In 2011, music critic Simon Reynolds's essay Retromania came out, the main argument of which was that “We live in a pop age gone loco for retro and crazy for commemoration. […] Could it be that the greatest danger to the future of our music culture is … its past?” (Reynolds: ix). Reynolds’s focus was on pop music at the turn of the new millennium, questioning the role of its producers and the tastes of its audience, stuck in a state of “hyper-stasis” (Reynolds, ibid.). More than one decade after Reynolds’s thought-provoking analysis, one may wonder whether this assumption is still relevant today. Can it be extended to other objects of pop culture?