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In this commentary, the authors move beyond digital literacy and take up the question of what digital citizenship means and looks like in the context of the COVID‐19 pandemic. To engage with questions of ethical practice, the authors begin with the International Society for Technology in Education framework for digital citizenship. They expand on these standards to argue for an awareness of the ethical questions facing citizens online that are difficult to encompass as a set of skills or competencies. The authors then take these considerations into a set of practical steps for teachers to nurture participatory and social justice–oriented digital citizenship as part of the curriculum. The authors conclude by noting the digital divide and social inequities that have been highlighted by the current crisis.

Literacy educators can guide students to examine the stories we live by, or the larger narratives that guide individual and collective sensemaking about relationships between humans and the environment. Drawing from the field of ecolinguistics, the authors consider two ecologically destructive stories we live by: Humans are the center of existence, and consumerism is a main pathway to happiness and fulfillment. The authors also explore three intersecting beneficial stories we live by that center on indigenous perspectives, feminist foundations of climate justice, and youth activism. This work is rooted in three essential understandings about climate change: It is a complex socioscientific topic and escalating problem, engaging with climate change is mediated primarily by a complicated array of motivated digital texts and motivated readers, and climate change is about climate (in)justice. The authors conclude with ideas about being a climate justice literacy educator.

Political memes are argumentative visual texts commonly encountered on social media. Through the strategic combination of imagery and captions, a political meme presents information as fact about a topic, an individual, or a specific group. The power of political memes can be attributed to their viral nature and their effects on public discourse and perceptions. To critically read a political meme, students must be equipped with critical media literacy skills. This article describes how action researchers engaged 56 middle school students in the rhetorical analysis of political memes with the goal of supporting critical media literacy skills through practical application. The two-week study took place in the Southeastern United States at a rural school. Students determined that the political memes created false binaries, appealed to group identities, drew on macro and micro sociopolitical contexts, and used strategic visual arrangements to form an argument. Critical media literacy is imperative given the prevalent and viral nature of media and its effects on people and public policy.

This department column is a venue for thoughtful discussions of contemporary issues dealing with policy and practice, remixed in ways that generate new insights into enduring dilemmas, debates, and controversies.

Print‐based literacy is no longer sufficient for the global digital age. However, distribution of the resources needed to learn new literacies is unequal. The authors describe a qualitative case study conducted with teachers in Kenya who participated in a professional development series on new literacies and inquiry. The professional development involved an inquiry‐based literacy approach that is technology‐rich and learner‐centered. Three themes emerged from the data: shifting to learner‐centered pedagogies: “I’m inspired to improve my teaching”; change is slow but coming: “We need to be empowered with more information about new technologies”; and strategies for teaching new literacies: “Creating is better than just talking.” The discussion focuses on the enduring challenges for educational transformation in Kenya coupled with the substantive changes that are being made by pioneering Kenyan educators.

There is far more to the digital divide than meets the eye. In this article, the authors consolidate existing research on the digital divide to offer some tangible ways for educators to bridge the gap between the haves and have‐nots, or the cans and cannots. Drawing on Aldous Huxley's notion of a “brave new world,” some digital divide approaches and frameworks require debunking and are strongly associated with first‐world nations that fail to account for the differential access to technologies that people who live in poverty have. Taking a closer look at current realities, the authors send out a call to teachers, administrators, and researchers to think more seriously and consequentially about the effect the widespread adoption of technologies has had on younger generations and the role of the digital on knowledge creation and on imagined futures.

The authors featured in this department column share instructional practices that support transformative literacy teaching and disrupt “struggling reader” and “struggling writer” labels.

In an age of mobile technologies, digital animation creation can be an important tool for teaching adolescents how to communicate emotions multimodally. This article draws on appraisal theory and original research to illustrate the power of digital animation for multimodal literacy learning. Students from a culturally diverse cohort were taught how to interpret emotions in animated films and produced 2‐D cartoon animations using drawings with an iPad application and stylus. The findings show that impassioned multimodal communication is enhanced by knowledge of how feelings produce different facial expressions, gestures, body movements, and physiological changes in characters that are often exaggerated to powerful effect in animations. This includes an ability to invoke different intensities of emotions. The research has significant implications for engaging adolescents in the multimodal communication of emotions and feelings through vocabulary, images, and body language.

Being literate in today’s world involves more than reading and writing traditional works in print. Students need experiences with a range of multimodal narratives, including animation. Multimodal narratives offer many entry points for engagement, and design plays an important role as readers/viewers navigate their way through these works and make meaning. This qualitative study took place in the U.S. Southwest and involved 20 university students enrolled in a Studio Ghibli Films course. Analysis of coursework using grounded theory and open coding revealed that participants designed nine viewing paths to interpret the films, approaching animated works as narratives, multimodal compositions, cultural/historical artifacts, transformed source materials, products of a director, objects of value, conversations between texts, commentaries, and personal experiences. Participants also composed a wide variety of creative projects that drew on their out‐of‐school interests. Animated works, such as the films of Studio Ghibli, have great potential in education.

This department column is a venue for thoughtful discussions of contemporary issues dealing with policy and practice, remixed in ways that generate new insights into enduring dilemmas, debates, and controversies.