AI Porn

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. 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: 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).