The faces of women in the Republican Party have changed drastically, and people have noticed. As the likes of Kristy Noem and Kimberly Guilfoyle become ever-pouchier, pouty-lipped, and blown out in the short time since Trump took office, the internet has been in a frenzy. Some, including plastic surgeons themselves, have suspected these women of getting cosmetic work done to get in Trump’s good graces. Others have suspected this botchedness to be intentional, that they’re deliberately “polluting other people’s field of vision” in an act of contempt. But are they? In this season 7 premiere, Hannah and Maia are joined by Biz Sherbert (of Nymphet Alumni) to discuss the many ways that beauty is absorbed into the never-ending culture war of our times. From “Republican makeup tutorials” on TikTok, to the widespread confusion around a chic Republican girl on the cover of New York Mag, it seems everyone is doing a whole lot of externalizing at a time when introspection is more necessary than ever. 

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Biz's article:

https://www.anothermag.com/fashion-beauty/16218/what-does-beauty-look-like-in-the-trump-era-anna-claire-howland-addison-rae

SOURCES:

Brock Colyar, “The Cruel Kids’ Table,” New York Magazine (2025).

Vanessa Friedman, “The Trumpification of Kristi Noem,” The New York Times (2024).

Doree Lewak, Trump supporters getting plastic surgery to look their best for Mar-a-Lago schmoozing: ‘They have face time with the leader of the free world’,” The New York Post (2025).

Amanda Marcotte, “From "Mar-a-Lago face" to uncanny AI art: MAGA loves ugly in submission to Trump,” Salon (2025).

Inae Oh, “In Your Face: The Brutal Aesthetics of MAGA,” Mother Jones (2025).

Emilia Petrarca, Can I Boom Boom? Falling for, and fretting over, the gilded and greedy new aesthetic.,” The Cut (2025).

Biz Sherbert, “What Does Beauty Look Like in the Age of Trump?” AnOther Mag (2025).

Ever since Seo Taiji and Boys broke onto the scene in their baggy overalls back in 1992, Korea has been working to cast as wide a cultural net as possible on the world stage. And, by placing young talent through rigorous game show incubators and pumping out dozens of attractive, talented, and universally appealing musical artists, they succeeded. With the meteoric rise of groups like BTS and Blackpink, K-Pop now had a hoard of die-hard fans in the West - a cross-cultural exchange to challenge Beatlemania. In this bonus episode, Hannah and Maia talk about K-Pop stans, who have become some of the loudest voices on the internet, and often use those voices for good. But when the conservative K-Pop industry subjects its artists to unprecedented levels of public scrutiny and input, and leaves them at the whims of a rabid global audience, can it spawn a new, dangerous form of parasocialism that we may never come back from? Tangents include an incredibly sophisticated T-Pain impression, and the tragically overlooked Lonely Island cinematic masterpiece, Popstar: Never Stop Never Stopping. 

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Who said men can’t have hobbies? The world certainly did a few years ago, when hypebeasts seemed to dominate every sidewalk of every shopping district in just about every city around the world. When brands like BAPE and Supreme popularized the limited drop sales model in the 2010s, they inadvertently spawned a breed of man whose entire life seemed to depend on “copping” the latest and most overpriced streetwear. But jump to today, and the hypebeast is nowhere to be found. Did he shrink away out of shame, or did he simply evolve into a new, more advanced specimen (the dreaded Grailed reseller)? In this bonus episode, Hannah and Maia wonder whether we were too hard on the hypebeasts, if they really killed counterculture, and if there’s room for them in today’s world. Tangents include: hating on The Bear, paying extra for that sweet sweet Fiji water, and the beauty of Bella Hadid’s ill-fated experience at Kith. 

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Nate Petroski is an off-the-grid recluse who has a girlfriend he met online, millions of fans all across the country, and a bespoke beard-oil brand. Something isn’t adding up here. In this finale episode, Hannah and Maia step into the wilderness of the internet’s very own homesteading community. These influencers make a living documenting their alternative, self-sufficient lifestyles. And, in an increasingly volatile political and economic climate that has many people wishing to go back to basics, it’s extremely lucrative. But is being an internet influencer antithetical to the tenets of off-grid living? Or does it make it more community-oriented than the lifestyle allows? Listen to find out! Tangents include: a divisive Oscars season, Hannah becoming a female pickup artist, and the perplexing contradictions of AmishTok. 

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You don’t know what seapunk is. We don’t know what seapunk is. Even seapunks don’t know what seapunk is. Well at least, most of them don’t. It all started with a guy named Lil’ Internet and his dream of a barnacle-adorned leather jacket. Quickly evolving (or devolving, depending on how you look at it) into a much-talked-about, less-practiced internet subculture helmed by two rather dogmatic blue-haired musicians. While even they couldn’t define seapunk, which shares elements from just about every other early 2010s subculture, it became the subject of a slew of self-indulgent thinkpieces and a whole lot of internal naval-gazing and gatekeeping. No one, not even Azealea Banks, was safe from their pitchforks (or tridents). But in this episode, Hannah and Maia ask: is sea punk even about the sea? Is it even punk? And why did this subculture sink so early into its watery grave? Tangents include: the Bath & Body Works renaissance, buying gifts for teenagers, and Maia’s neglected goldfish Chloe. 

