Trust me, it makes way more sense in context.
It’s 2022 and the multiverse is in!
Comics and science fiction fans are well acquainted with the essentially fictional theory that infinite Earths exist in infinite universes, one for each possibility at every crossroads in every human life ever. All across the space-time continuum(s) there’s hypothetically one version of you for every major decision that you personally have ever had to make. Sometimes you chose well; sometimes you chose poorly and ruined everything. Either way, whatever choices you didn’t make, there’s a you for those. Of course that isn’t counting the timelines where you didn’t even exist because your parents or your ancestors chose poorly, or someone killed them too soon, or Earth was prematurely destroyed, or our planet survived but the dominant lifeform was amoebae, dinosaurs, or orcs.
Alt-timeline hi-jinks are plentiful in pop culture, in which characters bounce back and forth between their Earth and one (1) radically different Earth, compare and contrast What Might Have Been with What Is, and learn what George Bailey should’ve taught them when they were kids. But now, thanks to the success and awesomeness of Into the Spider-Verse, two measly Earths in a single story is no longer enough. Next month’s Doctor Strange sequel threatens to capitalize on its ingenuity, expand on the foundation laid in Avengers: Endgame and TV’s Loki, and overwhelm viewers with potentially more universes than Spider-Verse had, each with its own Benedict Cumberbatch, all of whom have to split a single paycheck. DC Comics, the very first publisher to give us Earth-vs.-Earth conflict in funnybook history, remains hard at work on riding Marvel’s multiversal coattails with their long-gestating Flash movie, which, given its current production pace and behind-the-scenes embarrassments, may give Marvel some stiff competition when it’s ready for release in the year 2525.
But why should superheroes have all the fun? If we take the multiverse as a given, then it stands to reason that there are in fact realities where multiversal mayhem occurs but isn’t centered on costumed do-gooders because they don’t exist. Enter writer-directors Daniel Kwan and Daniel Scheinert (Swiss Army Man), who took a small cast, a modest budget (about the same as a single Loki episode) and who knows how many substances, and together concocted the madcap psycho-farcical Everything Everywhere All at Once.
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