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Nightmare Fuel: Skibidi Toilet and the Monstrous Digital

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Home / Archives / Vol. 27 No. 6 (2024): artificial / Articles

Nightmare Fuel
Skibidi Toilet and the Monstrous Digital

Laura Glitsos
Edith Cowan University

Steiner Ellingsen
ECU

Mark Deuze
UvA
https://orcid.org/0000-0002-1986-5050

DOI:
https://doi.org/10.5204/mcj.3108

Vol. 27 No. 6 (2024): artificial

Articles

Introduction
Skibidi Toilet began as an animated YouTube Web series early in 2023 that quickly spiralled into
a wildly popular cultural phenomenon sprouting fandoms, wikis, threads, merchandise, and its
very own moral panic (McKinnon and Harmon). It has recently grabbed the attention of
Hollywood, and there are rumours that it is on its way to TV and a possible film treatment by
Michael Bay (Wallenstein and Steiner). The episodes are short, surreal videos featuring bizarre,
monstrous characters embroiled in violent clashes—to the non-stop repetition of “skibidi dom
dom dom yes yes.” Kids love it, and some parents want it banned (10Play). This article will think
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about how we might read Skibidi’s playfulness with ‘humanoid surveillance robots’ and other
tropes and strange creatures, as the Skibidi fandom is flirting with fairly dense social and political
issues, such as the global surveillance apparatus and the potential corporate annihilation of the
‘natural’ world.

The series follows an increasingly epic war between two factions: the antagonists who take the
form of human-headed singing toilets, led by G-man—or G-Toilet—and a group of mechanical
humanoids with cameras, TVs, and speakers for heads, called The Alliance (or informally,
Cameraheads). The bulk of the early action takes place in a generic cityscape littered with grey
office buildings, called Metropolis (Skibidi Toilet Wiki), which conjures dystopian visions of a
world stripped of vibrancy and plant life (except for what looks like an artificial lawn). An
unlicensed mashup of the songs ‘Give It to Me’ by Timbaland and ‘Dom Dom Yes Yes’ by
Bulgarian artist Biser King created by TikTok user @doombreaker03 appears in each episode as
the theme of the Skibidi Toilets, further remixed with other familiar themes in various episodes,
like "The Imperial March (Darth Vader’s Theme)" from Star Wars. The actual word ‘Skibidi’
seems to be taken from the viral hit of the same name from the band Little Big, ostensibly,
meaning absolutely nothing. The first episodes were released through YouTube shorts, with
multiple episodes clustered as one-minute “seasons” in vertical format. As the popularity of
Skibidi Toilet grew, the story has become increasingly elaborate, and the individual episodes
have transitioned to wide-screen format with longer run times. The total run time (as of
September 2024) for all 76 episodes is 1 hour and 55 minutes.

The creator is Georgian Youtuber and animator Alexey Gerasimov, who has been sharing videos
on social media under the moniker DaFuq?!Boom! since 2017. His absurdist creations are
typically made using the Source Filmmaker (SFM) tool (considered a fairly basic computer
graphics software tool available for free), with crude animations featuring non-playable
characters (NPCs) from the Half-Life 2 video game. Source Filmmaker content can be seen as an
evolution of the machinima creations of the noughties and 2010s. The word ‘machinima’ is a
portmanteau of ‘machine’ and ‘cinema’ and refers to fans using game engines or gaming
platforms to create their own stories in real-time (Harwood).

Skibidi Toilet has grown out of a context of infinitely converging technologies and subcultures. It
is also born from the themes, software, content, and media that are most popular in
gamer/maker communities, a high proportion of which are populated by younger people with a
strong uptake in collaborative gaming trends (Schomer; Crowe and Bradford). This younger
demographic is popularly referred to as Gen Alpha, representing those born after the year 2000
—the first cohort to live entirely within the twenty-first century’s digital environment (Boczkowski
and Mitchelstein). Machinima writer Katie Salen calls this the “generation of kids born into
games” (38). As such, it is appropriate to read Skibidi as an epicentre of Gen Alpha sensibility. In
an article revealing that Skibidi may be in development for a TV and film treatment by Michael
Bay, Variety reporters Andrew Wallenstein and Robert Steiner remark that Skibidi is “explosive,
violent and free of any discernible dialogue” and it is these qualities that have “won it a
worldwide audience, not to mention the distinction of being a cultural icon Generation Alpha can
truly call its own” (Wallenstein and Steiner).

