in their living rooms... although they're always the most vocal, I find. Some Doctor Who fans do nothing but whine as well, and that annoys me. Usually the ones who still think the show should be exactly how *they* want it, and something Russell T Davies took great delight in proving to be a false claim.

The pre-title sequence begins, and such thoughts are banished from my head. It's straight into the action, more or less from where we last left off; with the TARDIS hurtling towards London out of control and on fire. The main difference is The Doctor is hanging on for dear life to the TARDIS base, having fallen out of the flapping doors. Talk about a different beginning: the TARDIS is wrecked, and the Doctor's not going to get to collapse and sleep this one through . Poor bloke's going to be knackered!

The new titles kick in, and I simply stop breathing and stare. They're *so* different. The vortex is reminiscent of the second Dalek film from the 1960s; rather smokey, and there appears to be a lightning storm happening in there too. The theme tune is very different too, a marked departure from the Tennant era. Again, different is not bad. It just means I need to adjust and let it all sink in. The titles are very slick and clever, and then we're back into the action. And I remember I'm turning blue and start breathing again.

Amelia Pond is perfect. Just wonderful. The best child actor I've seen in many a year; she's instantly likable and you're just on her side from the get-go. The whole idea of parying to Santa at Easter, and apologising if you've woken him up, is genius from Mr Moffat. The TARDIS crash-lands, and The Doctor's first line as he pops up from the new swimming pool/library combo he's got going on in the ruined Police Box is perfect. "Can I have an apple?"

After some perfect silliness with food - mmm, fish fingers and custard - and establishing that little Amelia is more than capable of holding her own already in life, there's the first pang of darkness. The crack in the wall. With draughts and voices on the other side... I think a few younger kids with cracks in their walls will suddenly be awake tonight, a little concerned about what may be behind it...

One thing becomes obvious very quickly indeed. This is not what I was expecting. The direction, the locations and the mood and feel of Doctor Who have all changed. This is a very different show to David Tennant's Who - or more correctly to RTD's Who. Again, this is not a bad thing. I loved RTD's era, and I loved Eccleston and Tennant, but this changes the whole ball game. It's still recognisably the same format it's always been, but somehow this seems bigger, better and more epic than I remember it being at any point before. I'm blown away by this. It's gotten better... again! And it was already stunning!

The new Doctor is insanely likable. He's mad, clever, funny when appropriate, and has me bonding with him in about fourteen seconds. Not once did I think about how David or Chris or Tom would have played a scene. The Doctor - Matt Smith's Doctor - is in charge, and effortlessly so as well. However, grown up Amy's more than a match for him though; a clever new foil for his outbursts and ingenius insanity. She's going to be an amazing companion, that girl, and Karen Gillan is effortlessly natural in the part. Spot on, nailed performance.

The supporting cast are also brilliant (fanboy squee: OMG! There's Sir Patrick Moore! Brilliant!!) and the scene with Jeff and The Doctor comandeering his laptop has me bellowing with laughter.

Prisoner Zero is another clever idea from Steven Moffat, a shapeshifter that uses comatose patients as a template; although it's a bit rubbish at getting the voices right. The silent dog and the barking man is hilarious; but the girls and the Mother having the same voice in the hopsital stand-off sequence makes my blood run cold. That's a definite chill. Taking the everyday and making it uncanny, unexpected and creepy. Gas masks. Ticking clocks. Stone Angels. We're definitely in Moffat territory. The alien itself is no more pleasant. It reminds me of a deep sea angler fish, and it's ugly. The Atraxi show up and they remind me of Axos and the Mandragora Helix set from Classic Doctor Who, and the Crystalline Enitity from Star Trek Next Gen. Not as in "nicked", just an influence creeping in.

There's a now almost reverent nod to the previous Doctors, and The Doctor's current incarnation is now dressed properly and ready to save the world from being fried with some decent advice to the Atraxi, which he does with style, before legging it back to his now finished and revamped TARDIS.

We finally get a look inside, and aside from a raised eyebrow at some of the controls (again, not negative, just unexpected!) I'm over the moon at what they've done to the best ship ever. The outside has those echoes of the 1960s series to it, and the inside just takes your breath away with the scale and love gone into it.

