Cast of Everything Everywhere All at Once

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 ...

Her win, in one of the most competitive categories this year, denied a victory for comic-book fans. Angela Bassett would have been the first performer to win an Oscar for a Marvel movie. Quan, beloved for his roles as Short Round in Indiana Jones and the Temple of Doom and Data in Goonies, had all but given up acting before being cast in Everything Everywhere All at Once. She’s the first best actress to win for a non-white actress in 20 years. In winning best director, the Daniels — both 35 years old — won for just their second and decidedly un-Oscar bait feature. The audience — including his Temple of Doom director, Steven Spielberg — gave Quan a standing ovation as he fought back tears.

The queer-themed multiverse romp received seven Academy Awards, including best picture.

But Everything Everywhere also netted [11 total nominations](https://www.them.us/story/oscars-2023-tar-the-whale-everything-everywhere-all-at-once-lgbt-nominations) across the board, the most of any film this year, including four separate acting nods for stars Michelle Yeoh, Jamie Lee Curtis, Ke Huy Quan, and Stephanie Hsu. In fact, Everything Everywhere [broke a SAG Awards record](https://www.them.us/story/everything-everywhere-all-at-once-sag-awards), taking home four trophies, the most any single movie has earned since the inception of the ceremony. It now has the most above-the-line Oscars of any single film since the inception of the Motion Picture Academy, referring to awards for writing, producing, acting, and directing.

The movie also broke new ground for Asian representation in Hollywood.

It was [reported](https://variety.com/2021/film/news/inside-a24-billion-dollar-sale-1235018988/)that the studio was exploring a sale for up to $3 billion. - "Coda" became the first film with a predominantly deaf cast to win best picture in 2022. - "Parasite" became the first foreign-language film to win best picture in 2020. - "Moonlight" became the first film to win best picture with an all-black cast in 2017. Between the lines: In addition to winning the award for best picture, "Everything Everywhere All at Once," also won prizes for best actress, best supporting actor, editing, best supporting actress, directing and best original screenplay, [Michelle Yeoh](https://www.axios.com/2023/03/13/oscars-2023-michelle-yeoh-best-actress-asian-history) becoming the first self-identified actress of Asian descent to win the award for best actress and Ke Huy Quan becoming the second Asian ever to win the award for best supporting actor.

Every time anyone involved with this genre-defying film wins an award, they are overcome with emotion. But as Beverley Wang explains, these are healing ...

"The way I see it, these are healing tears we're seeing in the acceptance speeches of the cast of Everything Everywhere All at Once. There is a family story at the core of it, but there's so much other stuff happening going on; there is multiverse-jumping, extraordinary fight scenes. "[They're thinking:] This is going to be an immigrant story about our cultures clashing, which at this point, we've seen so many of those. His Golden Globe speech was one for the ages: "For so many years, I was afraid I had nothing more to offer. Wang adds: "It's so extraordinary that he [Hong] even exists in Hollywood, the persistence that would have taken. And you're not supposed to be here," says Wang. But she first came to Hollywood's attention as a Bond girl in Tomorrow Never Dies in 1997, and then had an incredible turn in Ang Lee's Crouching Tiger, Hidden Dragon (2000).Loading [he] is [finally] being recognised as a good actor with range." Whichever way you dice it, there's nothing else quite like it in mainstream American cinema at the multiplex." It becomes quickly clear that there's a lot more at stake than her struggling business and personal life (and for those living under a rock, incredible fight to be here today, but I think it's worth it." Maisel) plays the couple's increasingly distant daughter Joy, and Jamie Lee Curtis (

Not to be reductive about it but, on the surface, this is a genre movie, a weird and quirky sci-fi film about multiverses, featuring hot dog fingers, ...

Everything Everywhere All At Once is a different proposition to Parasite, which was, of course, a groundbreaking victory in that a non-English language movie from Asia could so decisively triumph. It was made by Americans (writer-directors Daniel Scheinert and Daniel Kwan), financed by an American studio (A24) with American producers (Jonathan Wang among them) and starring, with the exception of Michelle Yeoh, American actors including Quan, Stephanie Hsu, Harry Shum Jr and James Hong. Ke Huy Quan is only the second man of Asian heritage to win in Best Supporting Actor. In the time between Oberon and Yeoh, no other woman of Asian descent was ever nominated in Best Actress. It matters because this is a highly visible international event which gets a lot of attention and which says to kids everywhere, no matter their heritage, that there is space for them in places that haven’t always been welcoming. When she was nominated, she was described as a category-first in the Oscars’ 95-year history for a woman identifying as Asian.

