The Multiverse
Infinite smiling worlds, one slightly confused pigeon, zero consequences.
In the flat, brightly colored world of Smiling Friends, the multiverse is less a single artifact and more a recurring structural joke: the show's reality is thin, permeable, and full of near-identical copies where small details shift. Alternate versions of Chester, Pigeon, and their little agency pop in and out of episodes, treating parallel existence with the same deadpan practicality as a plumbing repair.
Rather than a codified power with rules and costs, the multiverse functions as narrative furniture. It lets the writers stage 'what if' scenarios, mirror characters against their own doppelgängers, and let the Smiling Friends crew solve a problem in one timeline while accidentally breaking another. The effect is deliberately low-stakes: infinite realities, but the emotional register stays warm, silly, and oddly tender.
- Type
- Recurring narrative concept / world-building device
- Affiliation
- The Smiling Friends agency (deals with cross-reality issues as part of their caseload)
- Medium
- 2D flat-cutout animation (A24 / Hulu original series)
- Creator
- Max Borenstein
- Premiere year
- 2022
- Tone
- Absurdist, comedic, low-stakes
Lore & Background
The Smiling Friends universe operates on a visual grammar of bold, flat color fields and simple geometric character shapes. When a multiverse beat arrives, that grammar flexes: the same office layout reappears in a different palette, a second Chester wears a different shade of red, or the sky is a flat mustard yellow instead of the usual blue. The shift is announced not with cosmic drama but with a small 'oh' from Pigeon, as though a parallel dimension is just another client who walked in unannounced.
Within the show's logic, these alternate realities are not deeply layered. They tend to be one-variable changes—someone made a different choice, a color swapped, a relationship slightly shifted. The multiverse is a mirror held up at a funny angle rather than an infinite branching tree. This keeps the tone grounded in the show's core promise: whatever the problem, the Smiling Friends crew will smile through it, even if the 'it' is an entire duplicate universe.
Fans often note that the multiverse device doubles as a commentary on the show's own episodic structure. Each reset to the base reality feels like stepping back into the same brightly lit office, the same two friends, the same gentle mission to help. The infinite possibilities exist so the audience can always return to the one that feels like home.
In Their Own Story
Chester set down his coffee—third cup, the first two had gone to a Chester in a slightly greener world who was, for some reason, very upset about his own coffee—and turned to Pigeon. Pigeon was already on the phone. "Yes, hello, Smiling Friends, we can definitely help with the situation where your Pigeon is also a Pigeon but the Pigeon is a Pigeon who has never been a Pigeon—" Chester watched the wall behind the reception desk ripple, just slightly, like a TV losing signal, and through it he could see another Chester sitting at another desk, drinking another coffee, looking equally confused. The other Chester waved. Chester waved back. Pigeon hung up. "They'll be here in ten," Pigeon said, and went back to filing.
Reader's Guide
In plain terms, the multiverse in Smiling Friends is a narrative shortcut that lets the show place a character in a near-identical copy of their world to explore a single altered variable. It is not a wielded power with a specific cost or activation phrase; rather, it simply *happens* as a plot device, and the Smiling Friends crew responds to it the way they respond to every other call—practically, with mild exasperation, and a smile.
Who is affected? Primarily Chester and Pigeon, who end up mediating or cleaning up cross-reality mix-ups, though alternate versions of supporting characters appear as well. There is no established 'cost' beyond the comedic inconvenience of dealing with a duplicate of yourself who has made one different choice.
The show's internal logic is intentionally loose. Multiverse rules are not stated explicitly, and the show does not maintain a strict continuity ledger of which realities exist. If a later episode contradicts an earlier one, it is in service of the joke rather than a retcon in the traditional sense. Fans tracking the show's 'rules' will find them more about tone and payoff than about consistency.
Episodes that lean on multiverse or alternate-reality beats tend to be the ones where the visual palette shifts noticeably—different background colors, swapped character shades—giving the audience an immediate, non-verbal signal that they are in a 'copy' world. The 2D flat art style makes these swaps easy to read and quick to reset.
Did You Know?
- The show's flat, cutout-style 2D animation makes multiverse transitions visually instant: a color swap or a single shape change signals a new reality without any special effects.
- Max Borenstein, who also wrote the screenplays for the Godzilla franchise, created Smiling Friends and has spoken about wanting the show to feel like a warm, silly fable rather than a hard sci-fi multiverse story.
- The multiverse in Smiling Friends is deliberately under-explained; the show never sits down to codify its rules, keeping the tone comedic and the stakes low.
- A24's involvement gives the series a distinctive indie-animation aesthetic, and the multiverse gags lean into that handcrafted, slightly handmade visual feel rather than slick VFX.
More in Artifacts & Abilities
Elsewhere in the Smiling Friends universe
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