Every Minute of Everything Everywhere All At Once

Epizódy

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  Minute 105 - We Put Being Too Sweet On A Bagel! 16.09.2026 55min

  Deirdre pauses at the door on her way out, shares a look with Evelyn, and staggers off looking like someone dropped a bomb on her. Waymond, still kneeling in front of his handcuffed wife, tells her he doesn't know how he did it — he just talked to Deirdre — and he is openly, unmistakably crying while trying to look like he isn't. Then he stands up, picks up a broom, and sweeps the broken glass while quietly singing a Chinese New Year song. Meanwhile, in a green-lit Hong Kong alley, Foxy Waymond says Evelyn's father used to call him too sweet for his own good, and maybe he was right. And in the Alpha Verse, Waymond stands in front of the wife who stabbed him, arms out against a dozen jumpers, saying please.We stop the episode to sit with what Ke Huy Quan is doing here — real tears, in a performance where the character is trying not to cry, in a conversation that's clearly scarier to him than facing down the police. We talk about the specific kind of masculine melodrama that wrecks audiences, and about the twenty years Hollywood took from all of us by not casting this man. And then Lester looked up what Waymond is humming while he sweeps: "Gongxi Gongxi," written in 1945 to mark the end of the war, tied to an older myth about a beast that came each winter to eat villagers — so at dawn, neighbors ran out, saw each other alive, and shouted congratulations. Not on winning. On surviving. Waymond is standing in the wreckage of his marriage singing a song that means we made it through the dark together.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 104 - We Put Nothing Special On A Bagel! 09.09.2026 46min

  Jobu is outside the laundromat window with a cigarette, grinning, telling Evelyn to come back to the bagel — and then to ignore it. But Evelyn can't stop watching Waymond whisper something into Deirdre's ear. We're too far away to hear it. We just watch Jamie Lee Curtis take it in with her whole body: straightening up, clutching the eviction papers, breathing out, and then telling the cop to let Evelyn go before slumping hard against the washers like the fight has left her. Waymond walks over with his hands going into his pockets — somehow both aw-shucks-it's-just-me and John Wayne after saving the town — and crouches down in front of his handcuffed wife to tell her everything is going to be okay. Evelyn says that's impossible. Jobu, nearly talking over her, says it's just a statistical inevitability. Nothing special.Daniel Kwan originally wanted ADHD to be a running theme in this film, and this is the minute where Evelyn's distractibility saves her life. We spend most of the episode on Deirdre — this is the second time she's let this family off the hook, which makes it a pattern rather than a Grinch moment, and we build out a theory of who she was before her divorce and why she became who we met at the start. We also get into the two different faces Jobu is wearing in the same minute, why "statistical inevitability" echoes a line from a deleted Thetaverse scene, and the trope that doesn't have a name but should: making excuses to do the right thing.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 103 - We Put A Hard Time On A Bagel! 02.09.2026 58min

  Jobu rises out of the rock universe and back into the Bagel Temple, and finally says the thing the whole movie has been building toward: she didn't build the bagel to destroy everything. She built it to destroy herself — to see if going in meant she could finally escape and actually die. She holds out her hand, Evelyn takes it, and Jobu says at least this way she doesn't have to do it alone. Then static cuts in, and Evelyn wakes up handcuffed in the laundromat while Deirdre tells Waymond that everyone she knows is going through a hard time.This is the minute where the Trojan horse opens. Underneath the hot dog hands and the raccoon voiced by Randy Newman, this has been a mother-daughter drama about a daughter contemplating suicide the entire time. We spend most of the episode there, and with Camus — Kynan reads from The Myth of Sisyphus, which opens by declaring suicide the only truly serious philosophical question, and uses Galileo as its central example: a man who chose to keep living over an argument about whether the Earth orbits the sun. It takes Camus 180 pages to conclude that suicide is the wrong answer, which is exactly why so many people stop halfway and take away the opposite. Same warning applies here: don't stop at this minute.We also track the creation metaphor carrying over from the rock scene, why the shot of their two hands forms a yin-yang without ever saying so, and what got cut from the scripted version of this conversation — including a line about Evelyn forgetting her silly husband's name.If you or someone you know is struggling, the 988 Suicide and Crisis Lifeline is available 24/7 by call or text in the US.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 102 - We Put A Big F**king JOKE On A Bagel! 26.08.2026 50min