Quirky multiverse flick feted for directing, acting; Brendon Fraser wins for 'Whale' portrayal, but Spielberg's 'Fabelmans' falls short amid guffaws over ...

“The Way of Water” won for visual effects; “Maverick” took best sound. “Thank you to the Academy for recognizing the superhero that is a Black woman,” said Carter. Neither Tom Cruise, whose “Top Gun: Maverick” was up for best picture, nor James Cameron, director of best picture nominee “Avatar: The Way of Water,” were at the ceremony. Daniel Roher’s “Navalny,” about the imprisoned Russian opposition leader Alexei Navalny, took best documentary. Sarah Polley, though, won best adapted screenplay for the metaphor-rich Mennonite drama “Women Talking.” Angela Bassett (“Black Panther: Wakanda Forever”) would have been the first performer to win an Oscar for a Marvel movie. Jimmy Kimmel, hosting for the third time, pledged a ceremony with “no nonsense.” He said anyone who wanted to “get jiggy with it” this year would have to come through a fearsome battalion of bodyguards, including Yeoh, Steven Spielberg and his show’s “security guard” Guillermo Rodriguez. The audience — including his “Temple of Doom” director, Steven Spielberg — gave Quan a standing ovation as he fought back tears. “Sometimes it’s a little scary knowing that movies move at the rate of years and the world on the internet is moving at the rate of milliseconds. It’s the first best actress win for a non-white actress in 20 years. “Everything Everywhere,” released all the way back in March 2022, helped revive arthouse cinemas after two years of pandemic, racking up more than $100 million in ticket sales with scant initial expectations of Oscar glory. The indie hit, A24’s second best picture winner following “Moonlight,” won seven Oscars in all.

For all its representational achievements, the sentimental, self-important 'Everything Everywhere All At Once' is not as bold a choice as it appears.

Against the unceasing din of the multiverse, what chance was there for the subtler glories of the best picture race — the haunting ambiguities of “Tár,” the lyrical epiphanies of “The Fabelmans,” the intensely pointed debates of “Women Talking” or, hell, even the exploding mortar shells of “All Quiet on the Western Front,” which are indeed quiet by comparison? Could that be why “Everything Everywhere All at Once,” which spends a lot of time laying out its delightfully screw-loose multiverse logic, seems to overexplain its big emotional beats and cultural specificities? The victory of “Everything Everywhere” ushers in a few best picture precedents of its own, with its “Crouching Tiger, Hidden Butt Plug” action sequences and those overworked hot-dog fingers (proudly worn by David Byrne during a midtelecast performance of the Oscar-nominated song “This Is a Life”). [like the brilliant South Korean thriller “Parasite,”](https://www.latimes.com/entertainment-arts/movies/story/2020-02-09/oscars-parasite-best-picture-glass-ceiling) a movie to which “Everything Everywhere All at Once” otherwise bears little resemblance. But even allowing for the movie’s comically (and cosmically) exaggerated register, these moments come across as strained, overworked approximations of Asian immigrant family banter — the work of filmmakers who seem eager to strike a chord with one half of the audience yet desperate to make sure they don’t lose the other half. There’s great purpose and meaning in the cultural redress that “Everything Everywhere” attempts, though I do wish its execution were surer, its aim truer. How to reckon, then, with the fact that “Everything Everywhere All at Once,” with its phenomenal box office success and seven Oscar wins Sunday night, now stands as the most culturally and commercially significant Asian American movie ever made? [best picture of the year](https://www.latimes.com/entertainment-arts/awards/story/2023-03-12/oscars-2023-winners-list) was a far cry [from my own](https://www.latimes.com/entertainment-arts/movies/story/2022-12-19/the-best-movies-of-2022-and-where-to-find-them). The academy is a more diverse, more international organization than it was several years ago, and its tastes are not easy to pin down. I’ve thought about the intense loyalty that the A24 brand commands among younger audiences in particular (they’re like Disney/Marvel fans with edgier taste), some of whom have taken to championing “Everything Everywhere” and attacking its detractors with such cultish devotion that Kwan himself has But I’ve also reflected on the folly of such generalizations, which are nearly as reductive as the notion that every Asian American everywhere — myself included — must love the year’s most acclaimed and popular Asian American movie. I’ve reflected on the short time I spent on a film jury years ago with Kwan, who was as lovely, thoughtful and brilliant then as he’s been in his many acceptance speeches — the kind of guy whose movies you want to embrace wholeheartedly, rather than puzzle over from a somewhat vexed distance.](https://www.latimes.com/entertainment-arts/movies/story/2022-03-07/turning-red-review-disney-pixar)

The futuristic film from the studio A24 won seven awards, including for best picture, directing and in three of the four acting categories.

