Much has been made of the popular “Skibidi Toilet” series. But has enough been made? Have people dug into why Skibidi Toilet is not just resonant and popular - but capital “T” True?

The Skibidi Toilet saga begins with an innocent (if somewhat disturbing) series of videos about a disembodied head singing the now-famous “Skibidi” song out of a toilet, hence the name of the meme. It is not long before the toilets are multiplying and making their presence unignorable everywhere, moving in line down the streets with a crowd of concerned onlookers, breaking into a restaurant menacingly, flying through the sky surrounded by helicopters and spitting out more toilets.

The toilets are not only viral in the real world, but in the series as well, where they spread rapidly and nonsensically. But what is really going on here? This becomes clear in short order, when their worthy opponent appears in the form of the Cameramen.

To understand the Cameramen, we must first understand the nature of the Toilets.

The popular musical number which the toilets are singing betrays what they are. Their very existence is Dionysian, the spirit in man and animal which can be described as a joyous frenzy, chaotic spontaneity, excited to exist - even as a disembodied head within a toilet. Their song clearly says it: “we ain’t here to hurt nobody / just work your body” - the toilets are here to dance and to be, to multiply and spread the Good Words (in this case, “Skibidi Dom Dom Oh Yes Yes”).

In this case, the medium is the message, as their anthem is a hybrid of a hit song from Bulgaria and a Western club anthem “Give It To Me” by Timbaland ft. Nelly Furtado and Justin Timberlake. The merging of mainstream and bizarre, East(ern Europe) and West, is as key to their nature as is the merging of head and toilet in their material form. As the mashuped song typically starts: “my style is ridiculous” - of course we can see this as a simple preview of the video’s content and its toilet humor essence. However, other than the toilets themselves being there to imply it: there is little that could be considered scatological in the media. The toilets are a vessel for human heads, not for refuse, unless we see these Skibidi Toilet beings as refuse in and of themselves.

This frenetic, disturbing-yet-endearing phenomenon does not get to strut its ridiculous style long before the force of reality comes to rear its own head. It is not a coincidence that this takes place after Episode Five, where the Toilets begin to look truly menacing and dangerous, flying toward the viewer with a disturbing expression plastered onto their face.

As we had seen as early as Episode Three, the Toilets have been effectively terrorizing the city. At the start of Episode Six, their equal and opposite force manifests itself in the force of the cameramen. The cameraman walks confidently towards the toilet and does not wait for the Skibidi Toilet to finish its popular ditty before flushing it down the toilet defiantly. This enrages the toilets, for whom existence is joyous and paramount. They are removed like excrement, which is what they are to the cameramen - unwanted, aberrant waste. As we have already discussed, the Toilets are Dionysian - frenzied beings who relish existing and acting on the world. To flush a Skibidi Toilet is to deny them the blessing of existence - of life itself. Conflict breaks out.

At this point we see that the Toilets have overstepped their bounds. They are worshipping themselves, they are policing the city.

Everything is out of equilibrium here. The Dionysian force is not meant to rule. Ruling is an Apollonian endeavor. While the two forces are not necessarily always at odds, when one overreaches, the other is compelled to respond. The spirits of chaos are not meant to be worshipped nor to be ruling or overtaking society. Society itself (represented by the city in the series) must be governed by order.

Enter the cameramen, who deface the Skibidi Toilet art with a Cameramen logo. Graffiti and defacement by itself is Dionysian, but moderation is Apollonian - and this is what the Cameramen are doing to the Toilets - moderation by way of direct removal. The Cameramen are the symbol of order which manifests in equal strength and multitude to that of the Toilets. They are the literal embodiment of the panopticon, of monitoring, of discipline, control and order.

There is much to be made of the ensuing chaos: of Skibidi Toilet vs. Cameraman in the many clashes that follow. With this understanding of the two, we can better analyze and view this saga both directly as well as in our own lives. Are the Skibidi Toilets of the modern world in control - or are the Cameramen too powerful? Are we the Cameraman or Skibidi Toilet within our day-to-day lives?

In truth, we all have some aspect of both - two wolves.

We should all consider: are our Skibidi Toilets overstepping their bounds? Are our Cameramen silencing our inner Skibidi Toilets too brutally? A balance is needed, within and without. An equilibrium will be found.