  Two rocks on a clifftop, still no voices, still just text. Joy says every new discovery is a reminder — and Evelyn finishes it: we're all small and stupid. Then Joy wonders what discovery is coming next to make us feel like even smaller pieces of shit, and Evelyn responds with a single word: language. In a theater where you could hear a pin drop, that gets the first laugh in what feels like ten minutes. Then Joy stares at her, and Evelyn clarifies: I'm joking, that was a joke. They laugh in text — ha ha ha, white and black, filling a wide shot of a dead planet — and in the silence afterward, you can hear the desert wind. Joy says fuck. She's been trapped like this for so long. And she admits what she actually wanted: someone who would see something she didn't. Someone who'd convince her there was another way.Lester takes a swing this episode and argues Jobu might be the perfect villain, and we trace that through Nurse Ratched, Syndrome, Miss Havisham, Darth Vader, and the xenomorph in Alien — landing on the specific archetype Jobu belongs to: the broken hero who ran the journey first, failed, and needs the new hero to prove the game isn't rigged. What makes it devastating here is that Evelyn failed too. We also break down how this scene is engineered: why "language" is a popcorn joke and "I'm joking" is the better one, why rendering laughter as text makes it an idea rather than a sound, and how sound itself slowly evolves back into the scene — wind, then chimes, then one clumsy piano note — like life restarting.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 101 - We Put A Couple Of Rocks On A Bagel! 19.08.2026 1h 9min

  Two rocks. One clifftop. No music, no voices, no movement — just white and black text appearing over them in a universe where life never formed. Joy tells Evelyn that most universes are like this, actually. Evelyn says it's nice. Then Joy starts talking about how we spent most of our history certain the Earth was the center of everything, torturing and killing people who said otherwise, until we found out we orbit one sun out of trillions.After the montage of sixty-nine universes nearly broke us last week, this minute is the movie building in its own intermission — and we are deeply grateful for it. We get into how the Daniels genuinely feared audiences would be bored here, shot backup time-lapse footage of the sun moving behind the rocks as insurance, then cut it for being too energetic. We talk about the missing punctuation in the text and why it makes the whole thing feel like texting rather than dialogue. Kynan reads from William Steig's Sylvester and the Magic Pebble — a children's book Daniel Kwan has confirmed as a direct reference, about a donkey who turns himself into a pink rock and then slowly stops trying to be anything else — which is a genuinely upsetting thing to encounter in a picture book. And we sit with Evelyn's apology, which arrives shockingly early, and what she might really be apologizing for.Also: Michelle Yeoh is the reason there are no voices in this scene. It was her idea. Rocks speaking English would violate the rules of the universe.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 100 - We Put The Ultimate Montage On A Bagel! 12.08.2026 1h 25min

  Thirty-eight seconds. Sixty-nine universes. Everything everywhere all at once.This is the montage. Evelyn screams and it ripples outward through the bubble map like a red nebula infecting every universe at once. We see her as a cat news anchor, an anime figure on a city crosswalk with her hair in the wind, a nun with a skull, a baby, a drag queen, a prisoner with a "Brew Crew" tattoo under her eye, a bunch of grapes, a tree, a Tinder profile that removes the like button halfway through, and a drone strike that may or may not have her face superimposed over the explosion. The Twin Peaks red room appears for one frame with a subtitle that says "Meanwhile." — period, not ellipsis. Jobu winks directly at us for eleven frames. Then the montage ends quietly: Evelyn drops to the floor at the party, becomes a rock, and the laundromat fades away to a desolate clifftop. Two rocks. Silence.We go through all sixty-nine universes frame by frame on this, our hundredth episode, covering the hundredth minute of the film. We talk about what the script actually said (one paragraph, basically nothing), how much of this montage must have been built in the edit, and what it means that Jobu winks at us specifically — not at Evelyn, at us. We break down why the montage ends not with a bang but a whimper, what the cop's expression tells us about how Evelyn's universe treats geological transformation, and why two rocks sitting in silence on a clifftop is the most confident directorial choice in the movie. Kynan tracks the color swap: the rock we assumed was grey is, once Jobu's rock appears beside it, definitively blue. Evelyn and Jobu have finally switched.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 99 - We Put A Crash Out On A Bagel! 05.08.2026 1h 8min

