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.
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