ager to celebrate a theatrical box-office win, recently praised the success of Daniel Kwan and Daniel Scheinert’s equally moving and galling , chirping that its broad appeal beyond arthouse crowds attests not only to adult audiences’ willingness to return to theatres for the right sort of movie, but also to the fact that “ticket buyers love the concept of a multiverse.” Dubious as ’s audience-polling methodology might be, its characterization of the film as a timely non-Marvel alternative to multiverse mania captures something of the so-called Daniels’ preternatural savviness at branding. The former music video directors—who first branched into features with (2016), an absurdist drama about a suicidal man whose life is redeemed by a farting corpse—have already shown an enviable mastery of snappy loglines. What they haven’t yet done, however, is found
