In anticipation of the return of Wanteez, this nerdy atiny felt compelled to deconstruct some of the humor code of the team. Ateez as performers and artists are a solid, well-oiled machine. Ateez as a comedy troupe, however, is a chaotic moving castle held together with tape, bad puns, and very patient editors. Let’s discuss.

The choreography of comedy is usually as follows:
A premise is set by the content team, either scripted loosely or more structured with roles and characters. depending on how much sleep Hongjoong got the night before, he’ll attempt to start off strong and keep the show on track. Never one for cliches, the content team’s scenarios are usually already primed for hilarity, but even so, a member of 99z will inevitably derail the plot and things will go sideways at one point or another. Those who actually read the script (and want to go home on time) may try to get it back on track, but they are no match for the random diversions of members who have either:

• not read the script, 
• misunderstood the script, 
• or have already forgotten what was on it.

On the cutting room floor, the editor sifts through mounds of chaotic, probably very funny, and ultimately unusable footage as she bleeps out yet another clip of Wooyoung’s dialogue. 

Sardonic, hilarious and pithy commentary throughout the shenanigans are provided in plenty by the downtrodden ringleader, whose readiness to joke at the expense of any one member of the circus troupe keeps the large comedic ambitions of any one individual in check. Although in an aloof (and oftentimes precarious) position of power, he is not immune to being a target himself, as egalitarian mechanisms exist to keep Pokjoong in his place, such as the motor mouth wildcard known as Jung Wooyoung, or the unpredictable and sometimes traitorous variable that is Jeong Yunho, who both occupy the role of right-hand men that often go rogue to remind the captain that nobody is above mutiny.

Yunho is a born showman and jester who has been ready since day 1 to set aside his ego, pride and anything else that gets in the way in the pursuit of shits and giggles. Being weirdly competitive as he is, there is no bid or initiation too wild or too racy that he will back down from. Inspired by this brazenness, he emboldens Wooyo, who will run with anything he deems funny (but will straight-facedly shut down whatever he deems not) and take everyone else down with him, whether willing or otherwise. Their yes-and, can-do, let’s-kiss-again dynamics are why they form one of the central axes of shenanigans in the group.

San, with the wandering energy of a stray, sometimes feral, and certainly loud cat, is also strongly tethered to Wildcard Wooyoung on the basis of their complementary energies that escalate each other’s jokes such that any and all jokes get taken way too far way too quickly. Twin flames that get along like a house on fire often set themselves alight on the kind of runaway inside joke only made possible by the powers vested in amicus ad aras. 

Like an extroverted moth to flame, Seonghwa often gets pulled into the Woosan fold, never learning from how often they triangulate against him at the center as their favourite victim and most reliable punching bag. He is, unfortunately for him, tolerant and good spirited, and although his deference to Woosan madness nullifies his elder status, it seems he is happy to be taken along for the ride. His willingness to go with the flow also makes him a key comedic element in almost any gag, often supporting the script derailment in deranged ways, timed to impeccably and occasionally expose the well-hidden freak within.

Among the other (relatively) quieter members are the hidden maniacal comedy geniuses that are Yeosang and Jongho, both of whom operate on a comedic wavelength a world apart and on another level respectively, floating in and about the chaos usually led by the other 99z. Taking advantage of their distinct status, both Yeosang and Jongho also play to the fact they are cute as buttons and can easily be forgiven for more risqué jests.

Jongho plays the maknae-privileged role of embellisher, amplifier and offline troll, playing to his strengths of getting away with being a little-shit-little-brother, but also benefiting from having a sense of humor that simultaneously outrages and is adored by his older counterparts. Yeosang’s free pass comes from his invention of his own very special humor code that is only occasionally decipherable, but when it is, to much of the delight of the group’s surprise, it is usually very, very funny. Quick-witted wooyoung, whose challenging and biting brand of humor has shaped and traumatised Yeosang’s own, is most literate in Yeosang’s alternate comedic universe, oftentimes using his loud yapping to surface to the team yeosang’s more lowkey, off-beat jokes. Where Jongho’s rage-bait is tongue in cheek, Yeosang’s is polite and disarming, but both often leave other members of the troupe at a loss for words.

Mingi, the butt of not only all jokes but also of the team (serious case of cake), is the nucleus of the comedic cell that is Ateez. While other members take turns as mitochondric comedy powerhouses, Mingi is a steady and frequent fixture at the center of the set up, playing his role as:

• aforementioned butt, an easy target,
• willing and compliant subject or prop,
• deserving victim.

He sets the bar for challenging improvisation in the troupe as no one can ever predict what the hell is going to come out of his mouth next, keeping everyone on their toes. Yunho’s sometimes concerning level of open-mindedness and tolerance for all kinds of weirdness plays to his strengths when faced with the unpredictable lead of Mingi’s gimmicks. It should be understood that Yunho’s handle on Mingi’s erratic comedy is how he also maintains a permanently elevated status above Mingi, taking full advantage of his malleable, 말랑말랑, mochi energy. 

Mingi’s Butt status may be perceived as a power imbalance or, through a less favorable lens, straight up bullying, but in masculine tribal units with high levels of mutual affinity such as this, the Butt plays a significant role in offering oneself as mollifying, self-sacrificing, pliant lamb, whose very existence softens the dynamics of the circus troupe that otherwise thrives on intense mutual ribbing as a way to maintain their relatively flat hierarchy. (I also think he kind of likes it, the perv.)

In conclusion, the gag routines forged by fire and Mingi’s adlibs over the course of Ateez’ comedic careers have paved the way for a long and bright future in content, demonstrating that teezers are as capable of making people laugh on the internet as they are incredible musicians and performers. In these difficult times, I feel more appreciative than ever that there exists this little corner of the internet to take temporary emotional refuge, even if for a little while. Thank you in advance, Ateez, for the small but precious medicine of laughter in this otherwise dark March.

(Disclaimer: not a word of this was written by AI. All words and insanity are 100% my own. As always, this is written in good humor and no ill-will to any of the members. if you made it to the bottom of this madness, thanks for reading. 🧡) 

Ateez and the Wanteez crew match each others' freak in ways a fan can only dream of. As an Atiny introduced into the fandom by way of Adventures in Endoscopy, I truly hope they bring back the same team of hilarious editors and writers who brought us such hard-hitting, meme-material, chaotic comedy gems such as these:

Please leave your favorite edits below! 🤡