
Doomscrolling is a disease in ‘Eddington,' a fever dream about COVID conspiracies
It's a modern western set in New Mexico — Aster's home state — where trash blows like tumbleweeds as Sheriff Joe Cross (Joaquin Phoenix) stalks across the street to confront Eddington's mayor, Ted Garcia (Pedro Pascal), whom he is campaigning to unseat. It's May of 2020, that hot and twitchy early stretch of the COVID pandemic when reality seemed to disintegrate, and Joe is ticked off about the new mask mandate. He has asthma, and he can't understand anyone who has their mouth covered.
Joe and Ted have old bad blood between them that's flowed down from Joe's fragile wife Louise, a.k.a. Rabbit (Emma Stone), a stunted woman-child who stubbornly paints creepy dolls, and his mother-in-law Dawn (Deirdre O'Connell), a raving conspiracist who believes the Titanic sinking was no accident. Dawn is jazzed to decode the cause of this global shutdown; there's comfort in believing everything happens for a reason. Her mania proves contagious.
Bad things are happening in Eddington and have been for decades, not just broken shop windows. Joe wears a white hat and clearly considers himself the story's hero, although he's not up to the job. If you squint real hard, you can see his perspective that he's a champion for the underdog. Joe gets his guts in a twist when a maskless elder is kicked out of the local grocery store as the other shoppers applaud. 'Public shaming,' Joe spits.
'There's no COVID in Eddington,' Joe claims in his candidacy announcement video, urging his fellow citizens that 'we need to free our hearts.' His earnestness is comic and sweet and dangerous. You can hear every fact he's leaving out. His rival's commercials promote a fantastical utopia where Ted is playing piano on the sidewalk and elbow-bumping more Black people in 15 seconds than we see in the rest of the movie. Ted also swears that permitting a tech behemoth named SolidGoldMagikarp to build a controversial giant data center on the outskirts of the county won't suck precious resources — it'll transform this nowheresville into a hub for jobs. Elections are a measure of public opinion: Which fibber would you trust?
Danger is coming and like in 'High Noon,' this uneasy town will tear itself apart before it arrives. Aster is so good at scrupulously capturing the tiny, fearful COVID behaviors we've done our best to forget that it's a shame (and a relief) that the script isn't really about the epidemic. Another disease has infected Eddington: Social media has made everyone brain sick.
The film is teeming with viral headlines — serious, frivolous or false — jumbled together on computer screens screaming for attention in the same all-caps font. (Remember the collective decision that no one had the bandwidth to care about murder hornets?) Influencers and phonies and maybe even the occasional real journalist prattle on in the backgrounds of scenes telling people what to think and do, often making things worse. Joe loves his wife dearly. We see him privately watching a YouTuber explain how he can convince droopy Louise to have children. Alas, he spends his nights in their marital bed chastely doomscrolling.
Every character in 'Eddington' is lonely and looking for connection. One person's humiliating nadir comes during a painful tracking shot at an outdoor party where they're shunned like they have the plague. Phones dominate their interactions: The camera is always there in somebody's hand, live streaming or recording, flattening life into a reality show and every conversation into a performance.
The script expands to include Joe's deputies, aggro Guy (Luke Grimes) and Bitcoin-obsessed Michael (Micheal Ward), plus a cop from the neighboring tribal reservation, Officer Butterfly Jimenez (William Belleau) and a handful of bored, identity-seeking teens. They'll all wind up at odds even though they're united by the shared need to be correct, to have purpose, to belong. When George Floyd is killed six states away, these young do-gooders rush into the streets, excited to have a reason to get together and yell. The protesters aren't insincere about the cause. But it's head-scrambling to watch blonde Sarah (Amélie Hoeferle) lecture her ex-boyfriend Michael, who is Black and a cop, about how he should feel. Meanwhile Brian (Cameron Mann), who is white and one of the most fascinating characters to track, is so desperate for Sarah's attention that he delivers a hilarious slogan-addled meltdown: 'My job is to sit down and listen! As soon as I finish this speech! Which I have no right to make!'
The words come fast and furious and flummoxing. Aster has crowded more pointed zingers and visual gags into each scene than our eyes can take in. His dialogue is laden with vile innuendos — 'deep state,' 'sexual predator,' 'antifa' — and can feel like getting pummeled. When a smooth-talking guru named Vernon (Austin Butler) slithers into the plot, he regales Joe's family with an incredulous tale of persecution that, as he admits, 'sounds insane just to hear coming out of my mouth.' Well, yeah. Aster wants us to feel exhausted sorting fact from fiction.
The verbal barrage builds to a scene in which Joe and Dawn sputter nonsense at each other in a cross-talking non-conversation where both sound like they're high on cocaine. They are, quite literally, internet junkies.
