Everything Everywhere All at Once (2022)

On March 20, 2022, in the bustling, cramped space of the Happy-Go-Lucky Laundry in Los Angeles, Evelyn Quan Wang (Michelle Yeoh) is frantically preparing for the Chinese New Year party. The air is thick with tension as she juggles decorating, fixing a broken washing machine, and managing her family's chaotic dynamics. Her husband, Waymond Wang (Ke Huy Quan), tries to gently serve her divorce papers, but Evelyn is too overwhelmed to engage. "I'm just trying to do my best," she snaps, her voice edged with frustration. Waymond replies softly, "I just want to talk," but Evelyn's impatience cuts through the moment. Her father, Gong Gong (James Hong), visiting from China, scolds her sharply: "You're a disappointment," underscoring a deep generational and cultural rift. Nearby, Joy Wang (Stephanie Hsu), their daughter, sullen and withdrawn, packs her bags for a trip, reluctant to attend the party and hiding her depression. Her girlfriend Becky Sregor (Tallie Medel) waits quietly, marginalized by Evelyn's coldness toward their relationship.

The family's fragile balance is shattered when the IRS audit looms. At the IRS office, Revenue Agent Deirdre Beaubeirdre (Jamie Lee Curtis) coldly informs Evelyn that some of her claimed business expenses are fraudulent, threatening fines or worse. The pressure mounts until Evelyn, in a moment of panic and confusion, strikes Deirdre. Security is called, and chaos erupts. Suddenly, Waymond's body is overtaken by an alternate version of himself--Alpha-Waymond--from another universe. He reveals a staggering truth: Evelyn is the key to saving the multiverse, a vast network of parallel universes created by every choice ever made. He warns her of a dire threat--Jobu Tupaki, a powerful entity spreading destruction across realities.

Evelyn is thrust into a dizzying, surreal journey of "verse-jumping," where she taps into the skills and memories of her alternate selves. She experiences bizarre alternate realities: one where she and Deirdre are lovers with hot dog fingers, another where she is a famous movie star, and yet another where she is a teppanyaki chef battling a raccoon rival. Each jump is visually dazzling and emotionally disorienting, revealing the infinite possibilities of her existence and the crushing weight of choice.

Amid these chaotic jumps, Evelyn learns the devastating truth: Jobu Tupaki is none other than her daughter Joy, who, overwhelmed by her own pain and rejection, has fractured her consciousness across the multiverse. Joy has created the "Everything Bagel," a literal black hole with everything on it, symbolizing nihilism and the desire to erase all existence. This Bagel threatens to consume the multiverse itself.

The stakes escalate when Alpha-Gong Gong, Evelyn's father's alternate self, convinced that Evelyn's mind is compromised like Jobu's, sends soldiers to capture her. Evelyn fights fiercely, channeling the martial arts prowess of her alternate selves. In a brutal confrontation, Jobu Tupaki kills Alpha-Waymond in the Alphaverse, deepening Evelyn's despair. The multiverse begins to unravel as Evelyn's mind splinters under the strain of verse-jumping, and she collapses.

In the climactic confrontation at the Bagel, Evelyn faces Jobu Tupaki in a surreal void swirling with cosmic despair. Jobu, clad in extravagant outfits and wielding near-omnipotent power, taunts Evelyn with nihilistic truths: "The real truth is that nothing matters." Evelyn's mind fractures further, but through a profound epiphany, she chooses empathy and love over nihilism. She tells Joy, "Even when nothing makes sense, I will always want to be with you," grounding herself in the human connections that give life meaning.

Using her multiverse powers, Evelyn heals the fractures in her own psyche and in the multiverse. She neutralizes Alpha-Gong Gong and his soldiers not through violence but by understanding their deepest regrets, causing them to cease their attacks. Evelyn reconciles with Waymond, accepting his gentle optimism, and embraces Joy's relationship with Becky, even introducing Becky to Gong Gong, bridging the generational and cultural gaps that once seemed insurmountable.

Jobu Tupaki, overwhelmed by despair, decides to enter the Bagel alone, seemingly choosing oblivion. But Evelyn and her family intervene, pulling her back from the void. In a poignant embrace, mother and daughter reconcile, symbolizing hope and healing.

The film closes with the family returning to the IRS office to refile their taxes. Deirdre speaks, but Evelyn's gaze drifts momentarily to her alternate selves shimmering at the edges of reality. With a deep breath, Evelyn grounds herself back in her home universe, choosing to live fully in the present with her family, embracing the chaos and love of her life.

Every death is accounted for: Alpha-Waymond is killed by Jobu Tupaki during their battle; Alpha-Gong Gong's soldiers are defeated by Evelyn's empathy and multiverse mastery but he himself is spared; Jobu Tupaki does not die but is saved from self-destruction by Evelyn's intervention. The film's resolution is a powerful testament to family, acceptance, and the choice to find meaning even in a seemingly indifferent multiverse.

In the ending of "Everything Everywhere All at Once," Evelyn Wang confronts the multiverse's chaos and her own personal struggles. She ultimately embraces her daughter Joy, accepting her for who she is, and chooses to focus on love and connection rather than the overwhelming pressures of existence. The film concludes with Evelyn finding peace in her relationships, particularly with Joy, and the family begins to heal.

