‘WTF?!’ addresses questions of control, curation, absurdism, nihilism, and political activation. What does it mean to dance with themes of external or imposed desire? How can we embrace absurdity? Can absurdity serve as a productive coping mechanism? Where is the edge between absurdity and nihilism? In the world of “WTF!?”, the desire to both excrete and consume are imposed upon us via technology, algorithms, artificial intelligence, and propaganda manufactured by domestic and foreign governments. In Manufacturing Consent, Chomsky writes, “In a system of high and growing inequality, entertainment is the contemporary equivalent to the Roman games of the circus that diverts the public from politics and generates a political apathy that is helpful to the preservation of the status quo” (Manufacturing Consent, Chomsky). ‘WTF?!’ teases the role of performance/entertainment in politics and activism. It offers a way for entertainment to collide with politics, pointing the public towards political inquiry rather than reinforcing political apathy. 

'WTF?!' uses shadow puppets and silhouettes to portray a drifting through multiple realms simultaneously, micro, macro, digital, and meaty. There is a motif of loss of control, which results in the consumption and excretion of food, words, rage, and everything in between. There are durational solos and duets to anchor the chaotic elements. ‘WTF?!’ layers absurd scenes with seriousness, interruption, and idiocy. Exhaustive phrase material serves as a tool for the performer to balance between control and chaos. The longer these durational phrases continue, the more exhausting it is to watch. The repetition becomes monotonous and serves as a metaphor for the absurdity of continuing to live our daily lives “peacefully”, while others are being tortured and killed next door.