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Whip out your tie-dye t-shit and skull-patterned socks, because it’s time to talk about the Grateful Dead. Or, rather, their die-hard, multigenerational, technologically proficient fanbase, the Deadheads. Born from the jug bands and acid test shows of 1960s San Francisco, the Grateful Dead took the world by storm with their experimental, long-form jam sessions that, for over five decades, drew legions of young hippies from across the country to experience (with the help of some very strong psychedelics) the pure sonic bliss of a Dead show. But, like laced PCP, nothing can be pure forever. And when your fanbase now comprises of the likes of Nancy Pelosi, Andy Cohen, and Anne Coulter, and your band is now helmed by indie demon John Mayer, you’ve gotta wonder… what went wrong? In this episode, Hannah and Maia are joined by Hannah’s father and former Deadhead, Patrick Raine, to discuss the legacy of the Deadheads, their spirited (or spiritual) online presence, and the dangers of a band outsized by its fanbase. Tangents include: Hannah’s terrible texting abilities, a lively discussion about downtown Toronto’s “The Well”, and Hannah’s dad’s love for the hit Bravo reality show, Below Deck. 

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Weebs… and the people who hate them. Japan has always had a distinctive relationship with the West. But ever since it broke out on the global stage with its “gross national cool” - distributing an array of films, shows, video games, and toys the world over, Westerners have taken on a particular fascination with the country. To the point that an entire Western subculture has formed around an interest… or rather obsession, with all things Japanese. In this episode, Hannah and Maia track how the weeb was born - from the radical DIY origins of manga and otaku, to the fedora-wearing white Redditors of today who hump h*ntai body pillows. But the question remains: Is a weeb a person who simply attends anime conventions and enjoys a vast knowledge of Japan, or a gooner with a Japan fetish? OR does this binary really exist at all? Listen to find out. 

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SOURCES:

Anne Allison, “The Japan Fad in Global Youth Culture and Millennial Capitalism,” Mechademia. 1, Emerging worlds of anime and manga, (2006).

Hannah Ewens, We Asked J-Culture Fans to Defend Being ‘Weeaboos’” Vice (2017).

Fandom Unbound: Otaku Culture in a Connected World, ed. Mizuko Ito and Daisuke Okabe, Yale University Press (2012).

Sharon Kinsella, “Japanese Subculture in the 1990s: Otaku and the Amateur Manga Movement,” The Journal of Japanese Studies, Vol. 24, No. 2 (1998).

Andrew Leonard, “Heads Up, Mickey,” Wired (1995).

Susan Napier, “The World of Anime Fandom in America” Mechademia: Second Arc, Vol. 1, (2006).

Joseph Tobin, Pikachu's Global Adventure: The Rise and Fall of Pokemon, Duke University Press (2004).

Theresa Winge, “Costuming the Imagination: Origins of Anime and Manga Cosplay,” Mechademia: Second Arc, Vol. 1, Emerging Worlds of Anime and Manga (2006).

Ever since Serial burst onto the scene back in 2015 , it birthed not only the world of podcasting itself, but an entire cottage industry of true crime podcasts, each one more ethically dubious than the last. But one such podcast may be, at least by title, the very worst: My Favorite Murder. This wildly popular series has been criticized over the years for its flippant water-cooler recounting of people’s real life traumas. And while My Favorite Murder made efforts to correct some of its wrongs, it has facilitated an avid online fandom called Murderinos, comprised mostly of self-proclaimed mentally ill girlies who have grown so prominent on the internet as to embody their own subculture. In this episode, Hannah and Maia discuss the bizarre formation of this alt-girl army, question arbitrary lines drawn in the true crime sand, and ponder whether shame is sometimes a good thing. Tangents include: Hannah and Maia undergoing public couple’s therapy, and Hannah’s coining of the term “shame-negative’. 

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If you never made your FB profile picture that “I made you a cookie, but I eated it :(“ meme in 2008, were you even living? In this episode, Hannah and Maia recall the long lost emo subculture - which took the world by storm in the mid aughts and fell quickly into obscurity thereafter. Emo emerged as a musical non-genre from the DIY hardcore punk scenes of San Fran and Detroit, and two decades later  it would transform into completely unrecognizable pop punk radio hits resounding in every mall you ever walked into. But thanks to the no-holds-barred, cost-effective utopias that were MySpace and LiveJournal, it seemed the emo subculture was stronger than ever - as socially-anxious teens bonded over their love for Pete Wentz and their own self-loathing. What could possibly go wrong? Are subcultures a form of teenage sovereignty? And do we have Twilight because of 9/11? Listen, for these pressing questions and more. Tangents include: Hannah’s parents’ perfect marriage, Orson Welles vs. Woody Allen beef, and Maia’s online relationship with Gerard Way. 

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Intro and outro song by our talented friend Ian Mills:

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SOURCES:

Peter C. Baker, “When Emo Conquered the Mainstream” New Yorker (2023).

Tom Connick, “The beginner’s guide to the evolution of emo” NME (2018).

M. Douglas Daschuk, “Messageboard Confessional: Online Discourse and the Production of the "Emo Kid"” Berkeley Journal of Sociology, Vol. 54, Knowledge Production and Expertise (2010).

Judith May Fathallah, Emo: How Fans Defined a Subculture, University of Iowa Press (2020).

Andy Greenwald, Nothing Feels Good: Punk Rock, Teenagers, and Emo, St. Martin’s Publishing (2003).

Rosemary Overell, “Emo online: networks of sociality/networks of exclusion,” Perfect Beat (2011).

Dan Ozzi, Sellout: The Major Label Feeding Frenzy That Swept Punk, Emo, and Hardcore, Mariner (2021).

Carla Zdanow and Bianca Wright, The Representation of Self Injury and S*icide on Emo Social Networking Groups” African Sociological Review, Vol. 16, No. 2 (2012).

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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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).