Real Reason Bray Wyatt's Firefly Fun House Is WWE RAW's Best Segment In Years
Yowie Wowie, Pal!
Bray Wyatt’s Firefly Fun House is such a strange thing—in itself, as this demented, inspired work, and because its association with WWE is so scarcely believable.
How is it possible that this era of WWE—the WWE in which Vikings are to be Experienced, in which Jackie Gayda-level performances power a massive push in an era of “advanced” women’s wrestling, in which the phenomenal Ricochet is now normal—has produced totally deranged art under its abject, mass-produced entertainment model? It is as if Jason Friedberg and Aaron Seltzer just won the Palme D’or at Cannes with a gentle lament on the Romanian psyche.
It is that irreconcilable.
This week’s vignette—a “very special episode”, indeed—paid tribute to Golden Era Simpsons in the form of a pig puppet modelled after Üter Zörker. Bray Wyatt assumed another nightmare-in-sunlight form. A children’s TV show host, a Bob Ross-inspired artist, a Slipknot-masked Fiend, Wyatt is now…
…a motivational fitness instructor resplendent in 1980s-styled attire. Wearing a neon pink tank top, headband, Zooba pants and a fanny pack, Wyatt encouraged us all to do the ‘Muscle Man Dance’ after Vince McMahon, in puppet form, threatened to fire him.
This was incredibly bizarre. Bray Wyatt rapped. Bray Wyatt danced. Bray Wyatt wiggled his behind, and it was still deeply unsettling. Primitive hip-hop drumbeats. Squelching bass. Disco synthesisers. Dancing skeletons rendered in purposefully crappy CGI. The aural and aesthetic palette of this was mind-bending. Wyatt willingly made himself look like a goofball, and the audacity behind it all was stunning.
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