Gen Alpha may be "born into video games", but they have also been born into a disintegrating
climate system, post-9/11 politics (such as the global austerity crisis, perpetual war, and the rise
of right-wing populism), surveillance capitalism, and pandemic risk—much of which can be read
in the landscapes and metaphors of Skibidi Toilet, serving to problematise notions of the ‘natural’
and the limits of the human in the context of climate catastrophe and technological
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transformation. It is therefore our contention that Skibidi Toilet functions as an artefact that both
produces and reflects cultural anxieties and troubles experienced by the Gen Alpha zeitgeist.
Finally, due to the entangled nature of participatory culture—and the ways in which Skibidi takes
co-created media to the extreme by way of circulating and re-circulated fan-generated content—
we are reading both the actors of these networks (as audiences as much as producers) and the
texts as conjoined digital artefacts (Mayer).

Artificiality and the Monstrous Digital

Skibidi Toilet features a banquet of monstrosities that distort a sense of the ‘natural’ world in
some way. Skibidi Toilet not only features nightmarish hybrids that confuse boundaries between
the organic, mechanical, and digital, but as a media artefact, it also takes place on and in the
digital space. As such, we characterise this phenomenon within the scope of what we call the
‘monstrous digital’ in that Skibidi Toilet is relational to, and dependent on, the digital space in
content, format, and sensibility. While the monstrous digital could be applied to an endless list of
examples and subject matter in the story world of Skibidi Toilet, we apply it specifically to
analyse the threat suggested by humanity’s tenuous relationship to the artificial humanoids and
simulated landscapes that imply the potential of a world stripped of coherent ‘natural’ forms.

In the Skibidi universe, the lines between humanity and technology are blurred, and the
monstrous digital always has a hint of human quality. This theme is exemplified by the faction
known as The Alliance which consists of mechanical humanoids with cameras, TVs, and speakers
for heads. In the lore, many fans agree that The Alliance (Cameraheads) are not fully human but
artificially produced human constructs made by people to fight the Toilets (ostensibly) on behalf
of humans (Skibidi Toilet Wiki). In this reading, they are mutant offspring of the human world, in
that humans have borne these hybrid creatures in the ‘image of the human’. They function as
spectral abominations, perhaps future echoes of ‘us’ that reflect our human body types and our
way of thinking about war and media, which, when taken to the extreme, descends into
Baudrillardian nightmare in which the violence of war has no objective “but to prove its very
existence” (Baudrillard 32). This is to say that the Cameraheads are not recording a war ‘that
happens’ but producing a war so that it can be recorded, in order to prove that war exists in the
way that serves the human agenda.

The anxieties about becoming—or producing—a warped chimeric aberration of our own media
technology is emphasised when we consider that The Alliance is donned with specific
technologies of surveillance and archive—namely CCTV. The digital becomes monstrous in the
sense of their uncanny capacity to record and store everything we do with them, and people in
turn record and document their entire lives in media—while we are simultaneously fretting about
the impact of widespread surveillance and the loss of privacy involved (Deuze Life in Media). The
discomfort is that The Alliance is not a separate artefact from the human world but its evolution.
Perhaps we have poured so much of ourselves into the digital archiving and surveilling of
ourselves—and that so much of the digital permeates our lives—that the next evolutionary step
is a merging with those very technologies of surveillance and archive, or at the very least not
knowing what would constitute meaningful boundaries between the two any longer. Perhaps we
have already passed that point of no return, and all that is left to us is coming to terms with the
monstrous digital, that is us. The Cameraheads represent a potential that humans have become
so merged with their media technology—especially surveillance technology—that they have
evolved into that technology and are not only living through it but become it, embody it.

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This anxiety resonates with the paradigm of the contemporary ‘media life’ put forth by Mark
Deuze, in that “a media life can be seen as living in the ultimate archive, a public library of
(almost) everything, embodying a personalized experience of all the information of the universe.
At the same time, in media life the archive is alive, in that it is subject to constant intervention
by yourself and others” (Deuze Media Life xv). When read in relation to Deuze’s theoretical
intervention, the Skibidi universe is a way of displacing the anxiety about our ‘life in media’ onto
the figure of the Camerahead. Reading ourselves as uncanny machines of the eternal digital
archive is difficult to confront, and so engaging with that possibility is undertaken through the
work of the Camerahead as a monstrous digital avatar. This logic follows Piatti-Farnell and
Peaty’s reminder that monsters are in fact metaphors, in that “they function both as warnings
and as reminders of that which we fear … . Monsters are creatures of difference, but they are
never far removed from our human worlds”. The monstrosity here is not that the figures of
Skibidi are semi-artificial, but that we might be—or have the potential to become, or perhaps
that we are already there—and it is exactly that ambivalence that generates uncanniness and
brings forth the monster in us all. The robotic world is born from our organic one and thus these
two worlds are always closer than we think.