As the climax unfolds, Evelyn, played by Michelle Yeoh, faces off against her daughter Joy, who has transformed into the formidable antagonist known as Jobu Tupaki. Jobu embodies the nihilistic despair that comes from experiencing infinite realities, and she seeks to demonstrate the futility of existence. The confrontation takes place in a surreal, ever-shifting multiverse, where Evelyn must navigate various versions of herself and her life choices.

In a pivotal scene, Evelyn realizes that the key to defeating Jobu is not through violence or power but through understanding and love. She recalls the moments of joy and connection she shared with Joy, and this realization becomes her strength. As she embraces her daughter, she expresses her unconditional love, which resonates deeply with Joy, who has been struggling with feelings of isolation and despair.

The emotional climax occurs when Evelyn reaches out to Joy, telling her that she sees her and accepts her for who she is, despite the chaos surrounding them. This moment of vulnerability and acceptance breaks through Joy's hardened exterior, and she begins to understand that her mother's love is a powerful force against the darkness she feels.

In the aftermath of their confrontation, Evelyn and Joy find themselves in a quieter, more grounded reality. The chaotic multiverse begins to settle, and the two share a heartfelt moment, reaffirming their bond. Evelyn's husband, Waymond, played by Ke Huy Quan, also plays a crucial role in this resolution, embodying kindness and support throughout the film. He stands by Evelyn, encouraging her to embrace love over conflict.

As the film draws to a close, the family is seen together, suggesting a newfound harmony. Evelyn, Joy, and Waymond are united, having navigated their individual struggles and emerged stronger as a family. The final scenes depict them in a mundane yet meaningful moment, highlighting the beauty of ordinary life and the importance of connection amidst the chaos of existence.

In summary, the fates of the main characters are intertwined in this resolution. Evelyn chooses love and acceptance over despair, Joy begins to heal from her nihilistic outlook, and Waymond remains a steadfast source of support. The film concludes on a hopeful note, emphasizing the power of familial bonds and the significance of choosing connection in a seemingly chaotic multiverse.

In "Everything Everywhere All at Once," there is no traditional post-credit scene. Instead, the film concludes with a poignant moment that encapsulates its themes of connection and acceptance. After the climactic events, the audience sees Evelyn Wang, played by Michelle Yeoh, returning to her mundane life, but now with a renewed sense of purpose and understanding.

As the credits roll, the film emphasizes the importance of family and the choices we make in our lives. The final moments reflect Evelyn's growth and her acceptance of the chaos of existence, showcasing her relationship with her daughter, Joy, and her husband, Waymond. This ending serves as a powerful reminder of the film's exploration of love, identity, and the multiverse, leaving viewers with a sense of hope and resolution rather than a typical teaser for a sequel.

The multiverse in Everything Everywhere All at Once serves as a narrative device that allows characters to explore alternate versions of themselves and their choices. It highlights the infinite possibilities of life and the consequences of decisions made. Each universe presents a different aspect of the characters' lives, particularly Evelyn Wang, who confronts her regrets and aspirations through her alternate selves.

Evelyn's relationship with her daughter Joy is central to the film's emotional core. Initially, Evelyn struggles to understand Joy's identity and the pressures she faces, leading to conflict. As they navigate the multiverse, Evelyn learns to appreciate Joy's struggles and individuality, ultimately leading to a deeper connection and acceptance of Joy's true self, including her alter ego, Jobu Tupaki.

Waymond, Evelyn's husband, embodies kindness and optimism, contrasting with Evelyn's often pragmatic and overwhelmed demeanor. Throughout the film, he represents the importance of love and support in the face of chaos. His unwavering belief in the goodness of people and his gentle approach help Evelyn realize the value of connection and compassion, ultimately guiding her towards a more fulfilling life.

In the multiverse, Evelyn encounters various versions of herself, each representing different life choices and paths. These include a successful movie star, a chef, and a version who is a martial arts expert. Each iteration showcases different aspects of her personality and potential, allowing her to confront her regrets and desires, ultimately leading to her growth and self-acceptance.

Jobu Tupaki, the alternate version of Joy, embodies nihilism and existential despair, having experienced the overwhelming nature of infinite possibilities. Her character represents the struggle against meaninglessness, as she creates chaos across the multiverse. Through her interactions with Evelyn, the film explores the tension between nihilism and the search for meaning, ultimately suggesting that connection and love can provide purpose even in a seemingly indifferent universe.

"Everything Everywhere All at Once" is a film that blends science fiction, action, and comedy, but it contains several elements that may not be suitable for children or sensitive viewers. Here are some potentially objectionable or upsetting aspects:

1. Violence and Action Sequences: The film features intense action scenes, including fights and confrontations that may be graphic or unsettling for younger audiences.

2. Existential Themes: The narrative explores complex themes such as existential dread, the meaning of life, and the multiverse, which may be confusing or distressing for children.

3. Language: There is the use of strong language throughout the film, which may not be appropriate for younger viewers.

4. Emotional Turmoil: Characters experience significant emotional struggles, including feelings of inadequacy, familial conflict, and identity crises, which could be heavy for sensitive viewers.

5. Surreal and Disturbing Imagery: The film employs surreal visuals and concepts that may be disorienting or frightening, including scenes that depict alternate realities and bizarre transformations.

6. Themes of Failure and Regret: The characters grapple with feelings of failure and regret, which may resonate deeply and evoke strong emotions.

These elements contribute to a narrative that, while rich and thought-provoking, may not be suitable for all audiences, particularly younger children or those who are sensitive to such themes.