This is the bleakest of black humor. There's even an actual dumpster fire. Aster's breakout debut, 'Hereditary,' gave him an overnight pedigree as the princeling of highbrow horror films about trauma. But really, he's a cringe comedian who exaggerates his anxieties like a tragic clown. Even in 'Midsommar,' Aster's most coherent film, his star Florence Pugh doesn't merely cry — she howls like she could swallow the earth. It wouldn't be surprising to hear that when Aster catches himself getting maudlin, he forces himself to actively wallow in self-pity until it feels like a joke. Making the tragic ridiculous is a useful tool. (I once got through a breakup by watching 'The Notebook' on repeat.)
With 'Beau Is Afraid,' Aster's previous film with Phoenix, focusing that approach on one man felt too punishing. 'Eddington' is hysterical group therapy. I suspect that Aster knows that if we read a news article about a guy like Joe, we wouldn't have any sympathy for him at all. Instead, Aster essentially handcuffs us to Joe's point of view and sends us off on this tangled and bitterly funny adventure, in which rattling snakes spice up a humming, whining score by the Haxan Cloak and Daniel Pemberton.
Not every plot twist works. Joe's sharpest pivot is so inward and incomprehensible that the film feels compelled to signpost it by having a passing driver yell, 'You're going the wrong way!' By the toxic finale, we're certain only that Phoenix plays pathetic better than anyone these days. From 'Her' to 'Joker' to 'Napoleon' to 'Inherent Vice,' he's constantly finding new wrinkles in his sad sacks. 'Eddington's' design teams have taken care to fill Joe's home with dreary clutter and outfit him in sagging jeans. By contrast, Pascal's wealthier Ted is the strutting embodiment of cowboy chic. He's even selfishly hoarded toilet paper in his fancy adobe estate.
It's humanistic when 'Eddington' notes that everyone in town is a bit of a sinner. The problem is that they're all eager to throw stones and point out what the others are doing wrong to get a quick fix of moral superiority. So many yellow cards get stacked up against everyone that you come to accept that we're all flawed, but most of us are doing our best.
Joe isn't going to make Eddington great again. He never has a handle on any of the conspiracies, and when he grabs a machine gun, he's got no aim. Aster's feistiest move is that he refuses to reveal the truth. When you step back at the end to take in the full landscape, you can put most of the story together. (Watch 'Eddington' once, talk it out over margaritas and then watch it again.) Aster makes the viewer say their theories out loud afterwards, and when you do, you sound just as unhinged as everyone else in the movie. I dig that kind of culpability: a film that doesn't point sanctimonious fingers but insists we're all to blame.
But there are winners and losers and winners who feel like losers and schemers who get away with their misdeeds scot-free. Five years after the events of this movie, we're still standing in the ashes of the aggrieved. But at least if we're cackling at ourselves together in the theater, we're less alone.

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Buzz Feed
6 hours ago
- Buzz Feed
31 Pairs Of Comfy Shoes Your Feet Will Love
Floral ballet flats that'll really up your shoe game, thanks to the oh-so-adorable cutouts that also allow your feet to breathe. Plus, they're so darn flexible, you can easily roll them up to pack for your vacays! Vintage Reebok sneakers to add a lil' retro vibe to your OOTD. They're so versatile that you can pair 'em with anything — dresses, skirts, sweats, you name it — and you'll absolutely slay while staying comfy all day. The midsoles are designed to absorb impact, and the padded foam sock liners will keep your feet nice and cushy. New Balance 574 Core Sneakers that are a cult-favorite, and deservedly so. Not only are they incredibly stylish, but they also feel like plush clouds with every step you take, thanks to the EVA midsole. Promising review: "I'm in love with these shoes! I love the look of them which I feel is very retro. The sizing is perfect as described. They are extremely comfortable and durable. I bought them before completing a month of walking 100 miles and they held up perfectly!" —A. WieseGet them from Amazon for $89.99 (available in sizes 5–12, wide sizes, and eight colors). Braided sandals, your new go-to summer shoes because why have flip-flops when you can have a plethora of straps?! The braids may look a lil' scratchy but fear not, they're soft AND adjustable. You can either dress them up for a fancy brunch or down for a walk on the beach — no matter what, you're going to look 🎶 H-O-T-T-O-G-O 🎶 !!! FYI, these are best suited for narrow to medium-sized feet. Promising reviews: "These sandals are like cotton candy clouds for your feet. Basically the Rolls-Royce of sandals." —A. Alphonse"Comfort is a key feature that sets Plaka sandals apart from the rest. The soft and flexible sole provides excellent cushioning and support, making them incredibly comfortable to wear for long periods. The sandals conform to the natural curves of my feet, offering a glove-like fit that feels like walking on clouds. The adjustable straps ensure a customized and secure fit, allowing