Skibidi’s playfulness with ‘humanoid surveillance robots’ also brings forth Deuze’s remarks about
the monstrous digital, in that “the ongoing fusion of information and organisms, of man and
machine, and of media and life amplifies and accelerates a distinct notion of uncanniness in our
daily perception of the world around us" (Deuze Media Life 26). Theoretical interrogations of the
uncanny can be traced back to figures such as Heidegger and Freud—who remind us of how
uncanniness is at the heart of the human experience. For the sake of brevity, we use Nicholas
Royle’s broad definition to read the uncanny as a “crisis of the proper”, in which the uncanny
points to and reflects perturbations of the natural order, things which “commingle the familiar
and unfamiliar” (1). The Camerahead—as a figure of contemporary surveillance culture—pushes
the naturalisation of everyday media technologies to the extreme until it becomes strange and
uncanny. When read in this way, Skibidi Toilet is not devoid of substance and meaning, but
embroiled in the cutting edge of conversations about how humanity may see itself as a mimicry
of these creatures—at once human but with the potential to mutate into a spectre of our own
media technology.

Having media technologies in place of the human head (especially in the case of the CCTV
Cameraheads) also connotes self-surveillance as well as sousveillance (as we massively monitor
each other). When coupled with the grey, concrete, office-block landscape of the Skibidi
universe, the world reflects a dread about the political, economic, and social dimensions of the
global surveillance apparatus and the associated impending corporate annihilation of the ‘natural’
world. Surveillance capitalism is the weapon of the corporate state, and its hegemony is directly
coupled with the annihilation of ecological systems in so many ways, one of which is “in the form
of massive energy costs for data centres, e-waste, and the mining of rare minerals” (Silverman
147). What little green is left is, first and foremost, man-made, and secondly primarily serving
as the décor of the constructed mise-en-scène of the "human zoo", as Peter Sloterdijk describes
our "anthropotechnological" context where we merge with technologies in a feeble attempt to
control our human future. The degradation of natural habitats, the devastation of climate
systems, and the loss of privacy grow bigger and more inevitable at what feels like a monstrous
pace. Yet there is an ambivalence rooted in this global condition, in that one of the technocratic
state’s greatest weapons against real and existential ‘threats’ is surveillance technology.
Surveillance technology is used to counter terrorism and is also used in diverse, if sometimes
problematic, ways to mitigate and control the spread of coronavirus (Glitsos). This ambivalence,
or double-bind, is captured in the Skibidi narrative in that The Alliance is both the saviour of the
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humans in the Skibidi world—but also humanity’s greatest threat with its constant violence and
single-minded destruction.

Interestingly, the need for ecological balance and a sense of privacy is something robots do not
understand, and the line here between the human and the artificial is pronounced by the chaos,
confusion, and destruction that characterises the Skibidi universe, especially considering that it is
often unclear which faction is more problematic and dangerous to the ‘human world.’ For
example, one fan theorist claims:

I personally think the camera people are the bad guys. They resemble a corrupt
government that tries to control everything. The toilets are citizens trying to knock down
the corrupt government with the limited resources they have.

But if someone says the camera people are fighting an evil foreign power to save their city
and people, that’s also logical.

You can interpret it in both ways. I think the society you're currently living in determines
how you interpret it. (durjoy313)

The polysemy of the Skibidi text can take on many shapes and forms, and it may be exactly the
randomness of the different sides and actors that allows for its popularity. It is not just good
versus evil or beyond good and evil—the Skibidi Toilet story world is universally monstrous,
which is not necessarily good or evil. The recurring theme in Skibidi is the sense of nihilism and
cycles of inconsequential destruction (reflected in the unending gibberish of the Skibidi song
itself). In the words of Lawrence May, popular media do such important work in “echoing the
fears and anxieties of their social, political and cultural context” and that “the very environments
we live within now evoke existential terror, and this state of ecological monstrosity has
permeated popular media, including video games”. May is articulating the way that video games
and new media can explore surprisingly complex and urgent political tensions, which we witness
in the way that Skibidi (and its audiences) plays with notions of political economy and corruption.

The corporate domination of the natural world is manifest in the dystopian vision of the Skibidi
architecture where “both the modernist city of skyscrapers and the sprawling suburban city carry
the seeds of failure” (Ameel 14). The Skibidi landscape is notably devoid of plant and animal life
but saturated in concrete and skyscrapers—the rooftops of which form an important point of
action for many of the scenes and play a key role in manifesting the horror of a vanishing natural
world. In Skibidi fandom, it is noted that the early episodes are “filled with many
buildings/skyscrapers, two of which are extremely large and resemble the old Twin Towers in
New York City from real life that collapsed in 2001” (Skibidi Toilet Wiki). This is a powerful totem
in Gen Alpha sensibility, especially considering that Gen Alpha never knew a world with Twin
Towers still standing. Instead, Gen Alpha is haunted by their absent presence, as the
reverberations of the global ‘War on Terror’ are felt to this day. Young people exist in the wake of
the fallen towers through the grim spectre of post-9/11 politics. This is key to Skibidi as a
moment in the zeitgeist. Lieven Ameel reminds us:

the idea of secular buildings rising to the skies as spatial embodiments of linear progress
had long been suspect. Since Biblical and Mesopotamian accounts of the tower of Babel,
the building of iconic high-rise buildings had led to accusations of pride and presumptions
that would not go unpunished. The downfall of the WTC towers on the 11th of September,