It's all over in what seems like twenty minutes. It was actually an hour and five. The continuity announcers do that very, very annoying thing of talking over the credits and shrinking them to half the screen again, and it occurs to me that's the only negative thing I can find. It also occurs to me that I'm now liking the theme tune, and that I adjusted to that one really rather quickly.

I'm relieved and ecstatic that the character I still care about is in a very, very safe set of hands. More than that, I think I've fallen in love with The Doctor and his TARDIS all over again. Released from my hypnotic trance-like state that television's held me in, I glance around. The snacks are untouched, and the tea's now stone cold but undisturbed in the mug. And I remember that it was ever thus. When The Doctor's in town, everything here stops.

Reviewed by: Chris Kilby

Review Posted: 15th April 2010

The boy done good. Definitely not sick as a parrot. Yup, it looks like football's loss was Doctor Who's gain. But does that mean there's a parallel universe where David Beckham's The Doctor? Or Wayne Rooney? The mind boggles!

The Eleventh Hour was an episode of two halves. Two halves? Four halves more like!

There was the obligatory "I'm mad, me," post-regenerative trauma malarky which was deftly handled with wit and humour - "fish fingers and custard" sounded like a Dr Seuss book and must have had every eight year old in the country going "Yuck!" And I loved the Fermat gag. And "You're Scottish, fry something." Funny's good. Yeah? Tell that to the average fanboy...

Then there was the new companion and her already-tangled history with the Doctor - "Why did you say 'five minutes'?" It shouldn't have been surprising that the first episode of the Steven Moffat era would be so timey-wimey. Starting as he means to continue? And does this mean the next time the Doctor meets River Song she won't have met him yet...?

This was followed by the supposedly "main" plot which was a bit perfunctory but served its purpose - alarmingly sub-par CGI notwithstanding (the result of cutbacks or the increased cost of switching to HD?). Ironic after Neil Harris' recent DWM column about not-so-special effects. Did he know in advance?

And finally there was setting up the big "Crack in Time" story arc - silence will fall. Phew! No wonder it over-ran. Is it just me or did that crack look like... a smile? And the Doctor's up to something. Why else would he hastily turn that scanner off before Amy clocked it? "Why me?" indeed. It's the seventh Doctor all over again. But in a good way.

So what of the junior Doctor? Well he's a bit gawky, a bit awkward, and, yes, he is a bit young. But this Matt Smith. He's rather good, isn't he? Loved how he savoured saying "Amelia Pond." And that tweedy look's a real grower: a bit mad professor; a bit young fogey. And, it has to be said, remarkably similar to "John Smith's" getup in Human Nature. "Bow ties are cool"? Well they are now.

"Who da man?" was funny cos it made the youngest Doctor ever look like someone's dad trying to sound cool - classic Moffat! Kids think anyone over twenty's old anyway, so what do I know? As for the new Doctor emerging from the face(s) of the old with a jovial "Hello. I'm the Doctor"? Back of the net! David who...?

But sometimes the Doctor needs someone to stop him. Talking to himself, that is. Which brings us to the new companion.

Amy's a bit brittle. A bit highly-strung. A bit cynical. And who can blame her? The Doctor ruined her life - that's what she gets for talking to strangers! No wonder she clouted him with a cricket bat. This is the most interesting Doctor/companion dynamic yet. I hope the new TARDIS has circuit breakers installed, cos there's gonna be sparks. But where was Amy's auntie during all this? And no mum or dad? REJOICE! REJOICE! REJOICE!

The stunning Karen Gillan's good if a little pouty - she kept reminding me of her spot-on Angelina Jolie on The Kevin Bishop Show. And I still can't look at her without thinking "Gritty BAFTA." (Wee Caitlin was great too. It's a pity we won't be seeing her again. Or will we...?)

But it's hard to believe she's even less fleet of foot than Catherine Tate (the other "Runaway Bride") was. Maybe it was that very short skirt that got the Daily Mail in such a tizzy. A kissogram? "It was this or a French maid." What was the keyword for this episode? sexy? Saucy? Kinky?

It was probably "magical." The Moff wasn't kidding when he likened his Doctor Who to a fairy tale. Allusions abounded: apples (which the Doctor tellingly tempted Amy with); Time Bandits; "The Raggedy Doctor"; music straight out of Edward Scissorhands; and, my, what big teeth Prisoner Zero had!

