"We begin deep within a wet, gaping orifice-a laryngeal canal so red and glistening it almost looks diseased. As we rush up and out of it, we hear a jarring, Tarzan-like scream, and we arrive, face to face, with a meaty, waggling tongue, glinting teeth, bulging eyes, and a thin, twitching mustache. These startling human features belong to a round gray moon, whose cratered surface recalls the acne-scarred cheeks of, say, a fortyish weirdo who still lives with his elderly mother."
"In the graveyard, a bare butt pops up from the ground and releases a lusty fart; severed noses and ears spew acid-green snot; oozing, dismembered hands proffer dripping, worm-filled brains, and eyeballs swim in goo. Headstones bearing rude epithets ("Rest in Piss"; "Need Head") stand in the fetid dirt. It's "Pee-wee's Playhouse" crossed with GWAR-style blood-and-guts and a dash of Sid's torture chamber in Pixar's "Toy Story.""
Sarah Squirm: Live + in the Flesh opens with a grotesque, animated sequence that erupts from a red, glistening laryngeal canal into a talking, cratered moon. A graveyard tableau follows, populated by prosthetic body parts: farting buttocks, severed noses spewing acid-green snot, worm-filled brains, and floating eyeballs. The aesthetic fuses children's-show whimsy with extreme gore, invoking Pee-wee's Playhouse, GWAR-style carnage, and a Sid-like torture vibe inside playful, Pixar-like textures. The comedic persona Sarah Squirm foregrounds body-horror and abrasive physicality, producing humor that is sexual in content but intentionally unsexy. The special was taped at the Bell House in Brooklyn.
Read at The New Yorker
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