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).

"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!

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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? 

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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. 

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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.

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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/777115 

David 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

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:

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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).

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:

⁠https://www.patreon.com/rehashpodcast⁠

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-11591621366 

Gemma 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/ 

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).

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. 

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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