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

Resisting the ‘Content Mindset’

Non-fictionWhen we hear publishers, broadcasters or gallerists describing creative work as content, we know immediately that their approach is transactional. When we hear people describe their own work as content, they have already become complicit in their own exploitation. Social media profiles the world over feature bios identifying their owners as ‘content creators’: people who produce interchangeable matter to fill someone else’s space. Social media accounts are available free of charge on the basis that we will keep creating the work that feeds and evolves the algorithm, provides a culturally authentic context for ad placement and keeps us all scrolling – our number-one self-selected addictive behaviour.

Very online feelings

Non-fictionIn 2013, the Oxford English Dictionary declared ‘selfie’ its word of the year, and Twitter later declared 2014 ‘the year of the selfie’ after the term was mentioned more than ninety-two million times on the platform – a twelve-fold increase from the previous year. It was in this context that influencer selfies provided templates and scripts to spur more consumption and more desire, taking commodification of the body and the self to the next level. For instance, influencers popularised a whole ‘science’ around how to craft the most desirable faces through cosmetics and surgery, how to perform authenticity through ‘casual selfies’ that felt extra sincere but that also required extra behind-the-scenes effort, and how to assuage tensions arising from accusations of excessive plastic surgery and ‘fakery’. Selfies were reclaimed, transformed by their creators from expressions of mere vanity to useful tools of subversive frivolity. Influencer couples also sold us benchmarks of romantic perfection through carefully orchestrated couple photographs, love declarations on social media and ‘rules’ about how to be the perfect partner.

Bypassing the gatekeepers

Non-fiction IN THE OPENING scene of the Copa 71 documentary, we see US women’s soccer great Brandi Chastain watch archival football footage on an iPad.  (Chastain...

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