  Foxy Waymond pushes Evelyn away, and the all-is-lost montage begins. Raccaccoonie is taken away in an animal control cage, hands fixed to the bars, as Chad screams and strains against the coworkers holding him back. Deirdre hands Evelyn the eviction papers. Evelyn picks up the googly-eyed bat, says "I've always hated this place," and smashes the laundromat window. Opera Evelyn screams with her whole body until she has to crouch to finish it. Hot dog Deirdre cries alone in her apartment. And Jobu's voice threads through all of it: just a lifetime of fractured moments, contradictions, and confusion. Only a few specks of time where anything actually makes any sense.We follow Raccaccoonie to the animal control truck — and then have a long, not-particularly-comforting conversation about what actually happens to raccoons after that. We dig into Harry Shum Jr.'s work in the Chad farewell scene, which crosses the line from parody into genuine melodrama by about two smudges of sincerity, and why that line is so thin and so effective. We break down why Evelyn smashing the window with a googly-eyed bat has all the visual ingredients of a liberation scene — and is scored and shot as a final descent. Kynan distinguishes the all-is-lost moment from the dark night of the soul, and why this film is rare enough to need both. And at 1:38:38, there is a figure in the background who casually raises a newspaper before the glass breaks — not to protect herself, but because she already knew.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 98 - We Put A Knife To The Heart On A Bagel! 29.07.2026 54min

  Evelyn pulls Waymond close at the party while Deirdre's forty-eight hour eviction notice fades in and out of the background. Across universes at the same time: she rips the hat off Chad at the teppanyaki table to reveal Raccacoonie, slams Foxy Waymond against the alley wall and kisses him, throws a handful of elbow macaroni in his face, stabs Atrium Waymond with a shard of broken glass and pulls it out slowly with cold fascination, pushes the divorce papers into Party Waymond's chest, and in the hot dog universe, Deirdre hops away out the door on one foot with her carry-on trailing from the other. Foxy Waymond breaks the kiss and pushes Evelyn away.We go frame by frame through this sequence: the rotating strobe that makes a motionless Michelle Yeoh look like she's cycling through different people, the red light taking over as the decisions get worse, the exact moment Evelyn crosses over from vacant to something colder and more alive. We break down why the stabbing itself isn't shown—we only get the aftermath, Evelyn holding up the glass and registering what she's done with the detached curiosity of someone running an experiment—and we bring in Bruce Block's film theory on triangles: circles are calm, rectangles are stable, and triangles are shards. This is the first major triangle in a film of circles and bagels. Ke Huy Quan's face in that moment isn't asking why. It's asking how.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 97 - We Put A Party Crasher On A Bagel! 22.07.2026 1h 11min

  Foxy Waymond gently pushes Evelyn's hands back down and says, if you don't mean it, please don't give me any false hope. Evelyn's laughter bleeds in from across the universe before we even cut. At Gong Gong's party, she grabs the karaoke mic, shouts Happy New Year, signs the divorce papers in front of everyone, tells Waymond no more running, and then Deirdre walks in with two cops to announce the seizure of their personal and business assets. Evelyn smiles with her fingers tented like Mr. Burns.We go shot by shot through the party: Waymond pulling off the lion-or-dragon head looking stricken, the full spectrum of guest reactions from D.Y. Sao's bafflement to Craig Ng still having a fantastic time to Waymond Lee bracing for impact. We dig into why Deirdre crashing this party in person after hours actually makes emotional sense if you read her as someone who extended real trust to the Wongs and got shut up, nothing matters on the phone. We catch Joy watching from outside the window at 1:36:45, parallel to the cops coming in, in a shot easy to miss on first watch. And we spend genuine time on the lion dance versus dragon dance question, which has no clean answer, and why that might be exactly right for the Wongs.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 96 - We Put False Hope On A Bagel! 15.07.2026 1h 1min

  Foxy Waymond asks what if you had come with me all those years ago — and then we're at the New Year's party in full swing. Evelyn comes back to life in the Alpha Verse, stares at her hands, and the music rises with what sounds exactly like a hero's reawakening. Then she picks up the phone, tells Deirdre to shut up, tells her nothing matters, and her eyes fill with black. We end in the green-lit alleyway outside the Hong Kong theater, with Evelyn advancing on Waymond saying they'd have woken up every day in a tiny apartment.We spend time on Rick, played by the late Biff Wiff, who passed away in February 2025 after a late-career run that included this film, I Think You Should Leave, and Jury Duty. He's standing at the party in his red suspenders, insinuating himself just close enough to Evelyn to be technically arguable, and we trace everything the movie has done with him since the beginning. We also dig into Debbie the Dog Mom showing up without the dog and actually talking animatedly with Evelyn like they're friends, Jobu's expression when "nothing matters" lands — not triumph, something much more like nausea — and the shot of Evelyn's eyes going black, which is easy to miss and hard to come back from. The false hope of this minute is the whole point.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 95 - We Put Gong Gong's Party On A Bagel! 08.07.2026 1h 8min

