The video revolves around an unending "meeting" - a busy, aimless meeting that goes in circles to evade a traditional narrative arc. The meeting is essentially a party, and the entire company bumps and grinds with itself everywhere from in boardrooms to airplanes. K-Corea INC. K processes ideas of automation and containment, embodied by these hyper-controlled locations and by the seemingly looping actions that take place in them. Meetings, where discrete parts of a corporate body come together to attempt to "get on the same page," display the futility of corporate unity, and of individual purpose or voice remaining intact within a corporate culture.

Trecartin returns to his conception of family-as-business-enterprise, casting parent figures as managers and executives on one end of the spectrum, estranged children as freelancers on the other. The director plays four sisters named Ceader, Britt, Adobe and Deno, the boundaries of whom are indistinct. It is difficult to tell where one sister ends and the next begins. The sisters' questing—for identity, for romance, etc.—leads them on an episodic series of adventures, several of which are defined as "premises." A Trecartin premise plays out as a predetermined situation where the character initiating it has already set the tone, terms, and trajectory of the experience in their mind. The actual, lived event serves only as the shading-in of the outline.

In P.opular S.ky (section ish), a character played by Trecartin informs us that she wants ‘to live in a world where narration is the devil’. The ability to script oneself is an inalienable right, and anything that opposes that right must be rejected.

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Roamie View: History Enhancement reveals JJ as a husk of his former self, overwhelmed by too many experimental personalities and reverted to factory presets. He hires Roamie Hood's (Alison Powell) company to roam backwards through time to research an opportunity for an edit that could alter his future-present.

Trecartin and his collaborator/co-star Lizzie Fitch ponder the messages delivered by the most banal forms of mass media and pop culture in their own unique version of a music video. They voice questions in song and dance segments that feature a deliberately ill-fitting pastiche of discarded fashions of the past two decades and recycled pop-music clichés. Totally immersed in their meticulously crafted private universe, Trecartin and Fitch coyly point at the gaudy artifice surrounding us in our own.

Temp Stop, as the title implies, has a disjunctive quality that separates it from the other parts of Re'Search Wait'S. As if emanating from the basement of Any Ever, each scene plays like a hidden-away epilogue rendering characters comparatively surreal--in part because they are often straightforward and ordinary. The movie opens with a less omnipotent Y-Ready barking an abusive monologue to hypothetical subservients and bidding Able to use The Re'Search to brainwash JJ into a duplicate of Wait. Able's work alter ego, Past Jessica, is battered by her office. She is out of time, and by that extension, timelessness in Any Ever is not equated with limitlessness but with total lack: no time.

In Ready, Wait, played by Trecartin, is introduced as the eponymous figure of the series. Wait waits. He forsakes a "career" in favor of a "job," the execution of which Trecartin calls a "work performance." A careerist like Y-Ready (Veronica Gelbaum) may call the shots, but she is locked in her own endless narcissistic ascent, whereas Wait can retire from his job at anytime, and does, only to come back from vacation marked for containment. A third type of worker, Able (Lizzie Fitch), more fluidly adopts and discards the gestures of job and career, positing herself as a hobbyist who contrives the situations and outcomes she needs to keep her wave going.

The film focuses on the life of Jenny who has, according to many of the other characters, become too “left-of-center” while pursuing her interests.

In Item Falls, we are peaking. We start out at a casting call, but before long we're firmly in the grip of hallucination, shedding our anxieties and evidently regressing to the animation era, a time when stunt chickens were mere chicklets. Friendly archetypes float in and out of what seems like our bedroom. The red-headed Jenny has returned, but this time she's squeaky and trusting. Unlike in Center Jenny, here our perspective is literally centered. The camera seems to be the in middle of the room, which is good, because we're too blissed out to move. Luckily, our hallucinations look directly at us.