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2001, is only the most spectacular of recent examples that have been read in such vein.
(Ameel 14)

It is not incidental that the Skibidi war takes place in what becomes a ruined version of our
‘man[sic]-made accomplishments’ that humanity pursued at the cost of a fragile planet.
Lawrence May reflects on a similar point in his consideration of games such as Breath of the Wild
and The Last of Us Part II about which he writes that these worlds are a vital way that
individuals explore the simmering “horror of an aberrant and abjected near future” and he
argues that “games can critically position players in relation to discourse and wider public debate
about ecological issues and climate change” (May).

Finally, what do hostile, sentient, human-headed toilets have to do with … anything? Again, Gen
Alpha is unique among other generations in that it is the first to be born in the twenty-first
century, but it is also the first to be born into a world where the horror of the global pandemic
shaped their consciousness at such critical developmental junctures and characterised their
nascent experiences of the social fabric. There is so much to expand on here, not least of all the
fact that during the pandemic, Gen Alpha’s entire learning and socialisation experience shifted to
the mediated space in incongruent, sometimes isolating, and discombobulating ways. However,
for the sake of brevity, we focus on the symbolic function of the toilet by way of Jon Stratton’s
reading of toilet-related themes (in particular, panic-buying toilet paper) during the peak of the
coronavirus pandemic (Stratton). In his work, Stratton unpicks the ways in which “pedestal
toilets and toilet paper are key aspects of civilisation and the fear of the loss of toilet paper is
connected to anxiety about social breakdown, the loss of civilisation” (145). Although ‘modern
civilisation’ is often cast through the symbolism of objects like the steam train or the clock, it is
really the flushing pedestal toilet—such as those featured in Skibidi—that encapsulates the way
the West ‘sees itself’ as rising above primitivism through hygiene and cleanliness. Yet in Skibidi,
the monstrous human head is literally in the toilet—and often getting flushed right down into the
depths of its own foul pipes. One may ask if this is the way Gen Alpha sees humanity? This
question is especially pertinent in that for all our fancy conceptualisations of the posthuman and
the man-machine hybrid, what ‘remediates’ all of us truly back to the ostensibly organic is the
simple fact that we all defecate. Once that space is colonised by robots and artificiality, there is
truly nothing left but surrender to the monstrous digital.

In all its bizarre, monstrous glory, Skibidi Toilet can be read as Gen Alpha’s creative expression
of the ‘trouble’ brought about by emergent artificial life forms and our (potential) dystopian
futures—and with our essay, we argue that it is fruitful to stay with that trouble, as Donna
Haraway so powerfully reminds us to do. Skibidi is made in and through the very media
platforms that provoke the inherent tension in the idea of the monstrous digital. If, as Jeffrey
Cohen suggests, the monster is born “as an embodiment of a certain cultural moment, of a time,
a feeling, and a place” (Cohen 4), then camera-headed humanoids and their foes—toilet people—
speak volumes about the anxieties and both fun and fearful frames of reference plaguing Gen
Alpha.

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Author Biographies
Laura Glitsos, Edith Cowan University
Dr Laura Glitsos is a senior lecturer in media and cultural studies at Edith Cowan University,
Australia. Her first sole-authored book is titled Somatechnics and Popular Music in Digital
Contexts (2019). She has also published across high-profile journals such as Continuum,
Popular Music, and New, Media and Society. Dr Glitsos has particular expertise in popular
music cultures, memes, and journalism. Prior to academia, Dr Glitsos worked as a health
and science journalist.

Steiner Ellingsen, ECU

Dr Steiner Ellingsen is an internationally recognised expert on web series whose practice-
based PhD thesis included the creation of a multi-award-winning web series, The Inland
Sea: an Australian Odyssey. He is a chief investigator on the ARC Linkage project, Valuing
Web Series: Economic, Industrial, Cultural and Social Value. He is a co-founder and former
Director of Melbourne WebFest and has given keynotes and seminars on web series around
the globe. Before relocating to Australia to pursue a career in academia, Dr Ellingsen
worked as a journalist in Norway.

Mark Deuze, UvA

Mark Deuze is Professor of Media Studies at the University of Amsterdam, The Netherlands.
Publications of his work include 14 books, most recently "Life in Media" (MIT Press, 2023).
Mark has held honorary appointments around the world, including the School of Arts and
Humanities of Edith Cowan University in Australia; the Faculty of Journalism at Lomonosov
Moscow State University, Russia; and the University of Southern California in Los Angeles,
the United States.

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