  The bagel pulses, and every version of Evelyn feels it at once. We watch them in rapid succession staring directly into the camera — from the IRS, from Hong Kong, from a robotics factory with a red eye, from a winter street where she appears to be the cold itself, from a scene near the end of the film with blood in her mouth looking genuinely monstrous — before landing at Gong Gong's party, where red envelopes are being handed out, the Chinese New Year decorations are finally up, and Debbie the Dog Mom has somehow actually shown up. Then Jobu's voice comes in from the temple: all this time, she wasn't looking for someone to kill. She was looking for someone who could see what she sees and feel what she feels. We get pulled through the eye of the bagel, past a swirling vortex that turns out to contain an enormous number of toilets and guitars, and land outside the Hong Kong theater with Foxy Waymond.We go frame by frame through the entire montage, cover what red envelopes are and why Gong Gong gets to hand them out, try to explain why Joy is simultaneously inside and outside the laundromat at the same time, and spend a long time on the moment Jobu's plan is finally revealed, comparing it to the script version and to why the finished line lands so much harder. The short version: we thought this was a movie about stopping a villain. It turns out it was always about a mother and a daughter who stopped being able to talk to each other.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 94 - We Put The Sanctum Sanctorum On A Bagel! 01.07.2026 54min

  Jobu finishes telling Evelyn that right is a tiny box invented by people who are afraid, and the film cuts to a memory: Joy introducing Becky to Gong Gong, the same scene from the start of the movie, except Evelyn's face looks different this time, softer, more apologetic. Back in the temple, Evelyn insists she still knows who she is, that her life was happy. Jobu, instead of looking triumphant, looks almost sad. Then two acolytes tear the curtains down (not pull, tear) and reveal the bagel, still bagel-sized, somehow filling the entire frame anyway, pulsing hard enough to crack the marble walls of the inner sanctum before sucking Evelyn, Jobu, and the audience through a single eye into the hot dog universe.We spent a good chunk of this episode on sacred inner sanctums across world religions, from the Jewish Holy of Holies to Hindu garbagrihas to Shinto honden, trying to figure out what the Daniels were drawing on when they designed this space (the building really was a Catholic cathedral, which explains a lot). We also dig into a cut script line where Jobu makes the binary explicit, telling Evelyn she can love and hate her at the same time now, and we walk through exactly how this bagel reveal differs from the one we glimpsed earlier in the film, including a continuity wrinkle in just how cracked those walls already were.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or XKrzysztof Penderecki, "Polymorphia"---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 93 - We Put The Bagel Temple On A Bagel! 24.06.2026 1h 1min

  Evelyn is marched the length of the Bagel Temple, a real downtown Los Angeles building that used to be a working Catholic cathedral, past rows of white-robed acolytes including one very recognizable face standing just behind her shoulder the whole time. Jobu hands her a Dr. Seuss-style picture book titled, in a nice bit of self-reference, Everything Everywhere All at Once, with the line "I am your daughter, your daughter is me" written in cheerful rhyme. Evelyn flashes back to a tense, unfinished moment in the Winnebago, and Jobu closes things out with a line that sounds wise enough to stop the scene cold: right is a tiny box invented by people who are afraid.We spend a good chunk of this episode on the temple itself, the former Cathedral of Saint Vibiana, now an event venue that's hosted music videos for Beyoncé and The Weeknd, and we correct ourselves on an earlier mistaken claim about which building this actually is. We also dig into a deleted draft of this scene that gives the silent acolyte standing behind Evelyn real dialogue, defending Jobu's worldview almost like recited scripture, and what it means that the finished film cut her lines but kept her devotion written all over her face. And we talk about why an earlier, more philosophically tangled draft of this confrontation, one that actually argues about whether Evelyn's understanding of the multiverse is correct, got simplified down to something much more emotional: Jobu doesn't need to win an argument about reality. She needs her mother to admit she got something wrong.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 92 - We Put The Crack On A Bagel! 17.06.2026 1h 22min