me to walk with ease and without any discomfort or blisters." —AshleyGet them from Amazon for $34.95+ (available in whole sizes 5–11 and in 24 colors). Sorel wedge sandals with molded platform soles that'll give you the extra height you so desire without the pain. You'll be able to walk for miles without any aches because of the secure straps and molded EVA footbed! Braided heel sandals to rock it out on the dance floor at your bestie's wedding without having to take your shoes off before the "Cupid Shuffle" comes on. Heels that won't make your feet ache and throb? Yes, please!!! Handmade mules if you want to look as chic as possible (ofc you do)! These have pointed toes, gorgeous cutouts, and a slight heel — aren't you obsessed? Because I sure am. Zou Xou Shoes is a Black woman-owned business that has been creating handcrafted shoes by Argentinian shoemakers since 2015. The styles are easy and classic so they can be worn for years. These mules are handmade to order in European sizes, and they suggest sizing up. See the sizing chart (last photo on the listing) for more details!Promising review: "These shoes are very high quality and feel like butter every time I put them on. They only took two wears to break in and are one of the most comfortable shoes I've ever owned. Make sure to size up if you plan on ordering these beautiful shoes!" —gingerbread24Get them from Zou Xou Shoes on Etsy for $254 (available in European sizes 36-42, or US sizes 5.5–11). Mesh sneakers that are sooo comfy, reviewers have run 5Ks, hiked for miles, and stood for up to 18 hours in these bad boys without feeling any pain! Espadrille platform sandals so your feet can stay pain-free during sunshine-filled walks through the streets of Italy. Psst — reviewers with wide feet love these and say they fit perfectly! Allbirds Tree Runners — you *shouldn't* get these if you hate ridiculously lightweight and comfortable shoes. They're made with eucalyptus tree fibers (#sustainable, yay) so they're super breathable, aka your feet won't be marinating in sweat. If they do get sweaty or dirty, though, you can just toss 'em in the washing machine! Allbirds are known for their superior comfort, and the Tree Runners are no exception. Its shoelaces are even made from recycled plastic bottles!Note: Be sure to let them air dry after washing. Promising review: "Why did I wait so long??? I wish I could wear these shoes all day for everything! They're so comfortable and lightweight." —Stone, them from Allbirds for $100 (available in whole sizes 5–11 and 21 colors). Quick-drying, long-lasting Teva midform sandals since wearing hiking shoes in the middle of summer feels like walking through a swamp — yuck, no thanks! 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They're made with a soft, stretchy material so you don't even have to break them in — I bet you didn't even think that was possible with flats, huh? *Plus* they're machine washable, so when they get sweaty and stinky, just toss 'em in the laundry! Or breathable pointed-toe ballet flats that come in such unique and fun prints and colors! The toe box is five degrees wider than standard pointed flats so your piggies won't feel cramped and suffocated. They have heel padding to prevent blisters (need), arch support (NEED), and a shock-absorbing midsole. (NEEEEED!!!) *Or* some budget-friendly ballet flats with over 48,000 5-star ratings — I mean, it just makes sense. The insoles are padded memory foam AND have a heel pillow to relieve any pressure (thank you, comfort gods). Life hack: Reviewers love keeping these in their purse as a backup shoe whenever they have to wear heels! Sam Edelman loafers guaranteed to girl-bossify you. 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I was afraid because my feet are on the wider side, but oh my do they fit absolutely amazingly well!! Don't hesitate to buy them!! I love them! I love them! I Love them!!" —Jennifer BaezGet them from Macarena Collection on Etsy for $48.74 (originally $64.99; available in sizes 5–10). Lightweight Tioseban sneakers — they're definitely shoes, but they *feel* a bit like socks because the stretchy, breathable mesh top expands with your feet as you walk! Sizing up a half size if you have wide feet is review: "I like these shoes so much, I bought two pairs. My feet are very narrow, and I have trouble finding shoes that fit without coming off my heels. These have the comfort band that makes them very comfortable." —Jane from MAGet them from Amazon for $36.99+ (available in sizes 5–13, wide sizes, and in 32 colors). Lug sole sandals that'll seriously make a statement. They're so cute, so chunky, so lightweight — ugh, I'm obsessed. Reviewers say these earned them nonstop compliments, so don't say I didn't warn ya! High-top, platform Converse sneakers, aka the zhuzhed-up version of your classic Chuck Taylors. Not only do the platforms give you extra height, but they also provide an extra layer of cushioning! Nisolo flatform sandals, perfect for summer because their lightweight, breathable design won't let your feet overheat. Plus, you can strap 'em on and go for a 5-mile walk as soon as they arrive because they don't need a break-in period! Pillowy slippers that must have been made by the comfort gods themselves because over 800 reviewers say they're like walking on clouds ☁️ and as a proud owner of a pair myself, I wholeheartedly agree with that. Dr. Martens platform sandals with adjustable buckles (slay), super lightweight EVA soles (slaaay), and ripple tread platforms (SLAAAAY). 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USA Today