Much has been made of the popular “Skibidi Toilet” series. But has enough been made? Have people dug into why Skibidi Toilet is not just resonant and popular - but capital “T” True?

The Skibidi Toilet saga begins with an innocent (if somewhat disturbing) series of videos about a disembodied head singing the now-famous “Skibidi” song out of a toilet, hence the name of the meme. It is not long before the toilets are multiplying and making their presence unignorable everywhere, moving in line down the streets with a crowd of concerned onlookers, breaking into a restaurant menacingly, flying through the sky surrounded by helicopters and spitting out more toilets.

The toilets are not only viral in the real world, but in the series as well, where they spread rapidly and nonsensically. But what is really going on here? This becomes clear in short order, when their worthy opponent appears in the form of the Cameramen.

To understand the Cameramen, we must first understand the nature of the Toilets.

The popular musical number which the toilets are singing betrays what they are. Their very existence is Dionysian, the spirit in man and animal which can be described as a joyous frenzy, chaotic spontaneity, excited to exist - even as a disembodied head within a toilet. Their song clearly says it: “we ain’t here to hurt nobody / just work your body” - the toilets are here to dance and to be, to multiply and spread the Good Words (in this case, “Skibidi Dom Dom Oh Yes Yes”).

In this case, the medium is the message, as their anthem is a hybrid of a hit song from Bulgaria and a Western club anthem “Give It To Me” by Timbaland ft. Nelly Furtado and Justin Timberlake. The merging of mainstream and bizarre, East(ern Europe) and West, is as key to their nature as is the merging of head and toilet in their material form. As the mashuped song typically starts: “my style is ridiculous” - of course we can see this as a simple preview of the video’s content and its toilet humor essence. However, other than the toilets themselves being there to imply it: there is little that could be considered scatological in the media. The toilets are a vessel for human heads, not for refuse, unless we see these Skibidi Toilet beings as refuse in and of themselves.

This frenetic, disturbing-yet-endearing phenomenon does not get to strut its ridiculous style long before the force of reality comes to rear its own head. It is not a coincidence that this takes place after Episode Five, where the Toilets begin to look truly menacing and dangerous, flying toward the viewer with a disturbing expression plastered onto their face.

As we had seen as early as Episode Three, the Toilets have been effectively terrorizing the city. At the start of Episode Six, their equal and opposite force manifests itself in the force of the cameramen. The cameraman walks confidently towards the toilet and does not wait for the Skibidi Toilet to finish its popular ditty before flushing it down the toilet defiantly. This enrages the toilets, for whom existence is joyous and paramount. They are removed like excrement, which is what they are to the cameramen - unwanted, aberrant waste. As we have already discussed, the Toilets are Dionysian - frenzied beings who relish existing and acting on the world. To flush a Skibidi Toilet is to deny them the blessing of existence - of life itself. Conflict breaks out.

At this point we see that the Toilets have overstepped their bounds. They are worshipping themselves, they are policing the city.

Everything is out of equilibrium here. The Dionysian force is not meant to rule. Ruling is an Apollonian endeavor. While the two forces are not necessarily always at odds, when one overreaches, the other is compelled to respond. The spirits of chaos are not meant to be worshipped nor to be ruling or overtaking society. Society itself (represented by the city in the series) must be governed by order.

Enter the cameramen, who deface the Skibidi Toilet art with a Cameramen logo. Graffiti and defacement by itself is Dionysian, but moderation is Apollonian - and this is what the Cameramen are doing to the Toilets - moderation by way of direct removal. The Cameramen are the symbol of order which manifests in equal strength and multitude to that of the Toilets. They are the literal embodiment of the panopticon, of monitoring, of discipline, control and order.

There is much to be made of the ensuing chaos: of Skibidi Toilet vs. Cameraman in the many clashes that follow. With this understanding of the two, we can better analyze and view this saga both directly as well as in our own lives. Are the Skibidi Toilets of the modern world in control - or are the Cameramen too powerful? Are we the Cameraman or Skibidi Toilet within our day-to-day lives?

In truth, we all have some aspect of both - two wolves.

We should all consider: are our Skibidi Toilets overstepping their bounds? Are our Cameramen silencing our inner Skibidi Toilets too brutally? A balance is needed, within and without. An equilibrium will be found.