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Social scientists recognize the ambiguous significance of both mass media and mediated spectacles to impact public perceptions and governmental (in)actions regarding a plethora of societal and political concerns. This recognized ambiguity runs the spectrum from what Guy Debord termed “the society of the spectacle” in 1967 (1995; 2002), whereby mediated spectacles encourage passivity and distraction, to more recent accounts that reimagine spectacles in media and in public spaces of having the potential to encourage activism and alter public debates (see Duncombe, 2007). The advent and expansion of social media encourages understanding the significance of mediated representation to potentially drive social and/or political change through their capacities to transmit meanings outside of established mass media, to influence mass media itself, to act as vehicles for innovative narratives and to possibly galvanize action through the dissemination of visual representations. To explore the potential for mediated spectacles to facilitate political change, this project considers two case studies involving the intersection of social media, newspaper accounts and television coverage/documentary film representation in order to determine whether such an alignment contributes to discernable agenda-setting. The cases of the controversy over SeaWorld’s use of Orca whales (and the negative representation of this practice depicted in the documentary Blackfish) and the recent case of the killing of Cecil the lion by Minnesota dentist and hunter Timothy Palmer (including protests directed at Palmer’s dental practice) were examined through the social media related to these cases is juxtaposed with newspaper accounts and content analyses of television and/or film related to these cases in order to identify the capacity of social media narrative to inform mass media depictions of these events and potentially infuse them with “moralization” (Rozin, 1997).