It’s hard not to admire the speed with which we can now manufacture a moral panic out of a £15 bag of bits of wood.
Argos puts a toy tripod and a pretend microphone in a box, labels it “influencer”, and suddenly we’re in a full-blown existential crisis about the fate of childhood. You can almost hear the hand-wringing. “Are we teaching toddlers to chase fame?” As if the average two-year-old needs a nudge in that direction.
Children have always been attention-seeking. Not in a pathological sense, just in the entirely normal, slightly exhausting way that involves being summoned repeatedly to watch the same jump, the same dance, the same “look at me” performance with only minor variations. If anything, the influencer kit is simply formalising a role they had already cast themselves in.
We’ve had generations of this dressed up in more comforting language. Dressing up boxes were not about “identity formation”, they were about putting on a show. Toy kitchens were not about “developing life skills”, they were about presenting you with an inedible plastic banquet and expecting applause. Toy microphones, karaoke machines, plastic guitars - all perfectly acceptable ways for a child to hold the room hostage.
The only thing that has changed is the label. Call it “performer set” and nobody blinks. Call it “influencer” and suddenly it becomes a commentary on late capitalism, digital identity, and the collapse of innocence. The toy itself hasn’t moved an inch. The adults have simply wandered off into a thicket of their own anxieties about social media and dragged the toy along with them.
There is also a quiet sleight of hand in some of the criticism. The kit does not connect to the internet. It does not upload content. It does not come with a brand manager or a monetisation strategy. It is, at heart, a wooden camera and a stick with a pretend microphone on the end. The idea that this is grooming toddlers for a life of algorithm chasing requires a fairly heroic leap.
What it does do is reflect the world children already see. Just as toy laptops appeared once offices filled with screens, and toy cash registers followed the supermarket, this is simply a child’s-eye version of what adults do with their phones. If anything, it is a slightly quaint, analogue take on a very modern habit.
And there’s the slightly uncomfortable truth underneath all this. The real “influencer culture” that worries people is not coming from a wooden toy bought in Argos. It is coming from the actual phones in parents’ hands, the endless scrolling, the casual filming, the small rituals of being seen. Children notice that far more than they notice what is written on a cardboard box.
So yes, there is something faintly ridiculous about the outrage. Not because the questions about attention, identity and technology are invalid, but because they have been pinned onto entirely the wrong object. It’s like blaming a toy steering wheel for bad driving habits while ignoring the actual car.
In the meantime, the most likely outcome is that a small child will set up their wooden tripod, announce something incomprehensible to an audience of one, and insist you watch it three times in a row. Which, come to think of it, is exactly how it has always worked.











