Since this is the world we live in, the thick of 2022, and apparently people aren’t terribly familiar with the Satanic Panic but there seems to be quite a bit of discussion concerning it as of late, I will direct your attention to the FAB Press essay collection SATANIC PANIC: POP-CULTURAL PARANOIA IN THE 1980s.

If you are too young to be familiar with the Satanic Panic: it was a period of time during the 1980s where suburban institutions insisted that the ills of culture were due to teens being wooed to devil worship via media and coercion. At the time, it was inescapable. The scare permeated all of commentary and political culture which, as you can imagine, resulted in the Streisand Effect, boosting anything and everything, having a reverb effect on all artistic endeavors.

FAB’s SATANIC PANIC is an expertly curated collection of scrutinies of life during that time, one that ranges the gamut from what you’d expect: D&D, cartoons, metal and MTV, to forgotten culture like the wall-to-wall lies of the memory recovery of Michelle in the book MICHELLE REMEMBERS as well as HBO’s INDICTMENT: THE MCMARTIN TRIAL. It also looks at Satanic Panic beyond the US, including the UK and Quebec and Australia.

It’s an extraordinarily comprehensive look at the irrational pop culture paranoia of Satanism at the time, all wrapped up in an immaculately attractive package.

You can wrangle your own copy at:


As someone who attended film school explicitly for film criticism and analysis (before I realized ‘oh I’ve made a huge mistake I love this but this is not a viable career’ and changed minors), and as someone who has followed longform film criticism since then, despite all of that, I had no idea that James Baldwin had penned this three-part essay on being Black and watching and disseminating American film via films from the silent era (you know Baldwin has a lot to say about THE BIRTH OF A NATION), the 30s (including Fritz Lang’s YOU ONLY LIVE ONCE and William Wyler’s DEAD END) to the 60s (IN THE HEAT OF THE NIGHT and LAWRENCE OF ARABIA) to the 70s with THE EXORCIST.

Everyone knows that Baldwin was an amazing essayist, but with THE DEVIL FINDS WORK, he’s exceptional at interweaving his personal life, the films he’s examining, and the American cultural climate in an effortlessly gorgeous manner. This essay is certainly necessary reading for any writer, doubly so for anyone writing about media.

Again, while I’m frustrated I didn’t read it in my youth along with Chicago’s own Jonathan Rosenbaum, Kracauer’s FROM CALIGARI TO HITLER, and Lotte Eisner’s THE HAUNTED SCREEN, reading it now as someone who is familiar with many of the texts and films he references and examines — as opposed to myself as a blinkered teen who was largely unfamiliar with most of the works he discusses — makes me appreciate it in a way I doubt I would have then.

You can buy it, and many other amazing books that disseminate media, at the illustrious critic Matt Zoller Seitz’s personal storefront: