Afleveringen
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Ever heard of the Disney theme park for adults called “Pleasure Island”? No? Well now you have - sorry! Disney has always been understood as a company for children. But Pleasure Island closed in 2003, and people are having babies later and later (if ever at all), and so now the Disney theme parks have become a veritable playground for a whole new group of fans: grown ups. In this episode, Hannah and Maia talk about Disney adults - their malignment by the general public, their strange religiosity, and their unabashed love of a conglomerate that routinely tramples on the rights of its workers. But, after all, Disney was designed to be a a nostalgic teet from which lost adult souls may suck. So why is it that when adults like Disney, we hate them for it? Tangents include: Hannah’s dm correspondence with Deux Moi, and Maia’s millennial rights advocacy.
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Intro and outro song by our talented friend Ian Mills:
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SOURCES:
Johnny Oleksinski, “Sorry, childless millennials going to Disney World is weird.” The New York Post.
Zach Gass, “Pleasure Island: The Origins of Disney’s Nightlife” Inside The Magic.
Michael Sorkin, “See You in Disneyland” Design Quarterly (1992).
Sarah Marshall, “The Magic Kingdom: The dark side of the Disney dream” The Baffler (2019).
Xavier Guillaume Singh, “Becoming A ‘Disney Adult’ Might Be Cringe, But It Saved My Life” Huffington Post (2023).
EJ Dickson, “How ‘Disney Adults’ Became The Most Hated Group On The Internet” Rolling Stone (2022).
Jodi Eichler-Levine, “Don’t judge Disney adults. Try to understand them.” NBC (2022).
Hannah Sampson, “Childless millennials are passionately defending their Disney fandom” The Washington Post (2019).
K.J. Yossman, “Confessions of Disney Adults: Mouse House Superhans Talk Splurging on Merch, Keeping Execs in Check” Variety (2023).
Todd Martens, “In defense of Disney adults” Los Angeles Times (2024).Amelia Tate, “The ‘Disney adult’ industrial complex” The New Statesman (2024).
Lia Picard, “It’s Not Enough to Love Disney. They Want to Live Disney” The New York Times (2023).
Savannah Martin, “We interviewed the genius girl behind DisneyBound - and she’s just as magical as you’d expect” Hello Giggles (2015). -
“Grandma, would you tell us that old adage again?” “Yes dears. A long time ago, your ancestors used to say: if all the computers in the world shut down, it’s because the furries logged off for a day.” In this season 6 premiere, Hannah and Maia chat about the most maligned subculture on the internet: furries - a group of people with an above-average interest in anthropomorphic creatures, who everyone seems to despise. Thanks to some unflattering depictions in popular media like CSI and the Tyra Show, the world believes furries to be a group of maladjusted sexual deviants. But have furries gotten a bad rap? Is it really sexual deviancy, or a post-humanist movement that has been way ahead of us this whole time? We may very well be f*cking with the wrong group of people (after all, they created their own ISP before the White House did). Tangents include: the emotional power of Aquamarine, Tyra teaching Hannah about Islamophobia, and the Kyle Jenner-ification of My Little Pony.
Support us on Patreon and get juicy bonus content:
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Intro and outro song by our talented friend Ian Mills:
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SOURCES:
Jessica Ruth Austin, Fan Identities in the Furry Fandom, Bloomsbury (2021).
Eliza Graves-Browne, ”What It Means to Be Otherkin” Vice (2016).
Daisy Jones, “How furries became the most misunderstood fandom in the UK” Dazed.
Joseph P. Laycock, ““We Are Spirits of Another Sort”: Ontological Rebellion and Religious Dimensions of the Otherkin Community” Nova Religio: The Journal of Alternative and Emergent Religions , Vol. 15, No. 3 (2012).
Dylan Reeve, “Who runs the internet? Furries” The Spinoff (2022).
Venetia Laura Delano Robertson, “The Beast Within: Anthrozoomorphic Identity and Alternative Spirituality in the Online Therianthropy Movement” Nova Religio: The Journal of Alternative and Emergent Religions , Vol. 16, No. 3 (2013).
Joe Strike, Furry Nation: The True Story of America's Most Misunderstood Subculture, Cleis Press (2017).
Allison Tierney, “Furries Tell Us How They Figured Out They Were Furries” Vice (2017).
Ariel Zibler, “The Furred Reich! Furry annual convention cancelled amid community's bitter divisions over rise of alleged neo-Nazi Mr 'Foxler' and the 'altfur' movement” Daily Mail (2017).
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Zijn er afleveringen die ontbreken?
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"She knows what she's doing". In this special release of a 2023 bonus episode, Hannah and Maia discuss the elusive "e-Girl" and how, beyond the blushed nose, winged liner, choker, and multi-coloured hair - we have no clue what the e-Girl is all about. We do know one thing though - her online presence is a precarious one. From the ill-defined youth aesthetic, to Belle Delphine's bathwater, it seems the e-Girl exists online as a fantasy object for men, regardless of her age. And after the tragic murder of Bianca Devins in 2019, we ask the perennial question of whether women truly have "sexual agency" if their role is still that of subject rather than viewer. Is the e-Girl an exciting aesthetic to define a generation, or a cautionary tale about women's existence on the internet?
This episode is a special preview for season 6: internet subcultures. Stay tuned for more!
More bonus episodes like this can be found on the Rehash patreon:
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Once upon a time, there was a place you could go on the internet to buy all the strangest fruits that fashion’s best and brightest had to offer. Now, you’re more likely to hit it when you decide to become the billionth person in the world to own a pair of sambas. That place is SSENSE - the luxury e-commerce mega retailer based out of Montreal, which houses every fashion brand from Canada Goose to Issey Miyake, and employs just about the entire 20-something anglo population of Montreal. SSENSE has become an undeniable powerhouse in the world of luxury e-commerce, carving a name for itself with an unorthodox business model that fuses fashion and technology. But can a company which has been called “the Amazon of high fashion” really be the bastion of the arts that it proclaims to be? In this extra special Patreon bonus episode, Maia and Hannah, with the help of a series of interviews from former SSENSE employees and small business owners, discuss SSENSE’S impact on fashion as an art form. As SSENSE gobbles up all the fish in the e-commerce pond, is it actually supporting emerging artists, or snuffing them out?
FULL EPISODE AVAILABLE ON PATREON:
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When “selfie” was deemed the word of the year in 2013, people freaked it. How had society become so vapid? Were we all narcissists? Did this mean young people would spend all the precious time they COULD be building a Forbes empire… taking pictures of themselves? But did selfies really make Narcissuses of us all, or have human beings always been fascinated by their own self-image? The selfie as we know it today may have been invented by a clumsy Australian man. But from its origins in the days of Renaissance courtships, to 19th century “cartes-de-visite”, to the self-portraits of Cindy Sherman, it may be that the selfie has been with us all along. Moreover, can selfies be… art? In this bonus episode, Hannah and Maia breakdown the history, and question its future. Tangents include: Maia and Hannah moving countries, the importance of the word “gullet”, and why we’re so afraid of Victorian ghosts.
Listen now on Patreon:
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If you’ve ever vacantly nodded along while someone rants to you about NFTs, then this finale episode is for you. Welcome to Blockchain for Bimbos. From a genuine effort to put agency over the sale of their work back into the hands of artists was born a Frankenstein’s monster: the NFT. It’s the internet version of owning a star… if you could resell that star for millions of dollars to a crypto millionaire. Even stranger, the successful marriage of NFTs and legacy art institutions made strange bed fellows out of affluent old art collectors and dweeby tech bros. And while the era of 2021-2022 was a gold rush for those who could wrap their heads around this intentionally confounding technology, it also exposed something we always knew about the world of art, but never wanted to admit…
Ernst De Geer’s THE HYPNOSIS is now streaming on MUBI in many countries as part of their Millennial Meltdown series.
You can try MUBI free for 30 days at mubi.com/rehash.
Support us on Patreon and get juicy bonus content:
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Intro and outro song by our talented friend Ian Mills:
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SOURCES
Kevin Roose, “What are NFTs?” The New York Times https://www.nytimes.com/interactive/2022/03/18/technology/nft-guide.html
Valentina Di Liscia, “Artists Say Plagiarized NFTs are Plaguing Their Community” Hyperallergic (2021) https://hyperallergic.com/702309/artists-say-plagiarized-nfts-are-plaguing-their-community/
“10 things to know about CryptoPunks, the original NFTs” Christie’s (2021) https://www.christies.com/en/stories/10-things-to-know-about-cryptopunks-94347afeea234209a7739c240149f769#FID-11569
Scott Reyburn, “Will Cryptocurrencies Be the Art Market’s Next Big Thing?” The New York Times (2018) https://www.nytimes.com/2018/01/13/arts/cryptocurrency-art-market.html/
“Art Term: Readymade” Tate https://www.tate.org.uk/art/art-terms/r/readymade
Cynthia Goodman, “The Digital Revolution: Art in the Computer Age” Art Journal (1990) https://www.jstor.org/stable/777115David Joselit, “NFTs, or The Readymade Reversed” October Magazine (2021) https://doi.org/10.1162/octo_a_00419
Josie Thaddeus-Johns “Beeple Bring Crypto to Christie’s” The New York Times (2021) https://www.nytimes.com/2021/02/24/arts/design/christies-beeple-nft.html
Anthony Cuthbertson, “NFT millionaire Beeple says crypto art is bubble and will ‘absolutely go to zero’ The Independent (2021) https://www.independent.co.uk/tech/nft-beeple-cryptocurrency-art-b1821314.html
Zachary Small, “The Night That Sotheby’s Was Crypto Punked” The New York Times (2024) https://www.nytimes.com/2024/05/18/business/sothebys-crypto-nfts-auction.html
Adam Maida, “What Critics Don’t Understand About NFTs” The Atlantic (2021) https://www.theatlantic.com/ideas/archive/2021/04/nfts-show-value-owning-unownable/618525/
Anil Dash, “NFTs Weren’t Supposed to End Like This” The Atlantic (2021) https://www.theatlantic.com/ideas/archive/2021/04/nfts-werent-supposed-end-like/618488/
Blake Gopnik, “One Year After Beeple, the NFT has changed Artists. Has It Changed Art?” The New York Times (2022) https://www.nytimes.com/2022/03/03/arts/design/nft-art-beeple.html
Nathaniel Popper, “What is the Blockchain? Explaining the Tech behind Cryptocurrencies” The New York Times (2018) https://www.nytimes.com/2018/06/27/business/dealbook/blockchains-guide-information.html
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Considering every broad and her mother owns a pair of ballet flats these days, it’s safe to say ballet has successfully re-infiltrated popular culture. But that might not be a good thing. In this episode, Hannah and Maia, along with movement artist Susanna Haight, trace the evolution of dance in the Western zeitgeist - from the days of George Balanchine, to the introduction of camera phones into the training space. If we’re living in a time of girlhood, and girlhood is all about ballet, and ballet is all about hyper femininity, and femininity is all about self-regulation, and self-regulation is the prevailing force of our social media surveillance society… then we may just be trapped in a dance panopticon. But what does this mean for dancers? Tangents include: Maia being hit on by her pre-recorded, virtual Peloton instructor.
Support us on Patreon and get juicy bonus content:
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Intro and outro song by our talented friend Ian Mills:
https://linktr.ee/ianmillsmusic
Sources:
Sarah Crompton, “‘Ballet has the same appeal as Princess culture’: Alice Robb on how would-be ballerinas are taught to be thin, silent and submissive” Independent (2023).
Elizabeth Kiem, “George Balanchine: the Human Cost of an Artistic Legacy” Huffington Post (2014).
Cecily Parks, “The arts are slowly diversifying but ballet needs to catch up” New School Free Press (2023).
Irene E. Schultz, “What is a Ballet Body?” Medium (2020).
Frances Sola-Santiago, “Balletcore Is Still Huge In 2023 — Here’s Why It’s More Exciting Than Ever Before” Refinery 29 (2023).
Avery Trufelman, “On Pointe” Articles of Interest (2023).
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If you're enjoying the Parker Posey-aissance, then Party Girl is the film for you. This little freak of a movie, about a Manhattan club-goer who experiences an existential crisis after reading the Myth of Sisyphus (yes, that's the plot) was, believe it or not, the first feature film to premiere both in theatres and online. And thus it occupies a very odd space in popular culture. Predicting many things to come: the streaming era, Brat, downtown edgelords. And remaining an artifact of a time where weirdo, shoestring budget flicks still had an audience. In this episode, Hannah and Maia chat about the history of Party Girl and what it says about our world today. Tangents include: Trump getting shot, Hannah becoming Shakespeare, and the tyranny of niche meme accounts that come for literally everyone… even those who read Camus and drink black coffee.
Support us on Patreon and get juicy bonus content:
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Intro and outro song by our talented friend Ian Mills:
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SOURCES
Taylor Ghrist, “The secret history of Party Girl” Dazed (2015) https://www.dazeddigital.com/artsandculture/article/24991/1/the-secret-history-of-party-girl
Soraya Roberts, “How 1995’s ‘Party Girl’ Became The First Movie To Premiere Online” Defector (2023) https://defector.com/how-1995s-party-girl-became-the-first-movie-to-premier-online
The Deuce Film Series, “The Deuce Notebook: ‘Party Girl’ Is Back in Town!” Mubi Notebook (2023) https://mubi.com/en/notebook/posts/the-deuce-notebook-party-girl-is-back-in-town
Ari Saperstein, “How the First Popular Movie Ever to Stream Online Was Made” WSJ Magazine (2020) https://archive.ph/20200608135245/https://www.wsj.com/articles/party-girl-oral-history-parker-posey-11591621366Gemma Gracewood, “Reading is Sexy: Party Girl’s filmmakers share production memories while reading Letterboxd reviews.” Letterboxd (2023) https://letterboxd.com/journal/party-girl-letterboxd-reviews-Daisy-von-Scherler-Mayer/
Rich Juzwiak, “The Everlasting Appeal of ‘Party Girl’” Jezebel (2023) https://www.jezebel.com/party-girl-rerelease-1850382585
Victoria Wiet, “The Library is Open: On Party Girl, Budget Cuts, and the Future of Women’s Work” Literary Hub (2023) https://lithub.com/the-library-is-open-on-party-girl-budget-cuts-and-the-future-of-womens-work/“Party Girl: Groove is in the Heart” The Frida Cinema (2023) https://thefridacinema.org/film-criticism/party-girl-groove-is-in-the-heart
Peter Rainer, “This ‘Party Girl’ Knows How to Have Fun” The LA Times (1995) https://web.archive.org/web/20160306062736/http://articles.latimes.com/1995-06-09/entertainment/ca-11122_1_party-girl
Judy Berman, “The Streaming Void” The Baffler, no. 38 (March 2018) https://thebaffler.com/salvos/the-streaming-void-berman
Alissa Wilkinson, “Netflix vs. Cannes: why they’re fighting, what it means for cinema, and who really loses” Vox (2018) https://www.vox.com/culture/2018/4/13/17229476/netflix-versus-cannes-ted-sarandos-thierry-fremaux-okja-meyerowitz-orson-welles-streaming-theater
Meaghan Garvey, “Brat” Pitchfork (2024) https://pitchfork.com/reviews/albums/charli-xcx-brat/
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Hamilton: the musical that launched a thousand lip-biting memes. Almost a decade ago, Lin Manuel Miranda’s race-bending rap-sical took broadway by storm and rose to unprecedented levels of success, amassing a dedicated, almost fanatical global fanbase. Yet with ticket prices starting at $400 a pop, the vast majority of these fans had never actually seen the show. Even stranger, in 2016 you could throw a rock and hit about three Hamilton fans, but today it seems like a title no one wants to claim. In this episode, Hannah, Maia, and their friend and long-time collaborator Sara Harvey, go mask-off to discuss Hamilton as it relates to their love of theatre. Is Hamilton a transgressive emulation or veneration of the founding fathers? How much of the show’s backlash is about its real historical flaws, and how much is a symptom of our irony-poisoning? And how much does theatre lose when it’s spliced up and broadcasted on the internet? Tangents include: the “boys and girls can’t share a room law”, Hannah playing the lottery, and a never-before-seen look at the inception of The Crucible: The Musical.
Support us on Patreon and get juicy bonus content:
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Intro and outro song by our talented friend Ian Mills:
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Sources:
Claire Bond Potter, “Safe in the Nation We’ve Made” Staging Hamilton on Social Media” in Historians on Hamilton: How a Blockbuster Musical Is Restaging America's Past, Rutgers (2018).
H. W. Brands, “Founders Chic” The Atlantic (2003).
EJ Dickson, “Why Gen Z Turned on Lin-Manuel Miranda” Rolling Stone (2020).
Elissa Harbert, “Hamilton and History Musicals” American Music, Vol. 36 (4) Hamilton (2018).
Andy Lavender, “The Internet, Theatre and Time: transmediating the theatron” Contemporary Theatre Review (2017).
Marvin McAllister, “Toward a More Perfect Hamilton” Journal of the Early Republic, Vol. 3 (2) (2017).
Erika Milvy, “Hamilton's teenage superfans: 'This is, like, crazy cool'” The Guardian (2016).
Aja Romano, “Hamilton is fanfic, and its historical critics are totally missing the point” Vox (2016).
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When The Beatles came out with Sergeant Pepper’s Lonely Hearts Club Band, it seemed like music had changed forever. Out with the days of 78s and random singles compiled into LPs. Now the act of listening to music was an art in itself! Until it wasn’t. In this episode, Hannah and Maia look past their musical differences to take you on a journey through music history as it collides with technology. As major innovations in music - disco, punk, MTV, pirating, the predetermination of music streaming - slowly erode the art of the concept album, it’s hard not to wonder what, if anything, has been lost. Technology pushes music forward, but can music push back? Tangents include: hating on Shoppers Drug Mart; The Beatles originating the “rodent boyfriend” trend; and Maia putting a nickel into the “Don’t Talk About Youtube” jar.
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Intro and outro song by our talented friend Ian Mills:
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It’s hard to tell what killed photography… whether it was the advent of the camera phone, the “pocket gallery” that is social media, or the thousands of men taking softcore images of hot women in lingerie and calling it art. These horsemen of the photography apocalypse were all put to trial when Emily Ratajkowski went up against acclaimed artist and professional troll, Richard Prince, after he featured one of her Instagram photos in an art exhibition in New York. An image she went on to purchase for $80,000. While Prince’s “Instagram Paintings” series seems at best lazy and at worst sleazy, it raises fascinating questions about the state of photography as an art form. Photography has always had problems with authorship, but social media has thrown that into crisis. Once a photograph reaches the internet, is it yours any longer? Is it even a photograph at all? Hannah and Maia are joined by photographer and friend Stefan Johnson to discuss all this and more in this episode, embarking on tangents such as: what comprises a “Brat summer”, and Maia being too optimistic about Love Island UK.
Support us on Patreon and get juicy bonus content:
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Intro and outro song by our talented friend Ian Mills:
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SOURCES:
Walter Benjamin, “'The Work of Art in the Age of Its Technological Reproducibility” (1935).
Liz Linden, “Reframing Pictures: Reading the Art of Appropriation” Art Journal, vol. 75, No. 4 (2016).
W. J. T. Mitchell, “The Pictorial Turn” Artforum (1992).
Sabine Niederer, “Networked Images: Visual methodologies for the digital age”, Amsterdam University of Applied Sciences (2018).
Lizzie Plaugic, “The story of Richard Prince and his $100,000 Instagram art” The Verge (2015).
Emily Ratajkowski, “Buying Myself Back: When does a model own her own image?” Vulture (2020).
David Robbins, “Richard Prince: An Interview by David Robbins” Aperture , FALL 1985, No. 100, The Edge of Illusion (FALL 1985).
Peter Schjeldahl, “Richard Prince’s Instagrams” The New Yorker (2014).
Giulia Turbiglio, “A Brief History of Richard Prince’s Instagram” Artuner.
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Wattpad: a literary oasis of the Web 2.0, or a cash cow monopolizing on the infernal musings of a thousand Club Chalamets? In this episode, Hannah and Maia are joined by Youtube superstar Princess Weekes, to ponder the eponymous literary platform; from its gaming origins, to its heyday as a fertile space for burgeoning writers, to what it is now which is… bizarre. Is Wattpad f-cking up our relationship to literature, or should we just be happy that we’re literate at all? How do we critique an institution like Wattpad without punching down at its readers? And how much has the internet affected the kinds of books that are sold to us? These questions and more answered here. Tangents include: Hannah and Maia buying each other “sad broad” snacks, and an extra special shoutout to Regina, Saskatchewan.
Support us on Patreon and get juicy bonus content:
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Princess Weekes's video:
https://youtu.be/54v0KJZJuyw?si=_AT1SGUzJ_KRnbx7
Intro and outro song by Ian Mills:
https://linktr.ee/ianmillsmusic
SOURCES
“Wattpad: Building the world’s biggest reader and writer community” The Literary Platform (2012) https://theliteraryplatform.com/news/2012/10/wattpad-building-the-worlds-biggest-reader-and-writer-community/
Margaret Atwood “Why Wattpad Works” The Guardian (2012)
https://www.theguardian.com/books/2012/jul/06/margaret-atwood-wattpad-online-writing
Andrew Liptak “Wattpad is launching a publishing imprint called Wattpad Books” The Verge (2019) https://www.theverge.com/2019/1/24/18195753/wattpad-books-launching-publishing-imprint-self
Bianca Bosker, “The One Direction Fan-Fiction Novel That Became a Literary Sensation” The Atlantic (2018) https://www.theatlantic.com/magazine/archive/2018/12/crowdsourcing-the-novel/573907/
“The Master Plan” Wattpad https://company.wattpad.com/blog/2016/11/30/the-master-plan
Chelsea Humphries, “Is an Algorithm the Answer? Wattpad Books’s Challenge to Publishing Infastructure” The iJournal (2019) https://theijournal.ca/index.php/ijournal/article/view/33469/25726
David Steitfeld, “Web Fiction, Serialized and Social” The New York Times (2014) https://www.nytimes.com/2014/03/24/technology/web-fiction-serialized-and-social.html
Hazal Kirci, “The tales teens tell: what Wattpad did for girls” The Guardian (2014) https://www.theguardian.com/technology/2014/aug/16/teen-writing-reading-wattpad-young-adults
Abigail De Kosnik, “Should Fan Fiction Be Free?” Cinema Journal (2009) https://www.jstor.org/stable/25619734
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Oscar Wilde once said, “All bad poetry springs from genuine feeling. To be natural is to be obvious, and to be obvious is to be inartistic.” But if that's the case, how do we explain Rupi Kaur? Ever since she came on the scene a decade ago, Rupi has seen equal measures of praise and scrutiny. And, youth and gender considered, it’s hard not to feel that the backlash to her work is yet another instance of people hating anything that’s popular. However, in this episode, Hannah and Maia are joined by special guest, poet Phoebe VanDusen, to peer behind the veil of Rupi's persona and ask some pressing questions. What exactly irks people about her work? Does all art need to be democratized? What is the line between anti-elitism and anti-intellectualism? And perhaps the most puzzling of all: is poetry something anyone can do? Tangent includes: Maia’s shameless love of Nickelback.
Support us on Patreon and get juicy bonus content:
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Intro and outro song by our talented friend Ian Mills:
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Poets mentioned by Phoebe:
Tommy Pico
Kim Hyesoon
Etel Adnan
Timmy Straw
Frank O'Hara
Alice Notley
Ocean Vuong - "Aubade with Burning City":
https://www.poetryfoundation.org/poetrymagazine/poems/56769/aubade-with-burning-city
SOURCES:
Javon Johnson, Killing Poetry: Blackness and the Making of Slam and Spoken Word Communities, Rutgers (2017).
Maria Manning, “Crafting Authenticity: Reality, Storytelling, and Female Self-Representation through Instapoetry” Storytelling, Self, Society, Vol. 16, No. 2 (2020).
Audre Lorde, “Poetry Is Not a Luxury” (1985).
Miski Omar, “Whether voice of a generation or queen of cringe, Rupi Kaur was a gateway to the world of poetry” The Guardian (2024).
Soraya Roberts, “No Filter” The Baffler (2018).
Rebecca Watts, “The Cult of the Noble Amateur” PN Review, vol.44 (3) (2018).
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Nobody wants to be a stick waving old man, but what happens when it’s that stick waving old man who’s telling young people to loosen up? After a series of studies from 2021 reported that teenagers are having less sex than the generations before them, a strange phenomenon has unfolded on the internet. Younger people are being morally conservative, older people are responding by calling younger people “puriteens” (puritanical teens), and then other older people are calling those older people “stick waving old men”. In this Patreon bonus episode, Hannah and Maia wade through the muddy waters of this discourse, and attempt to find nuance in what has become a full on panic from all sides. What the hell happened here? Tangents include: Hannah travelling 5 hours to see DJ James Kennedy in Ottawa, and Maia telling everyone in middle school she had an “orgasm” at the New Moon premiere.
