How to Fight the Multiverse: Kindness is Key
Underneath all of its chaos, A24’s aptly titled film Everything Everywhere All at Once is more than merely a hedonic joyride through the multiverse. Filmmaking duo Daniel Kwan and Daniel Scheinert offer a dense, layered tale about family, intergenerational trauma, existential questions, and compassion, proving that entertainment value doesn’t need to be compromised for depth. In fact, laughter can be a valuable tool in creating a transcendent entertainment experience (Raney et al. 2021). And, Everything Everywhere serves as a powerful example of this.
The film follows unlikely heroes through hyperbolic scenarios that demonstrate the power of our thought projections and the value in accepting and seeing the good in our present conditions. Nuanced and empathetic depictions of Asian-Americans, immigrants, and LGBTQ+ individuals allow us to see the humanity of others.
A particularly cathartic moment of acceptance and reconciliation occurs in the film’s third and final act between a mother and daughter whose relationship is fraught with cultural tension, misunderstanding and intergenerational trauma. In a parallel universe, they appear as two sentient rocks at the edge of a cliff, pondering their own “stupid” existence and ultimately, affirming their relationship as mother and daughter.
Writers and Directors Daniel Kwan and Daniel Scheinert’s creative take on rocks.
Additionally, the film’s clever use of humor encourages us to engage with our imaginations and explore alternate realities and roles for ourselves (Raney et al. 2021). The protagonist, Evelyn Wang (Michelle Yeoh), delivers a line that encapsulates this very sentiment: “You are not unlovable. There is always something to love. Even in a stupid, stupid universe where we have hot dogs for fingers, we get very good with our feet."
According to positive media psychology researchers, transcendent entertainment is constituted by what leaves us feeling not only contemplative, but inspired, grateful, and optimistic. Content that evokes an emotional experience that goes beyond immediate viewing pleasure falls under the umbrella of eudaimonic entertainment (Raney et al. 2021).
Michelle Yeoh (center) plays Evelyn Wang, a Chinese immigrant who owns a failing laundromat. She protects her daughter Joy (left), played by Stephanie Hsu, and her husband Waymond (right), played by Ke Huy Quan. Source: NPR
Now, what exactly is eudaimonic entertainment and what does that have to do with Everything Everywhere?
The Greek word eudaimonia [ yoo-di-moh-nee-uh ] is a literal translation for a state of happiness and flourishing, and according to Aristotelian philosophy, the “highest human good.” Ryan and Deci from University of Rochester distinguish eudaimonic approaches to well-being from hedonic approaches because they are longer-sustaining and fulfilling, as opposed to promoting subjective happiness and avoiding painful experiences. However, these two paradigms can, and often do, intersect. Everything Everywhere showcases these concepts in its presentation of hedonic, action content alongside conscious social commentary.
While eudaimonic and hedonic experiences are not mutually exclusive, the former goes beyond immediate enjoyment, and if harnessed effectively, can lead thoughtful introspection to virtuous action, or self-transcendence. In Everything Everywhere’s seemingly infinite and interdependent dimensions of reality, viewers encounter the absurd as well as the profound. These playful—often hysterical—elements are ultimately in service to its overall message about the importance of love, acceptance, and kindness. When characters suddenly have hot dog hands and googly eyes and audiences are bombarded with elaborate action sequences, we are reminded that "The only thing [We] do know is that we have to be kind…Especially when we don't know what's going on."
The film’s widespread appeal and overwhelmingly positive reception is testament to audiences’ yearning for intentional, and meaningful, entertainment.
So how do we translate this into the media content and entertainment we create?
Research suggests that media portrayals, especially in film, are conducive to eliciting emotions like admiration, awe, elevation, gratitude, hope and love (Raney et al. 2021). And, the list doesn’t stop there. In fact, media psychologist at Florida State University, Kathryn Dale, identified 20 directly observable elicitors of self-transcendent emotions that are frequently modeled in media. Representations of real-world elicitors, like natural beauty that evokes feelings of awe and elevation, as well characters modeling virtuous behavior and humanity, are common elicitors.
Engaging with media in which we see a protagonist overcome personal obstacles and adversity or display benevolence and compassion to others can prove extremely satisfying. Additionally, elevation experienced in viewing moral beauty and virtue can also be a powerful tool in combating stereotypes and prejudices, according to research. By fostering feelings of connectedness and promoting altruism, media can encourage individual and collective wellbeing.
Everything Everywhere is a shining example of entertainment that is more than just feel-good. It encourages audiences to grapple with complex emotions and heady themes, and thus leaves a lasting impression. There is something for everyone in Everything Everywhere, reminding us of the multitudes contained in all of us and the revelatory power of the movie-watching experience.
