This paper presentation thinks through the Tagalog term “kálat” and its multiple forms of multiplicity— litter or mess, state of disorder, and diffusion— as performed in the Filipinx diaspora. I look at how “kálat” could serve as an analytic in comprehending transnational Filipinx experience and diasporic encounters. In doing so, I turn to Filipinx Canadian burlesque performer Viktoria Court’s “Waray-Waray” performance in Vancouver, where I argue that her performance could serve as a rumination on the status of diasporic Filipinxs in what it means to be in the constant in-between valuing of those deemed disposable, indentured, and indispensable. By looking at this performance as a form of cultural production situated in the diaspora, I frame “kálat” towards a queer orientation on how the global order can produce remaindered lives based on the necessary fiction and fantasy productions of a livable present. I also frame the burlesque performance under the notion of “disassembling” vis-à-vis striptease, where I extend a queer way of rupturing the metrics of aesthetic order, harmony, and beauty through creative ways of disassembling and reassembling self, life, time, art, family, and community so that one can begin to imagine and perform quotidian survival in the global elsewhere. In conversation with Martin Manalansan’s “queer mess,” Neferti Tadiar’s “remaindered life,” and José Esteban Muñoz’s “brown commons,” I situate the burlesque performance—through “kálat”— as an attempt to extensively reflect and refract how Filipinxs make do with the afterlives of colonial modernity and global capitalism that render diasporic lives as mess, remaindered, brown, and minor—collateral damages of urbanization, economic liberalization, political aggression, and globalization of culture.