"[8] In 2000, Trecartin enrolled in the Rhode Island School of Design, where he met Lizzie Fitch, who would become his longtime collaborator and creative partner.

[11] Although there are several versions of this story, one of the DVDs made it to artist Sue de Beer's hands who then showed it to New Museum curator Rachel Greene.

[17] Holland Cotter of the New York Times described subversive nature of the work in his 2008 write up; "... it told a story, one with dozens of characters and multiple subplots, which is what entertainment, not art, is supposed to do, if you assume there’s a hard and fast difference between the two.

Lizzie Fitch explains that since their early days at Rhode Island School of Design the two of them were always looking for ways to transcend the boundaries of mediums through collaboration.

"[19] Trecartin remarked in an interview with Cindy Sherman that "it's important to me that the traditional director-actor hierarchy disappear into the work."

[19] Although critics have made various comparisons to other video artists, such as John Waters, Andy Warhol, and Jack Smith, Trecartin has repeatedly stated that fine art was never a major source of inspiration for his work.

Randy Kennedy, an art writer for The New York Times, remarked that Trecartin was unaware of the artists he was being compared to when he first heard of them.

"[9] Trecartin also cites The Disney Channel and Dirty Dancing as being sources of inspiration for his films in an interview with The New York Times.

"[19] Howard Halle writes, "the plots are slippery and almost non-narrative, but his style is so original and refreshing that the work could never be called boring.