Listen now on Patreon:
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Full episode available on Patreon: Kristen and Bethany Baird make Christian life advice content on Youtube for their modest audience of 100k followers. But when Cody Ko reacted to one of their videos on his channel, spawning an entire industry of Girl Defined commentary, they became overnight sensations… for all the wrong reasons. Girl Defined certainly spreads harmful fundamentalist views to impressionable young women but, in this bonus episode, Hannah and Maia question whether Kristen and Bethany are always deserving of vitriol. For women coming into their sexualities alongside their audience, it’s important to consider if their advice is hypocritical, or just confused. Tangents include: Nara Smith and the TikTok trad wives, the “Who said I can’t wear my purity era with my converse” era of Disney, and the political theatre of Republican Christianity and its weaponization of Sydney Sweeney’s boobs. Oh - and MANY “69” jokes.
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If you thought women’s beauty standards were unrealistic before, just wait until you find out about AI porn. Not only do these girlies have cartoonish curves, the faces of young teens, and impossibly long hair… they also have eight fingers on each hand! In this finale episode, Hannah and Maia discuss AI porn, the ways it infringes on bodily autonomy, and its commitment to rendering women’s oldest profession obsolete. You’d think we’d have flying cars by this point, but instead we’re jerking off to the face of Minnie Mouse algorithmically stitched onto Lana Rhoades. Perhaps humanity is more simple that we thought. Tangents include: Maia’s “reply guy” voice, r/doppelbangher, and Hannah fumbling about 15 different analogies.
CORRECTION: Text-to-image generators Stable Diffusion and Midjourney do not use GANS.
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Support us on Patreon and get juicy bonus content:
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Intro and outro song by our talented friend Ian Mills:
https://linktr.ee/ianmillsmusic
SOURCES:
Samantha Cole, How Sex Changed the Internet and the Internet Changed Sex: A History, Workman Publishing Company (2022).
Samantha Cole, “Pornhub Is Banning AI-Generated Fake Porn Videos, Says They're Nonconsensual” Vice (2018).
Brit Dawson, “Inside the booming AI-generated porn industry” Dazed (2023).
Falon Fatemi, “Look What You Made Me Do: Why Deepfake Taylor Swift Matters” Forbes (2024).
Carl Öhman, “Introducing the pervert’s dilemma: a contribution to the critique of Deepfake Pornography” Ethics and Information Technology (2020).
Emine Saner, “Inside the Taylor Swift deepfake scandal: ‘It’s men telling a powerful woman to get back in her box’” The Guardian (2024).
Kat Tenbarge, “Found through Google, bought with Visa and Mastercard: Inside the deepfake porn economy” NBC (2023).
Jess Weatherbed, “Trolls have flooded X with graphic Taylor Swift AI fakes” The Verge (2024).
James Vincent, “Stable Diffusion made copying artists and generating porn harder and users are mad” The Verge (2022).
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…We’re about to go off. Since what feels like the beginning of time (the 60s) dating companies have promised us that our soulmates are out there waiting for us, and they know just who it is. But in this current late stage hellscape, it’s safe to say these companies aren’t as altruistic as they seem. Yes, in this episode, Hannah and Maia talk about everyone’s least favourite drug: dating apps. It comes down to one question: if dating apps could really find us our soulmate, why is it that we’re less horny, and less committal than ever before? Rather than being happily partnered, its appears we’ve all become rizzless, attention deficit, scaredy-cat sex nerds. Are we in crisis? Tangents include: Vanessa Hudgens' monopoly on the “Disney R&B” market, the “bottle night” guy, and Hannah putting yet another nickel in the Don’t Talk About Taylor Swift jar.
Support us on Patreon and get juicy bonus content:
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Intro and outro song by our talented friend Ian Mills:
https://linktr.ee/ianmillsmusic
SOURCES:
Samatha Cole, How Sex Changed the Internet and the Internet Changed Sex, Workman Publishing Company (2022).
Ann Friedman, “Overwhelmed and Creeped Out” The New Yorker (2013).
Dakota Hanson, Swipe, F*ck, Ghost, Repeat: How Dating Apps Changed the Way We Form Relationships and View Intimacy, Debating Communities and Networks XIII (2022).
Hobbes et al, “Liquid love? Dating apps, sex, relationships and the digital transformation of intimacy” Journal of Sociology (2017).
Tom Roach, “Becoming Fungible: Queer Intimacies in Social Media” Qui Parle, vol.23 (2) (2015).
Christine Rosen, “Electronic Intimacy” The Wilson Quarterly, vol. 36 (2) (2012).
Alexandra Sims, “Sex, love and swiping: How 10 years of Tinder changed us forever” Cosmopolitan (2022).
Amy Wallace, “Love God From Hell : The Man Who Brought You Videodating Hates to Date, Loves to Taunt and Has Himself Been Unlucky in Love. Would You Buy a Relationship From Jeffrey Ullman?” LA Times (1994).
Emily Witt, “A Hookup App for the Emotionally Mature” The New Yorker (2022).
Jamie Woo, Meet Grindr: How One App Changed the Way We Connect, Jamie Woo (2013).
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What do Uber and OnlyFans have in common? Did camgirilng really originate from a 24 hour live stream of a Trojan coffee pot? And fellas, is it cheating to have an OnlyFans subscription AND a wife? These burning questions (and more) will be answered in this episode, where Hannah and Maia discuss the multivalent world of OnlyFans and the ways it transformed sex work, for better or for worse. It may have been a saving grace for out-of-work people during the pandemic, but is OF a hero of the gig economy, or an agent of it? Tangents include: Twitch’s great grandfather, Justin.tv; the high culture-ification of fast food; and Maia using the term “-ification” till she gets woman’d right off the internet.
