User:DynaGuy00/Silly Boyz

Silly Boyz is a satirical American sketch comedy web series debuting on YouTube in January of 2019. Currently comprising one season, the series is set primarily in a suburban apartment and revolves around the personal and relational life of the central character. The show debuted to mostly positive reviews, and is considered by many to be an example of Postmodernist film.

Season 1
The first season is comprised of twenty episodes, each approximately 1-3 minutes in length, as well as an outtake reel and third-party tier list. While other "Silly Boyz" make appearances in certain episodes, most videos are solo performances. Silly Boyz explores the intersection of various art forms, combining video with spoken-word poetry ("Going on a Hike"), performance art ("Sunshine in the Rain"), drama ("Ides of March"), modern dance (A Small Get-Together) and responsive duet ("I Think It Went Like..."). The series also comments on modern culture, in particular literature, theology, and transhumanism and artificial intelligence.

Demons and the Supernatural
The debut episode of Silly Boyz is heavily influenced by the supernatural, pointing to a recurring theme in the series. The demonic is represented by a man in a Kabuki mask, and appears at various points throughout the episodes. This unnamed phantom at times induces fear in characters, represents their subconscious, and blends in with the other characters. The multifaceted roles of the phantom are an example of how life is inherently unclassifiable, and how each individual identity is plural, not singular. Written on the mask are the words "God is Rad", a further commentary on moral ambiguity and the duality of spiritual forces. As post-structuralist philosopher Michel Foucault writes, "There are forms of oppression and domination which become invisible - the new normal."

Duality
A prominent motif present in Silly Boyz is duality, a concept originating in Platonic philosophy and extending into relational comedy through 20th century television programs such as The Odd Couple. Many sketches contrast two characters, often played by the same actor, against each other, using dialogue, body language, and attire to highlight the differing philosophies and cultural contexts of the characters. These two will often be representations of various social figures or tropes, such as a father and son, bully and nerd, or employer and employee. These relationships are frequently inversions of social norms, reinforcing the postmodern social satire of Silly Boyz. The show uses irony and humor to expose the facade of certain expectations for social interactions, reverting the paradigms of modern American life. Additionally, certain sketches employ a clear distinction between good and evil, with one character harming or frustrating another. These protagonists and antagonists are subverted by the nature of Silly Boyz as a solo performance, however, giving the viewer a perspective that refuses to sort individuals into "good" and "bad" categories.

Absurdism
A primary message of the series is the absurdism and surrealism of everyday life, with the show espousing the ideas of thinkers such as 20th century French existentialist Albert Camus. Silly Boyz does not seek to provide a coherent, sensible narrative to its viewers, rejecting realism and closure in favor of the chaotic and absurd. While some sketches employ science-fiction elements or other anti-realist techniques, the sketches that do not still refuse to follow the understandable pattern of events in the real world. Silly Boyz also rejects context, presenting the videos in media res and leaving the viewer with the task of sorting out plot and meaning, often times to no avail. These themes are best represented in the episode "I'm Moving", a solo performance in which the character announces he is moving, thereby breaking the fourth wall, and then proceeds to perform various unexplainable and random actions, including singing, dancing, hiding, skateboarding, and inflicting self harm. The abruptness and absurdity of the scene provokes a primarily emotional response, as opposed to the intellectual response often produced from realistic cinema.