Rehash

Why isn’t “airbrushed skin for all” written in the constitution? For years, photoshop was a professional’s game, gatekept, if you will, from the masses. But then Facetune came about and forever changed the course of history, democratizing photoshop to the dysmorphic masses. The promise of a user-friendly photoshop experience, where anybody could fabricate their appearance, was more seductive than anything because, by the year 2017, Facetune was the most popular paid app around. But as people begin to hide behind their social media avatars, and as our avatars become less realistic by the day, we can’t help but wonder whether Facetune has damaged our self-perception forever. In this finale episode, Hannah and Maia discuss the impact of Facetune - from the advent of “no face,” to Celebface turning “facetune-spotting” into a sport, to plastic surgeons using it as a conditioning tool. Has our vain, over-stimulated visual culture raised the ceiling so high that we now aspire to look like aliens? Tangents include: Lena Dunham’s new show, and Mary M. Cosby’s photoshop skills. Support us on Patreon and get juicy bonus content:⁠https://www.patreon.com/rehashpodcast⁠Intro and outro song by our talented friend Ian Mills:⁠https://linktr.ee/ianmillsmusicOur Sponsors:* Check out Mood and use our code REHASH for a great deal: https://mood.comAdvertising Inquiries: https://redcircle.com/brands

In 2021, a flight to Atlanta was delayed for two hours to accomodate for 24 wheelchair-bound women who had just received a little procedure known as the Brazilian Butt Lift (BBL). This was not an isolated incident. In the mid-2010s, the number of luteal fat grafting (BBL) procedures increased by 103 percent, as did BBL-related deaths. It was ass-mageddon. So, in this episode, Hannah and Maia trace the history of the BBL back to its very sketchy origins in Brazil under the purview of superstar plastic surgeon Ivo Pitanguy and a prominent eugenicist named Renato Kehl, and the impact that the country’s national mythology has had on the prevalence of the BBL today. From Miss BumBum contests, to Kim K’s reality TV butt X-ray, to Antony Bumba’s viral parodies of the BBL on TikTok, how exactly did we arrive at a culture where lives are risked for the sake of having a large dumpy? Tune in to find out. Support us on Patreon and get juicy bonus content:⁠https://www.patreon.com/rehashpodcast⁠Intro and outro song by our talented friend Ian Mills:⁠https://linktr.ee/ianmillsmusicSOURCES:Carmen Alvaro Jarrín, The biopolitics of beauty: Cosmetic citizenship and affective capital in Brazil,” College of the Holy Cross (2017). Cansancao et al, ““Brazilian Butt Lift” Performed by BoardCertified Brazilian Plastic Surgeons: Reports of an Expert Opinion Survey,” Plast Reconstr Surg, 144(3) (2019). Dara Greenwood, “The BBL Bubble: How Social Media Fuels Body Modification,” Psychology Today (2021). Rebecca Jennings, “The $5,000 quest for the perfect butt,” Vox (2021). Banseka Kayembe, “Are we witnessing the end of the BBL era?” I-D (2021). Daniel F. Silva, “The hidden anti-Black history of Brazilian butt lifts,” Washington Post (2022). Mimi Thi Nguyen, The Promise of Beauty, Duke University Press (2024).Our Sponsors:* Check out Mood and use our code REHASH for a great deal: https://mood.comAdvertising Inquiries: https://redcircle.com/brands