  Evelyn asks Jobu a real question — not an accusation dressed as a question, but an actual "why" with no predetermined answer waiting — and Jobu responds by inviting her to sit on the crack of the couch. They fall through. They land in the Alpha Winnebago, where Evelyn is a talking urn coughing on her own ashes, a retired Alpha Waymond is doing the crossword, and the big revelation is this: the Alpha Verse wasn't destroyed by Jobu. It was destroyed by verse jumping itself — by everyone finding whatever version of truth they wanted and then just fighting about it forever. The Daniels filmed that speech with a camera pushing in and the score swelling. We have thoughts.We dig into why that deleted scene was cut (it introduces infinite Alpha Verses, which would dissolve the stakes the film needs), what Evelyn's genuine open-ended question to Jobu actually costs her, and a long conversation about conspiratorial thinking, personal truth, and what it means when people stop caring whether something is real. Then the curtain opens on the Bagel Temple, and Jobu — dressed like alien royalty, per the script — is sitting there posed and barely containing her excitement, because the hero was never the obstacle. The hero was always the goal. Captain Hook letting Peter go. Father Marin finally arriving at the Macneil house. Evelyn, coming through the curtain, dressed like a peasant.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or XDeleted Scene!---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 91 - We Put Happiness On A Bagel! 10.06.2026 1h 6min

  Everything in This MinuteIn minute 91 of Everything Everywhere All at Once, Jobu tells Evelyn "you're like me" and invites a punch — which Evelyn throws, badly — triggering a strobe-lit freeze and a rapid montage of mother-daughter interactions: braiding hair, strangling each other, playing chess, riding a tandem bicycle, and doing something that might be Thriller. They both end up holding their noses, Waymond wanders in, and Jobu announces she just fell on the couch.This Episode All at OnceWe spend a lot of time in this room, and that is correct. The Wong family living space — the mirror from the film's very first shot, the unused exercise bike, the two VCRs attached to a flat screen, the possibly-bok-choy glass sculpture with a googly eye, the old cat carrier — turns out to be a place worth staring at for a long time.We dig into the villain trope double-header happening across this and the previous minute — the "this is how the world really works" speech plus the "we're not so different, you and I" moment — and compare the motivation behind each, from Syndrome's "if everyone's super, nobody is" to Satan's forty-day argument with Jesus in Paradise Regained. We also track how the Jackie Chan script handles the same scene, with Joy's version landing entirely differently: warm, welcoming, genuinely excited that dad has finally caught up. Then there's the Happiness board game by Milton Bradley sitting on the shelf — real, from the 1970s, with six different themed paths (love, health, friendship, self-improvement) and no guaranteed way to finish any of them. And we discover that Joy's cat was named Bagel, which we are choosing to believe.Everything ElseThe rapid montage reads like a fight, but most of those frames are things you actually do with your daughter: braid her hair, play chess, ride a bike together. The strangling is less ambiguous.Jobu's "la la la" after Evelyn's karaoke cover story is not in the script — it's a discovered line, either Stephanie Hsu or the Daniels on the day, and it's perfect: backing mom's play while somehow making it worse.Waymond enters but takes exactly one step off the shoe-free zone to grab a bag, keeping his shoes off the rest of the floor. That detail was put there by someone who grew up in that house.Joy is wearing house slippers, not boots, on the couch — she switched them at the door, at some point, during or between universe jumps. The universes are at stake and someone made sure to do that.Evelyn punched her daughter in the face, which we are going on record as saying is bad. Waymond bought it. The couch, the mirror, the Happiness board game, the cat carrier — this room holds everything.Everywhere ElseShow archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:
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  Minute 90 - We Put Piñatas On A Bagel! 03.06.2026 51min

  Jobu is in the building — and she's smiling with a smile that is definitely not Joy's. From the laundromat, she drags Evelyn through a bamboo forest Wuxia standoff, a black-and-white prison corridor, a fully animated crayon universe where a stab wound erupts in candy, and finally a park where piñata versions of both of them hang from a tree until a blindfolded kid ends the minute. The funniest concrete beat: the bamboo branch Jobu tears from a tree transforms through roughly thirty objects — a tiny shark, a Minecraft torch, a novelty lollipop, a number one foam finger, and what appears to be an Oscar — while Evelyn stands there watching the light show reflect off her face.We go deep on the craft of this sequence: how the crayon animation is drawn fresh on new paper every single frame, why Evelyn accidentally yanks them into the cartoon world (and why that delights Jobu), and how a single bamboo plant just off camera and some well-placed fog turns a California park into a Wuxia film. We also deliver on a promise made in the very first episode of this show: the history of piñatas. Turns out the word derives from an Italian term for a clay pot, they arrived in Spain as a Lent tradition with seven points representing the seven deadly sins, and — here's the part that sent us into a spiral — they were originally Chinese, brought to Europe by Marco Polo, and made in the shape of New Year's animals. Evelyn's clay pot is leaking. Her mind is a piñata. We don't think the Daniels knew any of this, which makes it so much better.Show archiveLearn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Banana for Scale Facebook GroupThe Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist MinuteConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 89 - We Put EVERYWHERE On A Bagel! 27.05.2026 1h 10min