Get a whole month of great cinema FREE: mubi.com/rehash
Support us on Patreon and get juicy bonus content:
https://www.patreon.com/rehashpodcast
Intro and outro song by our talented friend Ian Mills:
https://linktr.ee/ianmillsmusic
SOURCES:
Feona Attwood, “Through the Looking Glass? Sexual Agency and Subjectification Online” in New Femininities: Postfeminism, Neoliberalism, and Subjectivity (2011).
Steve Baldwin, “Forgotten Web Celebrities: Jennicam.org's Jennifer Ringley” Ghost Sites of the Web (2004).
Marta Biino and Madeline Berg, “The secret of OnlyFans: It's much more than porn” Business Insider (2024).
Samantha Cole, How Sex Changed the Internet and the Internet Changed Sex: A History, Workman Publishing Company (2022).
Charlotte Colombo, “The history of OnlyFans: how the controversial platform found success and changed online sex work” Business Insider (2021).
Gwyn Easterbrook-Smith, “Onlyfans as Gig-Economy Work: A nexus of precarity and stigma” Porn Studies, Taylor & Francis (2023).
Stacey Diane Arañez Litam, Megan Speciale and Richard S. Balkin, “Sexual Attitudes and Characteristics of OnlyFans Users” Archives of Sexual Behavior (2022).
Sophie Sanchez, “The World’s Oldest Profession Gets a Makeover: Sex Work, OnlyFans, and Celebrity Participation”, Women Leading Change, vol 6 (1) (2022).
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If you’ve ever wondered why there are so many annoying people on Twitter, you’ve got Tumblr to thank for that. Tumblr, the microblogging site that reigned supreme in the 2010s, was like Facebook’s cool cousin who has blue hair and goes to art school. It was the cradle of identity formation for lonely teens and adults, and it was also a happy home to lots and lots of porn. Tumblr’s NSFW content made it a search-engine-friendly way to consume porn without your mom finding out. But its alternative edge made it an easy victim to much more powerful companies - which is why, in this episode, Hannah and Maia discuss the Tumblr porn ban and its consequences on society. Tangents including but not limited to: the “free nipples for sale” movement, Hannah’s Addison Rae addiction, and Maia’s misanthropic middle school blog: “Who the Poo Cares”.
Hannah's Tumblr: https://acidrain-e.tumblr.com/
Maia's Tumblr: https://takemybadge.tumblr.com/
Support us on Patreon and get juicy bonus content:
https://www.patreon.com/rehashpodcast
Intro and outro song by our talented friend Ian Mills:
https://linktr.ee/ianmillsmusic
Leah Collins, “How Tumblr went from a $1 billion Yahoo payday to a $3 million fire sale.” CNBC (2022). https://www.cnbc.com/2022/09/15/how-tumblr-went-from-1-billion-yahoo-payday-to-3-million-fire-sale.html
Josh Holiday “David Karp, founder of Tumblr, on realizing his dream” The Guardian (2012). https://www.theguardian.com/media/2012/jan/29/tumblr-david-karp-interview
Michael J. de la Merced, Nick Bilton and Nicole Perlroth “Yahoo to Buy Tumblr for $1.1 Billion.” The New York Times (2013) .https://www.nytimes.com/2013/05/20/technology/yahoo-to-buy-tumblr-for-1-1-billion.html
Allison McCrcken, Alexander Cho, Louisa Stein, Indira Neill Hoch “You Must Be New Here: An Introduction” a tumblr book: platform and culture, Chapter 1, (2020).
