Everything Everywhere All At Once
Everything Everywhere All at Once premiered at South by Southwest on March 11, 2022, and began a limited theatrical release in the United States on March 25, 2022, before a wide release by Manhattan-based A24 on April 8. The film was universally acclaimed for its originality, screenplay, direction, acting (particularly of Yeoh, Hsu, Quan, and Curtis), visual effects, costume design, action sequences, musical score, and editing. Its portrayal of philosophical concepts such as existentialism, nihilism, and absurdism, as well as its approach to themes such as neurodivergence, depression, generational trauma, and Asian American identity, have been widely analyzed. The New York Times called the film a "swirl of genre anarchy" with elements of surreal comedy, science fiction, fantasy, martial arts films, and animation. It grossed over $133 million worldwide, surpassing A24's previous best-ever grossing film, Hereditary (2018).
Everything Everywhere All at Once
At a tense meeting with IRS inspector Deirdre Beaubeirdre, Waymond's body is taken over by Alpha-Waymond, a version of Waymond from the "Alphaverse." Alpha-Waymond explains to Evelyn that many parallel universes exist because every life choice creates a new alternative universe. The Alphaverse, led by the late Alpha-Evelyn, developed "verse-jumping" technology, which enables people to access the skills, memories, and bodies of their parallel-universe selves by performing bizarre actions that are statistically unlikely. The multiverse is threatened by Jobu Tupaki, the Alphaverse version of Joy, whose mind was splintered after Alpha-Evelyn pushed her to extensively verse-jump. Jobu experiences all universes at once and can verse-jump and manipulate matter at will. She has created a black hole-like "everything bagel" topped with everything, which appears as a toroid singularity that could destroy the multiverse.
Evelyn's consciousness uncontrollably verse-jumps alongside Jobu's across bizarre and diverse universes. Jobu reveals she does not want to fight, but that instead, she has been searching for an Evelyn who can see, as she does, that nothing matters while killing the Evelyns that do not. She brings Evelyn to the everything bagel, explaining that she wants to use it to allow herself and Evelyn to truly die. Upon looking into the bagel, Evelyn is persuaded and acts nihilistically in her other universes, hurting those around her.
Co-directors Daniel Kwan and Daniel Scheinert, known as the Daniels, began researching the concept of the multiverse as early as 2010, after being exposed to the concept of modal realism in the Ross McElwee documentary Sherman's March (1986). Kwan described the release of the animated film Spider-Man: Into the Spider-Verse (2018), which also deals with a multiversal concept, as "a little upsetting because we were like, 'Oh shit, everyone's going to beat us to this thing we've been working on.'" He also stated "Watching the second season of Rick and Morty was really painful. I was like, 'They've already done all the ideas we thought were original!' It was a really frustrating experience. So I stopped watching Rick and Morty while we were writing this project."
Kwan has said the idea of the everything bagel "started as just a throwaway joke", a play on a type of American bagel called an "everything bagel", which is baked with a large variety of toppings. Scheinert said they spent time attempting to develop the religion of bagel followers, but encountered complications: "[Jobu Tupaki]'s a nihilist; should there be dogma? Should there be a book? What should their practices be as a religion? The bagel stuck because it became such a useful, simple symbol that we could point to as filmmakers. And you don't have to explain it much beyond the joke."
Visual effects post-production for the film was done in-house, after the Daniels' negative experience with a dedicated post-production studio for their previous film Swiss Army Man. Instead, the filmmakers assembled a small team of five artists, who produced all visual effects using Adobe After Effects, and used Resilio Sync to share the large amounts of data once the pandemic hit.
Consequence's Clint Worthington wrote that "for all its dadaist absurdism and blink-if-you-miss-it [sic] pace, Daniels weaves the chaotic possibilities into the multiverse into a cohesive story about the travails of the road not traveled, and the need to carve out your own meaning in a meaningless universe." Describing Jobu Tupaki's modus operandi, Worthington notes "the living contradiction that is the everything bagel: if you put everything on a bagel, what more is left? And if you've experienced everything that the multiverse can offer, what's the point of any of it?" Kwan said that the everything bagel concept "did two things. It allowed us to talk about nihilism without being too eye roll-y. And it creates a MacGuffin: a doomsday device. If, in the first half of the movie, people think that the bagel is here to destroy the world, and in the second half you realize it's a depressed person trying to destroy themselves, it just takes everything about action movies and turns it into something more personal." The writer George Gillett argues that the movie is "a coming-of-age film for the internet generation", with the multiverse resembling virtual environments which viewers increasingly exist within. 
When the chorus hits, the empty Sprite bottle in your hand becomes a drumstick, passing traffic becomes a sea of concertgoers, and the concrete beneath your feet is suddenly a stage. Spinning on your heels, you close out the song with your face to the sky and hands in the air.
During her time on the scene, Bukovac voiced the concerns she was hearing from parents about the number of school shootings and the desire for something to be done. Bukovac said she was able to put herself in the shoes of the students from her experience and the parents because she has a small child.
According to Encyclopedia Britannica, "The king worshiped the theatre and the opera, and henceforth concerned himself almost exclusively with his artistic endeavors, developing an extravagant mania for building in the Bavarian mountains that he loved." He essentially spent much of his reign constructing an elaborate fantasy world in which he could be the king he imagined himself to be.
The "mad king" may have had some issues ranging from quirky to concerning, but he can fairly be credited with the making of Richard Wagner, as well as creating an architectural masterpiece that millions of people from around the globe travel to enjoy.
The unwinding of inflationary pressures has triggered concerns about the risk of second-round effects in the form of a de-anchoring of inflation expectations or a wage-price spiral, especially in view of the tight labour market conditions in advanced economies (Chart 7).
Though worlds away from Oscar bait, Daniel Kwan and Daniel Scheinert's anarchic ballet of everything bagels, googly-eyed rocks and one messy tax audit emerged as an improbable Academy Awards heavyweight. The indie hit, A24's second best-picture winner following "Moonlight," won seven Oscars in all.
"Everything Everywhere All at Once" was nominated for an Academy Award in nearly every major category this year. The adventure follows a woman hopping through multiverses as different versions of herself. During the past three months, nearly every investment asset class in every country has rallied. The "everything everywhere all at once rally" has included stocks (U.S., international, and emerging markets), bonds, and some commodities (like metals) with most posting double-digit gains. For investors, it feels like a different multiverse than it did for most of 2022. 041b061a72