The Swedish filmmaker Ruben Östlund (“Triangle of Sadness”) and the British-born Martin McDonagh (“The Banshees of Inisherin”) were honored. “Top Gun: Maverick” collected $1.5 billion, and “Avatar: The Way of Water” took in $2.3 billion. In the days leading up to the Oscars, another in a series of rainstorms soaked Los Angeles, so much so that the academy sent an alert to the news media on Wednesday warning that it may “need to clear the carpet at a moment’s notice.” In the end, the weather cooperated, and it was a sunny 63 degrees. [any women](https://www.nytimes.com/2019/12/12/movies/female-directors-oscars.html) in the best director category. Jordan, the “Creed” star, and Pedro Pascal, who plays the title role in “The Mandalorian,” were prepared to intervene. This year, Sarah Polley (“Women Talking”) was left out even though her film was nominated for best picture. (The most-viewed Oscars telecast was in 1998, when 57.2 million people watched “Titanic” win the trophy for best picture.) Carter also won for “Black Panther” in 2019.) “Never give up.” She was the first Asian woman to receive the award. So did the little-seen art films “Triangle of Sadness,” “Women Talking” and “Tár.” Voters also made room for a musical (“Elvis”) and a memory piece (“The Fabelmans”). [95th Academy Awards](https://www.nytimes.com/news-event/awards-season), they may mark it as the start of a new New Hollywood. Curtis was also in tears by the time she reached the fiery conclusion of her acceptance speech.

Michelle Yeoh reacts in the audience with excitement as she accepts the award for best performance by an actress in a leading role for "Everything Everywhere ...

[Apple](https://fortune.com/company/apple/) TV’s “CODA” became the first streaming movie to win best picture. [Telugu action-film sensation “RRR,”](https://apnews.com/article/entertainment-india-4d04b6d032cabfc91b6d0beb6642c1ef) an intimate, impassioned performance by Lady Gaga of “Hold My Hand” from “Top Gun: Maverick,” and a Super Bowl follow-up by Rihanna. Meanwhile, the Writers [Guild](https://fortune.com/company/guild-instride/) and the major studios are set to begin contract negotiations March 20, a looming battle that has much of the industry girding for a possible work stoppage. “The Way of Water” won for visual effects; “Maverick” took best sound. “Thank you to the Academy for recognizing the superhero that is a Black woman,” said Carter. [best supporting actress](https://apnews.com/article/oscars-2023-best-supporting-actress-18481e06d1e3c03d337d100f10b9e382). Scheinert dedicated the award “to the moms of the world.” [an improbable Academy Awards heavyweight.](https://apnews.com/article/oscars-2023-best-picture-everything-everywhere-all-at-once-c6db5dc1477c28e2b9e41270a036ac12) The indie hit, A24’s second best picture winner following “Moonlight,” won seven Oscars in all. [former action star’s return](https://apnews.com/article/brendan-fraser-the-whale-darren-aronofsky-1b3e71f1022f11b26b764f238b421363) to center stage for his physical transformation as a 600-lb. The audience — including his “Temple of Doom” director, Steven Spielberg — gave Quan a standing ovation as he fought back tears. Jimmy Kimmel, hosting for the third time, pledged a ceremony with “no nonsense.” He said anyone who wanted to “get jiggy with it” this year would have to come through a fearsome battalion of bodyguards, including Yeoh, Steven Spielberg and his show’s “security guard” Guillermo Rodriguez. “Sometimes it’s a little scary knowing that movies move at the rate of years and the world on the internet is moving at the rate of milliseconds.

At this point in awards-season history, you don't want to be “The Fabelmans.” The Oscar race is above all an expectations game, and “Everything Everywhere ...

(This was when I knew the film could win.) Once the precursors began in earnest, they pitched a perfect game. In the old days, Best Picture was an award for Best Artistic Achievement. The film was a rare beacon of light during a dark spring for theatrical moviegoing, [breaking A24’s box-office record](https://www.vulture.com/2022/05/everything-everywhere-all-at-once-beat-uncut-gems-a24-box-office-record.html) and inspiring a rabid cult following who saw it over and over and over again. One of the film’s biggest weaknesses was the fact that its fans were, well, a little annoying. The rest of the night was a coronation. The EEAAO campaign proved equally effective at meeting the demands of the day. It was simply too strange not to feel like an underdog, even when it started racking up the nominations befitting a major contender. [To Leslie](https://www.vulture.com/article/andrea-riseborough-to-leslie-oscar-buzz-timeline.html), we’ve spent the past few months debating over the true meaning of “grassroots” campaigns. But there was also the cast, which — Curtis aside — was almost entirely Asian or Asian American, and almost entirely made up of actors who were either unknown The Oscars race is above all an expectations game, and Everything Everywhere benefited all season long from the sense that it was playing with house money. That’s two different Oscar records broken: the most trophies won by a Best Picture winner since the category expanded in 2009, and the most awards a film has ever won in the above-the-line categories. (The film also tied A Streetcar Named Desire and Network as the only films to win three acting trophies.) It was the kind of old-fashioned Oscars sweep I didn’t think we’d see again, to go along with

The futuristic film from the studio A24 won seven awards, including for best picture, directing and in three of the four acting categories.

