A24 and Apple Original Films team up for Eternity, a high-concept romantic comedy set in the afterlife where newly deceased souls have one week to decide which themed paradise they'll inhabit forever. The premise is whimsical and the execution polished, with Elizabeth Olsen, Miles Teller, and Callum Turner forming a love triangle that stretches across life and death. Director David Freyne works from a script he co-wrote with Pat Cunnane, a former Senior Writer and Deputy Director of Messaging in the Obama White House. The result is a film that's smarter than it needs to be and more ideologically loaded than it first appears.

Here's the setup. Larry (Teller) dies choking on a pretzel at a family gender reveal party. That opening image is a culturally loaded one and it sets the tone. He wakes up as a young man on a train and quickly discovers he's in the afterlife. An Afterlife Coordinator named Anna (Da'Vine Joy Randolph) explains the rules: pick your themed eternity, and the decision is final. The options include paradises like Queer World, Man-free World, Nudist World, Weimar World (100% free of Nazis), and Smokers World. If you try to escape your chosen eternity, you get banished to the Void, a place of infinite darkness. Larry decides to wait at the Junction, a purgatory-like hub, for his wife Joan.

Joan (Olsen) arrives soon after, having succumbed to the terminal cancer she and Larry had been hiding from their family. Their reunion should be the happy ending of a lifelong love story. But things get complicated when Luke (Turner), Joan's first husband who died in the Korean War 67 years earlier, shows up. He has been waiting at the Junction for Joan this entire time. Joan has to choose: the man she grew old with, or the one who never got the chance to grow old at all.

The inclusion of Queer World and Man-free World as casual afterlife options tells you exactly where this film's sympathies lie on the cultural spectrum. These details get laughs, and they're meant to, but they also normalize a progressive worldview where identity categories are eternal organizing principles. The afterlife bureaucracy is staffed by Randolph and John Early, both of whom bring warmth and genuine humor but also serve as mouthpieces for a therapeutic, self-actualization framework. The film's afterlife is essentially a progressive utopia. Everyone gets exactly the eternity they want. No moral judgment. No consequences. No God. That last absence is worth sitting with for a moment: this is an entire film about the afterlife with zero religious content whatsoever.

And yet. The emotional core of this film is deeply traditional, almost in spite of itself. Larry is not the flashier option. He's the husband who showed up every day, who weathered the boring middle years, who was steady rather than exciting. Teller plays Larry with a rumpled decency that's genuinely affecting. The film's best scenes are the quiet moments where Larry and Joan remember the mundane beauty of their long marriage: arguing about nothing, raising kids, growing old together.

The film's most powerful traditional moment comes when Larry tells Joan to go be with Luke. He sacrifices his own eternal happiness because he wants her to be happy. That's genuine self-sacrifice, and the film treats it with the weight it deserves. Larry doesn't scheme or fight. He lets go. And that letting go is precisely what makes Joan realize what she has. She chooses Larry not because Luke disappoints her, but because she watches her memories and understands that the accumulated weight of a life together matters more than the passionate romance of a love cut short.

Conservative viewers should know that the film's worldview is secular and gently progressive. The afterlife-as-shopping-mall conceit will irritate anyone who takes eternal life seriously as a theological matter. But the argument that long-married love is worth choosing again, even in eternity, will resonate with traditional-values viewers more than the film's creators probably intended. This is a profoundly conservative message hiding inside progressive packaging. Joan risks the Void to get back to Larry. Larry stays at the Junction rather than pick any paradise without her. That's not self-actualization. That's covenant. The film just doesn't have the theological vocabulary to say so.

Trope	Category	Location	Authenticity
Secular Erasure	WOKE	Throughout -- entire afterlife constructed without reference to God, faith, or divine judgment	Emphasized
Globalist Utopia	WOKE	First act -- identity-themed Eternities including Queer World, Man-free World	Emphasized
Tokenized Representation	WOKE	Throughout -- diverse casting of afterlife coordinators	Natural
Sacred Institution of Marriage	TRADITIONAL	Throughout -- Joan chooses Larry, the 65-year marriage, over passionate first love	Organic
Industry and Perseverance	TRADITIONAL	Throughout -- Larry defined by steady daily devotion over 65 years	Organic
Self-Sacrificing Hero	TRADITIONAL	Late second act -- Larry tells Joan to spend eternity with Luke	Organic
Wise Elder	TRADITIONAL	Throughout -- Anna chose service at the Junction over paradise	Natural
Gender Complementarity	TRADITIONAL	Throughout -- Larry and Joan's complementary differences create a complete unit	Natural