People have been trying to reverse the effects of aging since ancient times, and bored rich people have been trying to live forever since, well…forever. But historically the practice has been targeted to people who are actually “aged.” So how did we go from Jane Fonda selling us miracle creams, to retinols marketed towards actual children? As the anti-aging “cosmeceuticals” market explodes before our very eyes, children overrun our locals Sephoras, and millionaires inject litres of their progeny’s blood - it seems the beauty industry has tapped into our collective, all-consuming fear of death, and exploited it to the very last drop. In this episode, Hannah and Maia discuss the emergence of cosmeceuticals and anti-aging “prejuvenation” procedures (preventative botox, morning shed routines, and the retinol epidemic), and their dastardly effects on the human psyche. Tangents include: neighbourly etiquette, Canadian pride, and crying in public. Support us on Patreon and get juicy bonus content:⁠https://www.patreon.com/rehashpodcast⁠Intro and outro song by our talented friend Ian Mills:⁠https://linktr.ee/ianmillsmusicSOURCES:Charlotte Cripps, “The rise of the skincare tweens: How retinol serums and eye creams took over childhood,” The Independent (2025). Haykal et al, “Prejuvenation: The Global New Anti-Aging Trend,” Aesthetic Surgery Journal Open Forum (2023).Katie Kilkenny, “How Anti-Aging Cosmetics Took Over the Beauty World,” PS Mag (2017).Lauren McCarthy, “Zoom Face is Real - Here’s How to Fight It,” Nylon (2021). Stefan Odenbach-Wanner, “The Biohacking-Code: An Eternal Pursuit of Perfection - The Myth About Living Forever?! From the Fine Line of Self-Optimization to Self-Destruction,” in Innovations in Healthcare and Outcome Measurement: New Approaches for a Healthy Lifestyle, Springer, (2025). Sarah Radin, “The ‘Sephora kids’ aren’t going anywhere,” Vogue Business (2025). Orianna Royle, “Tech billionaire who spends $2 million a year to look young is now swapping blood with his 17-year-old son and 70-year-old father,” Fortune (2023). Danielle Sinay, “Leave TikTok’s ‘Morning Shed’ Trend Alone,” Glamour (2024). Sarah Spruch-Feiner, “Glossy Pop Newsletter: How TikTok democratized retinol,” Glossy (2022). Lauren Valenti, “Why Preventative Botox Injections Could Be Aging You,” Vogue (2025).Our Sponsors:* Check out Mood and use our code REHASH for a great deal: https://mood.comAdvertising Inquiries: https://redcircle.com/brands

From the man who introduced self love, and even “love itself,” to the beauty and fashion industries, David Kibbe, comes a scale which can determine the very essence of a person using the scientific measurements of “bones big, bones small.” The Kibbe Body Type test came about during the self-help era of the 1980s, but has found new life online, as people rush to sort themselves into arbitrary physical categories. Is Kibbe water for lost souls wandering through the late capitalist desert, or simply a mirage, revealing how little we trust ourselves today? Tangents include: Mrs. Incredible’s Kibbe body type, Marlon Brando smashing every eligible bachelor in Hollywood, and the worst episode of Sex and the City. Support us on Patreon and get juicy bonus content:⁠https://www.patreon.com/rehashpodcast⁠Intro and outro song by our talented friend Ian Mills:⁠https://linktr.ee/ianmillsmusicOur Sponsors:* Check out Mood and use our code REHASH for a great deal: https://mood.comAdvertising Inquiries: https://redcircle.com/brands