The Swedish filmmaker Ruben Östlund (“Triangle of Sadness”) and the British-born Martin McDonagh (“The Banshees of Inisherin”) were honored. “Top Gun: Maverick” collected $1.5 billion, and “Avatar: The Way of Water” took in $2.3 billion. [any women](https://www.nytimes.com/2019/12/12/movies/female-directors-oscars.html) in the best director category. In the days leading up to the Oscars, another in a series of rainstorms soaked Los Angeles, so much so that the academy sent an alert to the news media on Wednesday warning that it may “need to clear the carpet at a moment’s notice.” In the end, the weather cooperated, and it was a sunny 63 degrees. Jordan, the “Creed” star, and Pedro Pascal, who plays the title role in “The Mandalorian,” were prepared to intervene. This year, Sarah Polley (“Women Talking”) was left out even though her film was nominated for best picture. Carter also won for “Black Panther” in 2019.) “Never give up.” She was the first Asian woman to receive the award. So did the little-seen art films “Triangle of Sadness,” “Women Talking” and “Tár.” Voters also made room for a musical (“Elvis”) and a memory piece (“The Fabelmans”). [95th Academy Awards](https://www.nytimes.com/news-event/awards-season), they may mark it as the start of a new New Hollywood. Curtis was also in tears by the time she reached the fiery conclusion of her acceptance speech. They are both 35.) The film, which received a field-leading 11 nominations, also won Oscars for film editing, best actress and best supporting actor and actress, with Michelle Yeoh, Ke Huy Quan and Jamie Lee Curtis honored for their performances.

Rep. Judy Chu, a California Democrat, says people in the AAPI community "held their heads a little higher" after the movie's big night.

After sweeping the Oscars on March 12, the cast of Everything Everywhere All at Once—including Michelle Yeoh and Ke Huy Quan—is set to reunite in Disney+'s ...

And Hsu, a Best Supporting Actress nominee, plays Shiji Niangniang, "the Goddess of Stones, who works in a jewelry shop alongside her magical dog." When he meets a new foreign student on the first day of the school year, even more worlds collide as Jin is unwittingly entangled in a battle of Chinese mythological gods." "Dark forces will be calling," Best Actress winner Yeoh, who plays Guanyin in the series, says in the March 12 teaser. [James Hong](https://www.eonline.com/videos/353136/james-hong-oscars-2023-e-glambot), who played Evelyn's (Yeoh) father Gong Gong in the movie is also set to appear in American Born Chinese as the Jade Emperor—though, unfortunately, he does not appear in the teaser. [according to Variety](https://variety.com/2022/tv/news/everything-everywhere-all-at-once-stephanie-hsu-michelle-yeoh-disney-plus-american-born-chinese-1235263098/), she's also busy "maintaining her secret identity as the all-powerful Buddhist bodhisattva of Compassion." [their history-making night at the Academy Awards on March 12](https://www.eonline.com/news/1367024/all-the-ways-everything-everywhere-all-at-once-could-make-oscars-history), [Michelle Yeoh](https://www.eonline.com/news/1367668/michelle-yeoh-%22in-a-cloud-of-happiness%22-amid-historic-oscars-2023-appearance?cmpid=rss-syndicate-genericrss-us-top_stories), [Ke Huy Quan](https://www.eonline.com/news/1362487/how-2023-oscar-nominee-ke-huy-quan-stole-our-hearts-everything-everywhere-all-at-once) and [Stephanie Hsu](https://www.eonline.com/news/1365327/everything-everywhere-star-stephanie-hsu-details-the-high-highs-and-low-lows-of-award-season) will soon reunite, this time on the small screen in the [upcoming Disney+ series ](https://www.eonline.com/news/1330390/the-stars-of-everything-everywhere-all-at-once-are-reuniting-on-a-new-project) [American Born Chinese](https://www.eonline.com/news/1330390/the-stars-of-everything-everywhere-all-at-once-are-reuniting-on-a-new-project).