  Part Two of Everything Everywhere All at Once begins here, and it sneaks up on you. Evelyn sits at her dining room table, holds up that receipt with the big black circle, and splits the screen cleanly in two — placing it in both piles at once. Warm piano kicks in, title cards appear, and then a buzzer cuts everything off: the Chinese choir has arrived, and right behind them is Joy.Before we get there, we finally deliver on last episode's promise and cover the Spaghetti Baby Noodle Boy deleted scene in full. An elbow macaroni rises through a boiling pasta pot — voiced by Jenny Slate — calling out for his spaghetti mother, asking whether he'll stick to the wall on Throwing Day, and wondering why God would give him a hole for no reason. The Daniels called it the hardest thing they ever cut. We connect Evelyn's response to him — "you're not gonna stick, you're a different kind of pasta" — to the first real flicker of her villain arc.We also dig into what Evelyn's clean universe-split actually means (control of powers, wrong use of powers), break down the quantum suicide imagery in the receipt shot, and spend a loving amount of time on the Chinese choir: the late Waymond Lee reunited with Craig Ng in the doorway of the laundromat, with D.Y. Sao following along and Waymond Lee doing absolutely none of what Craig Ng is conducting.Show archiveLearn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Banana for Scale Facebook GroupThe Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist MinuteConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or X---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 88 - We Put Moquette On A Bagel! 20.05.2026 1h 5min

  Hot Dog Deirdre is alone in the frame, back to the camera, crumpling to her knees as Evelyn makes her escape — and she doesn't even get her own shot for it. Then we're in a rain-soaked Hong Kong alley where Foxy Waymond catches a stumbling, multiverse-fried Evelyn and drapes his coat over her while she murmurs about her clay pot leaking. She pinches her temples like a bargain-bin psychic, ricochets through a rapid montage of universes (a courtroom, a bus with a very animated Borat lookalike, a fisheye outdoor shot), and lands back at the laundromat table, sweating, triumphant: "I did it."We go deep on the Hot Dog Universe's production design — turns out those are deliberately hot-dog-shaped blinds, the lampshades are structured like frozen frankfurters, and there's a casserole dish of Wonder Bread buns that may or may not be a romance prop. We trace Foxy Waymond's "just think happy thoughts" impulse (cut from the final film, present in the 2022 script) back to our Waymond's lifelong optimism, break down how the body-swap genre usually handles misunderstanding versus how this film complicates it, and introduce Spaghetti Baby Noodle Boy — a filmed-but-deleted character who will get their full due next episode.Then Lester finds a Reddit thread about moquette — the algorithmically generated, stain-incorporating fabric on public transit seats — and Kynan connects it directly to the film's thesis about finding pattern and meaning in apparent randomness. It sounds unhinged. It works completely.Show archiveBanana for Scale Facebook GroupConnect with Kynan on Instagram or LetterboxdConnect with Lester on Facebook, Instagram, or XReddit thread: "ELI5: How do bus seat patterns work?"Spaghetti Baby Noodle Boy deleted scene---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute
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  Minute 87 - We Put Randy Newman On A Bagel! 13.05.2026 1h 11min