Beauty is not in the eye of the beholder, but rather in the eyes of 500 sl*ts who hold all society’s power and privileges. At least, according to incels. In this episode, Hannah and Maia revisit the loneliest, angriest corners of the internet to explore “looksmaxxing” - a hot wheels-style rebrand of the “glow up”, replete with internet jargon and pseudo-science and a brand new name to make it palatable for men. Birthed deep in the forums of PUAhate, Sluthate, and 4chan, looksmaxxing began as a way for incels to optimize their looks and ascend their social status. But now, it’s everywhere. The looksmax subreddit is rife with people of all genders commenting stuff like “you’re beautiful love <3” and naturally occurring TikTok Chads making a living as “looksmaxxing influencers”. What the hell happened here, and why? Tangents include: Maia seeing Addison Rae on the street, and Hannah and Maia being really annoying during DND. Support us on Patreon and get juicy bonus content:⁠https://www.patreon.com/rehashpodcast⁠Intro and outro song by our talented friend Ian Mills:⁠https://linktr.ee/ianmillsmusicSOURCES:Joseph Bernstein, “Young Men Seek Answers to an Age-Old Question: How to Be Hot,” The New York Times (2023). Megan Day, “How Manosphere Content Placates Disenfranchised Men,” Jacobin (2025). Riley Farrell, Inside looksmaxxing, the extreme cosmetic social media trend,” BBC (2024).Sarah Held, “incels://cheeks/jaws: On fragile masculinity, fatal body ideals, homophobic homoeroticism and National Socialist aesthetics revisited,” Fashion, Style & Popular Culture, vol. 10 (2022). Alice Hines, “How Many Bones Would You Break to Get Laid? “Incels” are going under the knife to reshape their faces, and their dating prospects,” The Cut (2019). John Mercer and Clarissa Smith, “Aspirational Bodies: Health, Fitness and the Body Project,” in Sexualised Masculinity: Men’s Bodies in 21st Century Media Culture, Taylor & Francis (2025). Our Sponsors:* Check out Mood and use our code REHASH for a great deal: https://mood.comAdvertising Inquiries: https://redcircle.com/brands

Liv Schmidt is a 24-year-old “health and wellness” coach who puts a populist spin on pro-ana content! She’s loud, rude, and ready to take our feeds by storm one almond at a time. Schmidt’s “skinnytok” movement wasn’t built in a day - she is in fact only a messenger for the larger trend of online diet culture that has resurfaced in the past couple years. In a time where Ozempic ads line the subways, Lana Del Rey stans host parties celebrating her new waifish figure, and friends at the dinner table nonchalantly profess their desire to lose weight - one must wonder how exactly it came to this. In this episode, Hannah and Maia ask, when and why did we all stop pretending to be thinking about anything other than one thing: skinny? Tangents include: Hannah being two small people inside a big tweed coat, and Maia’s peanut butter coated bedtime banana.Support us on Patreon and get juicy bonus content:⁠https://www.patreon.com/rehashpodcast⁠Intro and outro song by our talented friend Ian Mills:⁠https://linktr.ee/ianmillsmusicOur Sponsors:* Check out Mood and use our code REHASH for a great deal: https://mood.comAdvertising Inquiries: https://redcircle.com/brands

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. Support us on Patreon and get juicy bonus content:⁠https://www.patreon.com/rehashpodcast⁠Intro and outro song by our talented friend Ian Mills:⁠https://linktr.ee/ianmillsmusicBiz's article:https://www.anothermag.com/fashion-beauty/16218/what-does-beauty-look-like-in-the-trump-era-anna-claire-howland-addison-raeSOURCES: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). Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands

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.  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 Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands

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.  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 Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands

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.  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: 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). Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands

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’.  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 Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands

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.  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: 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). Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands

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.  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: 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). Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands

“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: ⁠https://www.patreon.com/rehashpodcast⁠ Intro and outro song by our talented friend Ian Mills: ⁠https://linktr.ee/ianmillsmusic 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). Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands

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: https://www.patreon.com/c/rehashpodcast Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands

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: https://www.patreon.com/rehashpodcast Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands

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: ⁠https://www.patreon.com/rehashpodcast⁠ Intro and outro song by our talented friend Ian Mills: ⁠https://linktr.ee/ianmillsmusic 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 Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands

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: ⁠https://www.patreon.com/rehashpodcast⁠ 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). Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands

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: ⁠https://linktr.ee/ianmillsmusic 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/  Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands

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: ⁠https://www.patreon.com/rehashpodcast⁠ Intro and outro song by our talented friend Ian Mills: ⁠https://linktr.ee/ianmillsmusic 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). Our Sponsors: * Check out Mood and use our code REHASH for a great deal: https://mood.com Advertising Inquiries: https://redcircle.com/brands