A24’s Everything Everywhere All at Once (EEAAO) almost ended with the Wang family singing this 90s pop anthem.
Back in 2022, the LGBTQ-inclusive sci-fi drama debuted in theatres to universal acclaim.
Led by directing duo The Daniels, the film follows Evelyn Wang (Michelle Yeoh), a Chinese-American immigrant who owns a laundromat with her husband Waymond (Key Huy Quan), and has a strained relationship with her queer daughter Joy (Stephanie Hsu).
However, things take a multiversal turn when Evelyn meets a variant of Waymond during a meeting with IRS auditor Deirdre Beauberidre (Jamie Lee Curtis).
After connecting with parallel versions of herself, Evelyn is tasked with stopping the collapse of the multiverse and mending her fractured familial relationships.
Since its release, the beloved film has earned acclaim for its creative story, cinematography and acting performances.
In a recent interview with Newsweek, Everything Everywhere All at Once’s editor Paul Rogers opened up about the film’s cut scenes – including one featuring the Wang family singing Aqua’s smash hit, Barbie Girl.
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“After they reunite in the parking lot and Waymond rips up the divorce papers, [he and Evelyn] walk over, find the karaoke machine on the ground that Evelyn threw through the window, and then they turn it on and start singing Barbie Girl,” he explained.
“And then everyone in the party comes out of the parking lot, and they all sing Barbie Girl together.
“It’s this really fun, strange musical moment, [but] because we ended up cutting out an earlier scene where they sing Barbie Girl, it just came out of nowhere and made no sense, so we ended up cutting that.”
Rogers’ interview arrives a few days before the highly anticipated 95th Academy Awards.
It’s set to be a big night for the cast and crew of Everything Everywhere All At Once due to the film’s 11 nominations – including Best Picture, Best Actress, Best Director, Best Supporting Actor, Best Supporting Actress, Best Original Screenplay and more.
If you can’t get enough of all things EEAAO, read GAY TIMES’ latest feature analyzing the film’s influential role in LGBTQ+ cinema.