“Everything Everywhere All at Once” consists of absurd comedic threads, psychological battles, and sci-fi fight scenes--all delivered with breakneck pacing--yet the film emerges as a deeply personal tale of fulfillment (Everything Everywhere All at Once). The leading character, Evelyn Wang, emigrated from China with her husband in her youth and is now a stressed laundromat owner who must balance her tenuous relationship with her daughter Joy, her upcoming IRS audit, and her domineering grandfather. Evelyn’s husband, Waymond, struggles to maintain a meaningful connection with his wife. To complicate matters, Evelyn suddenly discovers the existence of infinite universes and iterations of her life (the ever-popular “multiverse” trope). Each reveal eventually leads to the central conflict between Evelyn and the destructive Jobu Tupaki, the original iteration of Evelyn’s estranged daughter. While the visually spectacular elements and plot twists might be distracting and random, Evelyn’s earnest search for recognition amongst the chaos remains at the story's center. Indeed, what is the point of a fantastical journey if the protagonists gain no reward? As shown in “Everything Everywhere,” the hero’s reward satisfies some part of the hero that was previously unfulfilled or incomplete, affirming the audience’s desire for closure, which is why this structure is so successful. 

The movie begins with a scene familiar to American film canon: the protagonist, Evelyn, is disgruntled by her stagnant and unsatisfactory life. She is overwhelmed by her responsibilities as a business owner and distracted by her chaotic family. She is missing a sincere relationship with her husband, daughter, and father; there is apparent tension in every interaction she has with them. At this point, Evelyn is not about to bridge the gap or talk it out. In fact, Evelyn herself does not have a clear grasp on what she wants--at least not until the end of the film. She is reluctant to begin the universe-trekking journey, believing herself inadequate. This setup establishes Evelyn’s shortcomings. How much better would her life be if she got it together?

Because “Everything Everywhere” is an action comedy film, there is no time for Evelyn to get it together, as she is preoccupied by the impending destruction of the multiverse. During the whimsical chaos, Evelyn’s mindset shifts from stubborn confusion to destructive nihilism, neither of which are the solution to her problems. Ultimately, she accepts her husband Waymond’s philosophy: be kind, especially in the face of the unknown. This epiphany is one that the universe and Evelyn so desperately need to understand, and its simple implications are earth-shattering. After Evelyn’s revelation, the multiverses are no longer a threat. What she cares about the most is reconciliation with her daughter, a significant departure from her previous unwillingness to make amends. As such, the victory against Jobu Tupaki is more than a heroic defeat of absolute evil at the hands of absolute good. It is a mother and a daughter reconciling as Jobu’s uncaring front dissolves into a girl whose crushing hurt and hunger is devouring her. Waymond and the IRS inspector also experience character growth after Evelyn’s newfound understanding, and love abounds in a classically heartwarming conclusion.

How often has a film critic or an internet user made the frustrated claim that a trope has become overused and tedious to the point of ruining a story it appears in? Filmmakers must respond to the boredom of their audiences in order to make a name for themselves in the ever-expanding film industry. Indeed, “Everything Everywhere” itself does this with its unique spin on the popular multiverse theme. Although they may lead grander lives, the other Evelyns exist in universes equally complex, rife with drama, and profoundly meaningful. On a less serious note, the directors certainly have fun with some of the more weird universes--the hot dogs for fingers bit stands out in its sheer absurdity. While “Everything Everywhere” does much to contradict the traditional structure of a 2-hour story, there is one archetypal development that it accepts completely. It’s a trope that never becomes dull: the reward for the hero’s strife. In this film, the reward is a life-changing epiphany. In other stories, the reward might manifest as something physical. The reason why the reward works as a trope used time and time again is because it is so satisfying. To know that hard work almost always results in something gained is comforting.

Throughout all the hectic visuals and philosophical musings, the film never forgets that Evelyn is the center of this movie. In a shot that dizzyingly flashes through hundreds of universes, she remains at the center, a constant, reflecting her role as the primary catalyst of change. Consequently, satisfying character arcs are so appealing that it is unlikely that the trope will disappear from Hollywood anytime soon. Altering the course of someone’s life, giving someone a new perspective, earning a hard-won happiness--these are the most wondrous things people experience. We certainly won’t be able to go on any mind-bending sci-fi expenditures any time soon, but we can experience the comfort of seeing people just like us be rewarded for their achievements.