This paper examines the emergence of organized trolling behaviors on Facebook, specifically in relation to memorial groups and fan pages. In addition to mapping the development of RIP trolling — in which online instigators post abusive comments and images onto pages created for and dedicated to the deceased — the paper also examines the highly contentious and ultimately parasitic relationship(s) between memorial trolls, Facebook’s social networking platform and mainstream media outlets. Recalling Oring’s account of disaster humor, the paper goes on to suggest that, inadvertently or not, Facebook memorial page trolling presents a pointed critique of a tragedy–obsessed global media.

Why the troll problem is actually a culture problem: how online trolling fits comfortably within today's media landscape. Internet trolls live to upset as many people as possible, using all the technical and psychological tools at their disposal. They gleefully whip the media into a frenzy over a fake teen drug crisis; they post offensive messages on Facebook memorial pages, traumatizing grief-stricken friends and family; they use unabashedly racist language and images. They take pleasure in ruining a complete stranger's day and find amusement in their victim's anguish. In short, trolling is the obstacle to a kinder, gentler Internet. To quote a famous Internet meme, trolling is why we can't have nice things online. Or at least that's what we have been led to believe. In this provocative book, Whitney Phillips argues that trolling, widely condemned as obscene and deviant, actually fits comfortably within the contemporary media landscape. Trolling may be obscene, but, Phillips argues, it isn't all that deviant. Trolls' actions are born of and fueled by culturally sanctioned impulses—which are just as damaging as the trolls' most disruptive behaviors. Phillips describes, for example, the relationship between trolling and sensationalist corporate media—pointing out that for trolls, exploitation is a leisure activity; for media, it's a business strategy. She shows how trolls, “the grimacing poster children for a socially networked world,” align with social media. And she documents how trolls, in addition to parroting media tropes, also offer a grotesque pantomime of dominant cultural tropes, including gendered notions of dominance and success and an ideology of entitlement. We don't just have a trolling problem, Phillips argues; we have a culture problem. This Is Why We Can't Have Nice Things isn't only about trolls; it's about a culture in which trolls thrive.

When considering the extremist turn of the Trump-era internet, it is critical to interrogate the influence of subcultural trolling on and around 4chan from 2008 to 2012. The troll space isn’t the only space worth interrogating, however. During this same period, there was a marked overlap between subcultural trolling and the nebulous, discursive category known colloquially as “internet culture.” Both were swiftly absorbed into broader popular culture. Both were characterized by overwhelming irony and detached, fetishized laughter. That participants in these early internet culture spaces (which included but were not limited to “classic” subcultural trolling) were overwhelmingly white, middle class, and felt comfortable enough in their subject positions to respond to the world with a blanket “lol” speaks to much deeper problems than the obvious problems. Pressingly, the things that were—and that for some people, still are—fun and funny and apparently harmless online need more careful unpacking. Fun and funny and apparently harmless things have a way of obscuring weapons that privileged people cannot see, because they do not have to see them. They also have a way of establishing precedent and a step-by-step media manipulation guide that is easily hijacked by those looking to do harm, whose actions often fly under the radar—because those actions look familiar, because they look like the things that used to be fun.

A loose community of anarchic and anonymous people is testing the limits of free speech on the internet. Whitney Phillips interviews one of them

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