Madeline Puccioni begins SQUEEK as a family sitcom set in a dystopian bio-punk future, and ratchets up the weirdness until it escalates into an absurdist Grand Guignol. The dialogue is witty and the world-building comes fast through immersion rather than exposition. I want to see more of this grotesque surveillance state.

A sharp, unsettling, and surprisingly heartfelt piece of dystopian satire. Puccioni builds a world that feels both wildly imaginative and uncomfortably familiar, blending humor, horror, and social commentary with remarkable efficiency. I admire how cleanly the script moves, how confidently it handles its tone, and how much humanity it finds even in characters who are not entirely human. It’s a cautionary tale about class, desperation, and the thin line between civility and survival.

I definitely want the full length. This is a brilliant comedy like something twisted from Terry Gilliam with a bit of Ionesco and the TV show Dinosaurs. It is outrageous, but it says a lot about the haves and have nots and inequality. A dream come true for designers. Connect with this playwright.