Chris Isidore, “Yahoo buys Tumblr, promises to not ‘screw it up’”, (20/05/13), CNN Buisness. https://money.cnn.com/2013/05/20/technology/yahoo-buys-tumblr/?iid=EL
Sarah Perez, “Tumblr’s Adult Fare Accounts for 11.4% Of Site’s Top 200K Domains, Adult Sites Are Leading Category of Referrals” (20/05/2013), Tech Crunch https://techcrunch.com/2013/05/20/tumblrs-adult-fare-accounts-for-11-4-of-sites-top-200k-domains-tumblrs-adult-fare-accounts-for-11-4-of-sites-top-200k-domains-adults-sites-are-leading-category-of-referrals/
Shannon Liao, “Tumblr will ban all adult content on December 17th” (03/12/2018), The Verge. https://www.theverge.com/2018/12/3/18123752/tumblr-adult-content-porn-ban-date-explicit-changes-why-safe-mode
Shannon Liao, “Tumblr’s adult content ban means the death of unique blogs that explore sexuality” (06/12/2018), The Verge. https://www.theverge.com/2018/12/6/18124260/tumblr-porn-ban-sexuality-blogs-unique
Community Guidelines, Tumblr. https://www.tumblr.com/policy/en/community
Jason Koelber and Samantha Cole, “Apple Sucked Tumblr Into Its Walled Garden, Where Sex Is Bad” (03/12/2018), Motherboard. https://www.vice.com/en/article/a3mjxg/apple-tumblr-porn-nsfw-adult-content-banned
Kyle Chayka, “How Tumblr became popular for being obsolete” The New Yorker (2022). https://www.newyorker.com/culture/infinite-scroll/how-tumblr-became-popular-for-being-obsolete
Ned Hepburn, “I’ll Tumblr For Ya” Vice (2009) https://www.vice.com/en/article/aeem3a/tumblr-david-karp-interview
Allison McCracken, “Tumblr Youth Subcultures and Media Engagement” Cinema Journal, Vol. 57, No. 1 (Fall 2017) https://www.jstor.org/stable/44867867
Danah Boyd, “Am I a Blogger?” Biography, Vol. 38, No. 2, ONLINE LIVES 2.0 (Spring 2015) https://www.jstor.org/stable/24570362
Photomatt (tumblr’s CEO), “Why ‘Go Nuts, Show Nuts’ Doesn’t Work in 2022”, Tumblr (2022) https://www.tumblr.com/photomatt/696629352701493248/why-go-nuts-show-nuts-doesnt-work-in-2022
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Why is it that whenever someone “thinks of the children”, a sex worker is harmed in the process? In this episode, Hannah and Maia tell the story of Backpage - the classifieds website that came crashing down when instances of child sex trafficking was discovered in its seedy underbelly. But while the crusade against the site and its free-wheeling founders seemed well intentioned, the act that was used to take them down (FOSTA-SESTA) has had massive consequences for the freedom of the web, and most importantly, for sex workers. You can never be too altruistic if John McCain is in your corner. Listen for targets such as: Timothée Chalamet’s galaxy print leggings and Hannah being a wittle baby, and Taken (2008)'s continued gorilla grip on our culture.
Get a whole month of great cinema FREE: mubi.com/rehash
Support us on Patreon and get juicy bonus content:
https://www.patreon.com/rehashpodcast
Intro and outro song by our talented friend Ian Mills:
https://linktr.ee/ianmillsmusic
SOURCES
Sofia Barrett-Ibarria, “Sex Workers Pioneered The Early Internet - Now It’s Screwing Them Over” (03/10/2018), Vice. https://www.vice.com/en/article/qvazy7/sex-workers-pioneered-the-early-internet
Samantha Cole, “Trump Just Signed SESTA/FOSTA, a Law Sex Workers Say Will Literally Kill Them” (11/04/2018), Vice https://www.vice.com/en/article/qvxeyq/trump-signed-fosta-sesta-into-law-sex-work
Daniel Oberhaus, “The FBI Just Seized Backage.com” (06/05/2018), Motherboard. https://www.vice.com/en/article/j5avp3/fbi-seized-backpage-sex-trafficking
Samantha Cole, “‘Sex Trafficking’ Bill Will take Away Online Spaces Sex Workers Need to Survive” Vice (2018)
https://www.vice.com/en/article/neqxaw/sex-trafficking-bill-sesta-fosta-vote
Margaret Renkl, “The Alt-Weekly Crisis Hits Nashville. And Democracy.” The New York Times (2018). https://www.nytimes.com/2018/02/05/opinion/nashville-scene-weekly-democracy.html
Ryan Singel, “‘Adult Services’ Shutdown Is Permanent, Craigslist Tells Congress” Wired (2010)
https://www.wired.com/2010/09/adult-services-shutdown-is-permanent-craigslist-tells-congress/
Christine Biederman, “Inside Backpage.com’s Vicious Battle With The Feds” Wired (2019) https://web.archive.org/web/20190618114540/https://www.wired.com/story/inside-backpage-vicious-battle-feds/
Megan McKnelly, “Untangling SESTA/FOSTA: How The Internet’s ‘Knowledge’ Threatens Anti-sex Traffivking Law” Berkeley Technology Law Journal, Vol. 34, No. 4 (2019) https://www.jstor.org/stable/26954413Maia Hibbett, “Who Keeps Us Safe?: Mainstream feminism’s long alliance with the punitive state” The Baffler, No. 53 (SEPT-OCT 2020) https://www.jstor.org/stable/26975643
Andrew O'Hehir “The Backpage.com sex-trafficking scandal, the death of the ‘alt-weekly’ and me” Salon (2018) https://www.salon.com/2018/04/14/the-backpage-com-sex-trafficking-scandal-the-death-of-the-alt-weekly-and-me/Sara Morrison, “Section 230, the internet law that’s under threat, explained” Vox (2023) https://www.vox.com/recode/2020/5/28/21273241/section-230-explained-supreme-court-social-media
Danielle Blunt and Ariel Wolk, “Erased: The impact of FOSTA-SESTA and the removal of Backpage on sex workers”, Anti Trafficking Review (2020)https://www.antitraffickingreview.org/index.php/atrjournal/article/view/448/363
Cunningham et al “Did Craigslist’s Erotic Services Reduce Female Homicide and Rapes?” Journal of Human Resources. (2017)Liara Roux, “Post-SESTA/FOSTA Self-Censoring for Twitter, Reddit, and other Social Media” Tits and Sass (2018) http://titsandsass.com/post-sesta-fosta-self-censoring-for-twitter-reddit-and-other-social-media/
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