  Everything in This MinuteIn minute 87 of Everything Everywhere All at Once, Opera Evelyn collapses onstage and Gong Gong rushes to help, calling her name in Cantonese. She gets up on her own and pushes past him, exiting stage left. We get a final shot from behind the ornamental archway—a clear circle—with Evelyn leaving the circle and leaving Gong Gong alone on stage.We follow Evelyn into the Teppanyaki kitchen where she's now Teppanyaki Evelyn. As she emerges through the partition, she looks at her uniform and her eyes catch something. Before we even see who she's looking at, we hear singing: a voice sings "we're a family," a deeper voice responds "culinarily," the first voice repeats it, and both sing "now we're cookin'." We pan out and reveal Chad—with a raccoon perched on his head pulling tufts of his hair to manipulate his arms and help him cook. It's Raccacoonie, voiced by none other than Randy Newman.Evelyn mouths "Raccacooni?" in utter disbelief. Over her shoulder looking at them from the back, we hear Raccacoonie say "yeah, we make a pretty good team." They continue singing, but Evelyn has grabbed a knife sharpener. The noise makes our singers turn around in surprise—but it's Raccacoonie who notices first (he's the one controlling Chad). Chad turns and says "you can't tell anyone," but Raccacoonie makes an executive decision: "she's seen too much, you know what that means." Evelyn puts her hands up and begins backing away as Raccacoonie pulls Chad's hair saying "get her, get her." Chad's arms begin to flail and he says "I'm begging you," but his hand suddenly brandishes a spatula—a teppanyaki spatula that still makes that shink metal knife sound. Chad and Rackakoonie advance, and Evelyn, terrified, backs through the partition and into the hot dog universe.This is our first callback to that universe since the laundromat scene. Evelyn puts her hands up to her eyes which have been blindfolded—and that's when we see the hot dog fingers. Then we're suddenly in the room with them looking at Evelyn. Her blindfold is off, resting around her neck, and she's looking around at a room that's been made to feel romantic with soft candles and wine on the table. It's obviously a home. Behind her we've got hot dog Deirdre watching her take it all in, hopeful, looking like she can barely contain herself.Evelyn's first words are "what do you want?" Deirdre says "I want you" and proceeds to do the little dance we saw in the hot dog version of Soldier and Queen. Evelyn puts up a finger and says "no, stop that," wagging her finger at Deirdre. Of course that makes her see her finger and she can't take how ridiculous this all is. She shakes her head almost like she's trying to shake herself out of this universe. Suddenly we cut to our Soldier and Queen and they're doing the dance with hot dog fingers flapping. This is intercut with hot dog Deirdre advancing as Evelyn backs away, still holding her finger out saying "nope, stay back, this is wrong, stop it." We've got Deirdre trying to say "but it's not wrong."This Episode All at OnceWe dive deep into the circle imagery and what it means that Evelyn leaves the circle where Gong Gong stands alone. This Opera universe is the only place we've seen Gong Gong in a circle, and it's also the only universe where he's a loving father. The idea is that Evelyn could stay here in this circle with her father who loves her—very tempting—but instead she chooses to leave that circle and go after Joy. But then we debate: who is actually piloting Opera Evelyn's body at that moment? Is it our Evelyn making an emergency exit to save the world, or is Opera Evelyn herself a diva who treats her Gong Gong poorly and brushes him off? The same action could read as rejection or heroism depending on who's in control.We go on a fascinating tangent about pet care sociology and how forced proximity changes relationships. Back in the 80s, dogs were never allowed inside—now we have a billion-dollar pet industry with...
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  Minute 86 - We Put THE END??? On A Bagel! 06.05.2026 56min

  In minute 86 of Everything Everywhere All at Once, Jobu finishes singing "somewhere out there in all that noise." Waymond shakes Evelyn calling for help as the camera pulls up and away. Title card: "THE END." It fades. Next card: "written and directed by Daniels." Then "produced by Alexander Wong, Evelyn Quan." Cards retreat—no, WE'RE retreating from a movie screen. We see the theater audience. Two more cards: "Starring" then "Evelyn Quan." Cut to Wong Kar Wai Evelyn waking in her seat—she IS Evelyn Kwan (her maiden name, unmarried to Waymond here). She checks herself, can't believe she's alive. Everyone claps. Foxy Waymond puzzled, stops early: "interesting ending, but very sad." Evelyn bolts up: "where is she?" Shakes Waymond: "where's our daughter?" Before he answers she runs Cinderella-style up aisle to exit. Waymond stands: "daughter?" Evelyn pushes through doors—now Pizza Evelyn stumbling into street, car coming at her (license plate 2SAM564—common prop plate). Cut to Opera Evelyn falling onstage. Microphone-feedback sound (but more musical, unnameable). All the Evelyns are experiencing something. ---Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.Check out the other podcasts in the Banana for Scale family of podcasts:The Devil's Details: The Evolution of the Devil Through Art & LiteratureThe Exorcist Minute