But fairy tales aren't all sweetness and light. What would a good fairy tale be without the stuff of nightmares? (Who said a Disney film?) And few images are as nightmarish as a giant frickin' eye staring at you. But speaking of eyes, that flashy Doctorvision POV sequence was a bit Matrix-y; a bit Sherlock Holmes (the recent one). And it'll get old real fast if it's overused. Like bullet time did.

The vast new TARDIS is a bit busy. A bit lava lamp-y. A bit, well, orange. I think I preferred the silvery / black version on Confidential. You know, the dark one (natch)? But, like the new feme choon, I'm sure we'll get used to it. And if we don't like it we can always lump it.

I suppose the TARDIS should be a bit overwhelming the first time you see it. And a potentially Ecsher-like TARDIS interior could be interesting. But didn't the Moff (who has said the Doctor shouldn't be "young and dashing" - whoops!) say something once about us kids wanting "Narnia not the wardrobe"? Unless we're treated to Die Hard in a TARDIS! Yippee-kay-yay... er, muddy funsters?

There was no messing about here. BANG! And we were off - hurtling across the London skyline. No reprise of the regeneration. No mention of Rose. Or the Time War. Or recent events even. Good. Time to move on. Doctor Who was getting a bit self-indulgent and fan-fictionish of late (even Russell thought so). But this really did feel like series.

The first episode's never the best but this was great - easily the best series opener yet. And if that blinding trailer was anything to go by, the rest of the season's gonna be even better. Blimey!

They think it's all over. It is now!

4d14b0c4-762d-45e0-abaf-029672220f55|2|5.0

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Written By: Steven Moffat Original Airdate: 3/4/2010 Review Posted: 10th April 2010 It's Saturday, and it's just about to begin. There's a steaming mug of tea and numerous snacks next to me, the telephones are all switched off, the blinds are drawn and the Freeview box is recording.

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"Send us pictures of your Doctor Who shrines, collections of merchandise, and most prized possessions - and we'll show them off here for you!"

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WhovianNet.co.uk is a UK Doctor Who fansite dedicated to providing Whovians with the latest series news, images, discussions and episode guides.

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"Many of us who might call our selves Whovians have dreamt and imagined that the Doctor would be real, and if so, what it would be like. I have devised a theory that, to me, makes sense."

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Why would he send a letter. He'd more likely send an interactive memory tag. An innocuous little bit of paper. Touch it, and you suddenly have a vision of yourself in a room with the Doctor, where he tells you something.

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Boyd, D. (2014). It's complicated: The social lives of networked teens. London: Yale University Press

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"whovian [who-vee-an], noun: An overly obsessed fan of the Doctor Who franchise"

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WhovianNet.co.uk is a UK Doctor Who fansite dedicated to providing Whovians with the latest series news, images, discussions and episode guides.

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Adults need to step back and view teens media use from the teen's perspective. As teachers, we cannot help if we are jumping to conclusions and making assumptions. We must do everything we can to understand why and how teens use media. This way, we know how to create interventions for conflict, how to help teens that we see with warning signs for trouble and trauma, and can better know how to use it to teach and how to teach about it.

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Piling stones is historically significant. Often, piles of stones are used for landmarks and to guide the way. It is my hope that this Padlet is the first stone in a landmark of analysis, research, and understanding of social media and audience in media literacy.

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Adult Perceptions of the Value of Teen Media Use

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Adult Perceptions of the Value of Teen Media Use

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"When teens interact with others, they engage in tremendous informal learning, developing a sense of what they are in relation to others while building a holistic understanding of the social world. Teens may clamor to get access to social media simply to hang out, but there they gain access to a rich learning environment" (Boyd, 2014, p. 92)

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Adult and Societal Views of Teen "Obsession" with Social Media

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Adult and Societal Views of Teen "Obsession" with Social Media

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"Deep engagement does not seem to be a problem in and of itself, unless coupled with a practice that is socially unacceptable, physically damaging, or financially costly" (Boyd, 2014, p. 80).

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"Recognizing where teens are at and why they engage in particular acts of meanness and cruelty is important to creating interventions that work" (Boyd, 2014, p. 152).

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"...teens are blamed for not thinking while adults assert the right to define the context in which young people interact. They take content out of context to interpret it through the lens of adult's values..." (Boyd, 2014, p. 51).