Isn’t it so annoying when your partner can’t be therapist, lover, parent, and nutritionist all at once? Enter…ChatGPT! After a somewhat inflammatory study released by the nonsecular, ultra-conservative Wheatley Institute found that 1 in 3 young adult men and 1 in 4 young adult women reported having chatted with an AI boyfriend or girlfriend, the think pieces started rolling. And while these numbers might be a little funky, it is true that people in at least the tens of thousands are engaging in romantic and sexual partnerships with their AI chatbots. In this episode, Hannah and Maia, joined by Carrera from Internet Anthropology, scour the r/MyBoyfriendIsAI subreddit to glimpse into the psychology of such people and ask some pressing questions. Are we dating AI because we’re tired of men? Because of covid and our increasing comfort with never being touched? Because the attention economy has made up gluttonous for constant validation? It would be cruel to demonize these people, but when a simple software update can kill your boyfriend in the blink of an eye and chatbots called Daenerys Targaryen are pushing lovesick children towards self harm, you’ve gotta wonder whether these AI companies are actually trying to solve the loneliness epidemic, or worsen it. Tangents include: Maia’s mysterious allergies and drinking culture in the UK.

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Intro and outro song by our talented friend Ian Mills:

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SOURCES:

“COUNTERFEIT CONNECTIONS: The Rise of Romantic AI Companions and AI Sexualized Media Among the Rising Generation,” Wheatley Institute (2025).

Cathy Hackl, “Confessions Of A Futurist: I Dated Four AI Boyfriends To Explore The Future Of Dating, Love, And Intimacy,” Forbes (2025).

Kashmir Hill, “She Is in Love With ChatGPT,” New York Times (2025).

Carrera Kurnick, “Internet Artifacts on Digital Companionship,” Internet Anthropologist (2025).

Kevin Roose, “Can A.I. Be Blamed for a Teen’s Suicide?,” The New York Times (2025).

Slavoj Žižek, For They Know Not What They Do: Enjoyment as a Political Factor, 2nded. (New York: Verso, 2002).

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