This thesis examines the ways in which the 2022 film Everything Everywhere All at Once
(2022) employs the philosophical ideas concomitant with the multiverse hypothesis in order to
narrate an emotionally poignant, yet somewhat typical story about a multi-generational Asian
American family. This thesis argues that the film uses its characters as vehicles to not only
illustrate the multilayered nature of Asian American realities through the allegory of "auto versejumping"
across the multiverse, but also to philosophically contemplate and respond to the
existence of the multiverse via its presentation of conceptual parallels. The film employs the
hypothetical existence of the multiverse-the multiverse hypothesis-as a means to delve into
the Asian American immigrant experience, focusing specifically on Evelyn and Joy as
representations of the first- and second-generation Asian American experiences. These characters
are intrinsically tied to the philosophies of nihilism, free-will/determinism as seen through the
lens of Leibniz's "Best of All Possible Worlds," and Taoism. Within this framework, this thesis
underscores the significance of the aesthetics and iconography that present the synergy between
the multiverse experiences and the Asian American in-betweenness: the fluctuations across
different aspect ratios to present alternative universes; a highly stylized form of split screen to
express fragmented consciousness; the use of diverse Chinese dialects to signify generational
differences, and the significance of the icons attributed to Evelyn (googly eye), Joy (everything
bagel), and Waymond (cookie).
