The resurgence of the Satanic Panic in media objects in 2016, whether in novels like Girls on Fire and My Best Friend’s Exorcism, or the topic under discussion here Dead of Summer, a 10 episode series on the recently renamed and rebranded Freeform, traded heavily on nostalgia, popular culture, and a heady mix of belief and non-belief. The series encourages an official Spotify playlist to accompany each episode and creates playlists for each of the characters, crafting a discourse that the music gives insight into authentic characterization. The viewer is offered a way into the story through popular recognition of music that once may have been considered the devil’s music. Indeed, the series, with its flashback structure and wide-ranging timeline, builds its references to various eras in terms of the pop music soundtrack that, for example, reimagines the Satanic Panic of the late 80s as extending beyond a goth/burnout/skater subset of teens to a larger and mainstream threat as evidenced through pop, alternative, and hip hop soundtracks. The stakes of music fully become clear in episode 1.10 “She Talks to Angels” (yes, every episode is named after a song) when a main clue from the past—a popular hymn recorded by the Tall Man, an African American ghost misapprehended as the demon for much of the series—successfully attacks and destroys a large number of possessed corpses. This hymn is played live in flashback and recorded on a phonograph to preserve the memory of how to kill demons, the playing of which is recorded on a camcorder and transmitted over walkie talkie. Technology, it would seem, enables the power of popular culture in general and music in particular to emerge as an alternate form of power and knowledge with which to fight the occult in an age of disbelief. Yet, the technology of the show itself ends up revealing itself to be aligned to the demonic dissembling through “lying flashbacks” and weekly Behind the Scenes featurettes. The move to imagining that the occult can be monitored, revealed, and defeated through technology parallels the same impulse in films such as Paranormal Activity. Likewise, technology gives only temporary reprieve and instead becomes evidence that knowledge does not equate to power, especially as the occult too works as popular knowledge and memory.