Under the regime of capitalist realism, the megacorporation WKW III launches its most ambitious pilot project: EVERAFTER. It is a hyperreality playbour demo designed to generate profit from the promise of unlimited self-realisation. Living within this demo are its first seven metainhabitants: Fifth Lad, Violet Fox, The Kasper, BackPack X, Sean Coby, Hairy Oxter and Wilta Wound Wank, who exist in a constant state of waiting for the project to become reality. As a result, they are reduced to the condition of perpetual interns, trapped in a performative suspension of potential. The audience enters this multiverse as investors taking part in a voyeuristic tourist experience, observing at close quarters the reality of a world under construction.

Following NAVAJA (presented at El Corralito in 2023), a work exploring sexuality on social media, the dance company laSADCUM once again uses choreographic language to bring the contradictions and discomforts of the digital world to the fore. EVERAFTER continues the company’s research into the physical and cultural mechanisms of construction that emerge from digital education, using choreography as its medium. This time, they focus on the archetype of the intern as a social project shaped by the capitalist, techno-feudal and authoritarian logics of the modern-day neoliberal era, drawing on the worlds of superheroes, video games and branding.

Underlying it all is the question: what effect does virtuality have on the ways we socialise and construct our identity? It is a question that also runs through Peti-suis, the production presented this year at El Corralito by suPreema, and (cau), in which Quim Bigas likewise focuses on the impact of social media on childhood and adolescence.