What if things could turn out differently? How the multiverse got into our heads and didn’t let go

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“What if things could unfold differently? Exploring the Multiverse and Its Grip on our Imagination

“Let’s approach things from a fresh perspective this time.”

There are infinite versions of you, and you, and you.

In a world that can be stressful and isolating, especially in times when the phrase “It wasn’t meant to be like this” becomes a common mantra, what if there were other possibilities? What if, somewhere out there, they had already materialized? Enter the captivating realm of the multiverse and alternate realities, a canvas that popular culture has glorified in recent years—a sanctuary for the yearning and longing that stem from living in an age of uncertainty.

Alternate universes have permeated various forms of media, as evidenced by the highly anticipated opening weekend of “The Flash,” with its regret-tinged storyline that alters history (featuring multiple versions of Batman). It appears that there is a profound desire to explore different paths and envision what could have been if just one thing had diverged.

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Douglas Wolk, the author of “All of the Marvels,” who delved into 27,000 Marvel comics spanning decades, notes, “The cultural assumption used to be that the world we live in is the way it is, and that’s the only way it could be. What has happened in culture is that people are saying, ‘Well, no. This consensus reality is not how things have to be.'”

THE RICH HISTORY OF THE MULTIVERSE

The concept of exploring life’s twists and turns through alternate timelines has been around for quite some time, albeit in different forms.

“It’s a Wonderful Life,” the quintessential Christmas movie from 1946, sent the amiable George Bailey tumbling into a reality where he had never existed, revealing his profound impact. He was told by his would-be guardian angel, Clarence, “You’ve been given a great gift, George—a chance to see what the world would be like without you.”

In the ensuing decades, this notion gained momentum—more stories emerged, both fictional and based on real events, pondering different outcomes.

What if the South had won the Civil War (“CSA: The Confederate States of America”)? What if Germany and Japan had triumphed in World War II (“The Man in the High Castle”)? What if John F. Kennedy had not been assassinated (“11/22/63”)? What if the Soviets had beaten the Americans to the moon (“For All Mankind”)? What if 9/11 had unfolded differently (“The Mirage”)?

Fictional worlds offer greater flexibility and yield more content. Beloved characters with established narratives are frequently transported to new lives in books, TV shows, and movies. This concept transcends genres, whether in romantic comedies like “Sliding Doors” (1998), where a missed train splits a young woman’s life into divergent paths, or in near-musical tales like “Yesterday” (2019), where a budding musician enters a universe where the Beatles never existed.

There are realities where Spider-Man never married Mary Jane Watson (Marvel Comics’ “Brand New Day”), where one variant of Doctor Strange descends into madness (“Doctor Strange and the Multiverse of Madness”), and where Ben Affleck’s Batman never existed, while Michael Keaton’s Batman ages (“The Flash,” as revealed in the trailers).

Then there’s the “mirror universe” in “Star Trek,” where the aggressive Terran Empire exposes the darker instincts of beloved characters. Additionally, the recent string of “Trek” movies unfolds in yet another reality, splintered by an aged Spock’s time-traveling exploits.

“It’s a way to explore a problem that’s never actually happened in the main story,” explains Nic Lemire, a 13-year-old California teenager who co-hosts the occasional podcast “Marvel Mondays” with his mother, former Big Big News film critic Christy Lemire.

An exemplary manifestation of multiverse storytelling is found in last year’s “Everything Everywhere All at Once,” which showcased the myriad lives that Michelle Yeoh’s protagonist could have lived—all while underscoring that her family remains a constant across the multiverse. This film garnered seven Academy Awards, including Best Picture.

Irrespective of the subject matter, these works are united by a common theme: endless possibilities, for better or worse, offering entertainment, enlightenment, and escapism. In a post-COVID world grappling with the consequences of extreme climate events, enduring racism, political polarization, and the emergence of artificial intelligence—a planet where tumultuous change seems constant—this theme assumes significant importance.

“Stories have implicitly accomplished what alternate universes now seem to be doing more frequently: enabling us to explore an unreal reality to gain insights about the actual world,” explains Hannah Kim, an assistant professor of philosophy at Macalester College, whose research focuses on why the multiverse resonates with us.

“We are bombarded with events that appear arbitrary and random,” Kim adds. “The multitude of challenges in recent years—pandemics, political upheavals, climate change effects, and more—leave anxious individuals with a lingering feeling that everything could have been different.”

A LUCRATIVE BUSINESS VENTURE

The exploration of “what if” scenarios continues to be a profitable endeavor. Marvel even has a dedicated show, “What If…?”, which delves into alternate realities. While the concept of multiple universes may seem overused as a plot device, it remains relevant in our singular reality, where our perception of what is real is often called into question.

After all, if popular characters can be remixed across multiple narratives while preserving the possibility of a reset in the “prime universe,” what is there to lose? Well, there is one thing: If everything can be reversed, unlike real life, how significant can the stakes truly be?

“It narratively allows you to have it all—kill off a character, deliver an emotional death scene, and then bring the character back from another universe,” explains Matt Ruff, author of “The Mirage,” a novel centered around 9/11 that envisions an alternate universe where Christian extremists attacked the Twin Towers in Baghdad, part of the “United Arab States.”

“If everything is possible, the choices become less interesting. The consequences don’t carry much weight,” Ruff points out. “Engaging with the real world means grappling with the fact that there are no magical solutions.”

However, this very aspect might be the reason why the concept resonates with us. Throughout history, humans have yearned to try on different identities, explore diverse outcomes, and perhaps even lead alternate lives. This is the essence of storytelling. Are we headed towards a narrative era—an immersive equivalent of choose-your-own-adventure tales—where all possibilities are on the table?

Technological advancements have allowed us to acquire almost anything we desire, tailored to our preferences, within 48 hours. Who would have imagined, during the era of network television in the 1980s, that streaming would bring an abundance of TV shows and movies to our screens with a single click? So why not thousands of stories, each with countless potential endings for characters and plotlines? What impact does this have on our relationship with stories?

David Newman, a sociologist at Col

Frequently Asked Questions (FAQs) about Multiverse

More about Multiverse

• The Appeal of the Multiverse in Popular Culture
• Exploring the Concept of the Multiverse
• The Multiverse: A Brief Overview
• How the Multiverse is Portrayed in Movies and TV Shows
• The Significance of Alternate Realities in Fiction
• The Philosophy of the Multiverse