Nobody panic 

A philosophical meditation on social media and our kids

Featured in

  • Published 20250506
  • ISBN: 978-1-923213-07-4
  • Extent: 196 pp
  • Paperback, ebook, PDF

I REACHED ADOLESCENCE in the mid ’90s, when all there was to do was ride our bikes to Blockbuster, rent videos and eat pizza. At birthday parties we summoned the dead with homemade ouija boards and played Murder in the Dark. It was a time for backyard bonfires and going to the movies with a boy you liked and sitting in coffee shops pretending you were Ross or Rachel or Phoebe or Joey. The internet was a baby – a magical thing you used on the family computer, waiting through trills and pings for a connection, only to send a one-line email to your friend Kate who wouldn’t be able to reply because her brother was playing Minesweeper or her sister was on the telephone. It was innocent and wholesome and slow and fibrous, and still our parents found things to panic about. 

Our childhood was disappearing at an alarming rate due to the satanic music of Marilyn Manson. When we weren’t at risk of abduction, we were watching too much television, rotting our brains. Ecstasy and speed were killing us. Mortal Kombat. South Park. Rap, for Godssakes. My mother had a particular vendetta against low-cut jeans and Courtney Love, and a lingering suspicion of Kylie Minogue. I was never, ever allowed to watch The Simpsons. It was a wonderful time to be alive. 

Already a subscriber? Sign in here

If you are an educator or student wishing to access content for study purposes please contact us at griffithreview@griffith.edu.au

Share article

More from author

Instructions for killing monsters

I do know this: Never in the history of the world has any monster been defeated with fear. (Literally, never. I checked.) Ultimately, the only shields against the powers of destruction, death and evil are the qualities that come under the banner of love, which is the bright day to fear’s night.

More from this edition

Less than human

Non-fictionWhat elevates Miku and makes her significant in our cultural landscape is her accessibility. Unlike traditional celebrities, who, even if they want to be accessible to their fans, only have so much time and can’t be perpetually available, Miku is software that anyone can buy and use. It only costs $200 and doesn’t require particularly advanced technical skills. Most of the people who produce Miku music are self-taught. One of the enduringly popular things about the concerts is that everything you see essentially comes from fans – the music, costuming and dance routines are all drawn from the expansive ‘Miku community’, where the lines between amateur and professional are deliberately blurred by everyone involved. You’re as likely to hear a song produced through a record label as you are one that was popularised by YouTube.

A freer state of being

Non-fiction We can’t get outside the aura. We’re part of the aura.– Don DeLillo, White Noise THE ROAD IS a serpent carving a path through the...

Stay up to date with the latest, news, articles and special offers from Griffith Review.