7 hours ago
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Beyoncé fans are paying close attention to her hair color as tour ends: Here's why
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Atlantic
8 hours ago
- Atlantic
A Requiem for Puff Daddy
Black cool is one of America's great innovations, right up there with basketball, blue jeans, and the internet. It blends several forms—music, sports, fashion, speech, ways of cutting through space—into a wholly distinctive, globally influential aesthetic. There are French fashion houses in thrall to silhouettes first spotted in Harlem, Japanese men who have devoted their lives to spinning jazz records in Shibuya, and lavish murals of Tupac Shakur as far apart as Sydney and Sierra Leone. Sean Combs, the disgraced record mogul, certainly did not invent Black cool. But like Miles Davis, Muhammad Ali, and Michael Jordan before him—and like Jay-Z, Kanye West, and many others who followed—for a flicker of time he was its most formidable ambassador. That moment coincided with my adolescence, which is why the revelation of Combs's extravagant cruelties —the depravity with which he used all that he'd gained—has left my childhood friends and me feeling so betrayed. We had looked up to Diddy, whom I will always think of as Puff Daddy or Puffy. When we were at our most impressionable, he taught us what to want and gave us a model for how to behave and succeed. Seeing him fall apart in our middle age feels like a kind of heartbreak. The verve and swagger he injected into our childhood dreams have curdled into something rancid. Certain photographs of Puffy are permanently etched into my memory. In 1995, dipped in a flowing black-and-gold Versace Barocco silk chemise, liberally unbuttoned to flex a thick Cuban link anchored by a diamond-encrusted Jesus piece—the definitive signifier of inner-city affluence. September '96, on the cover of Vibe magazine: head peering from behind his greatest protégé, the Notorious B.I.G.; signature blackout shades; a perfect S-curl relaxing the weft of his fade. The cool he exuded in these moments was inspirational, even masterful. My friends and I had never seen anything like it so fully pervade the culture, certainly not from someone we felt we could relate to. I have not admired Combs for decades now, since well before his trial this year. But I will always be partial to the Puff Daddy of the '90s: from 1993, when he founded his record label, Bad Boy Entertainment, through the spectacular rise and death of the Notorious B.I.G., and peaking around 1998 during hip-hop's 'shiny-suit era,' which he pioneered with Ma$e and the Lox. By the time I got to college, Puffy was even wealthier, and my cultural references had begun to change. I vaguely remember the preposterous images of him strolling beneath a blazing Mediterranean sun while his valet spread a parasol over his head. He was mainly in the news because of a shooting at Club New York, which resulted in bribery and gun-possession charges against him and a highly publicized trial (he was acquitted). For my friends and me, his shocking newness had begun to fade. Back in his prime, though, Puffy conveyed a sense of youthful ambition that we revered. He was able to transition from sidekick and hype man to dealmaker and multiplatinum performer. Before turning 25, he had founded his own culture-defining business—soon-to-be empire—and knew precisely how to leverage his growing fortune into social capital. More than his success, we were struck by two qualities that seemed novel to us. The first was the amount of effort he openly displayed, which counterintuitively amplified his cool. Puffy made no pretense of obscuring the maniacal work required to achieve his goals. When he closed a million-dollar deal, he slammed the phone down and screamed. (Years later, he would become one of the original hustle-culture influencers on Twitter.) He showed us that flourishing was not a condition one had to be born into—that luxury and labor were connected. The second quality was his ability to make Black people and Black culture—even its less compromising, more street-inflected iteration—feel at home in places, such as the Hamptons, that had not previously welcomed them. Puffy's motto 'I'ma make you love me' felt innocent and aspirational to us, not least because he actually achieved it. We were still many years away from realizing just what he would do with all the love he was given. Helen Lewis: The non-exoneration of Diddy Puff Daddy seemed to us then like a Black man utterly free in a moment of expanding opportunity. Before the age of social media, before we'd ever stepped on a plane, Puffy represented our first intimation of an unrestricted way of being-for-self in the world. On the one hand, he was the antidote to the soul-crushing squareness of upwardly mobile middle-class life that we so feared—degrees, office jobs, bills. On the other hand, he was perfectly assimilated into the good life of the American mainstream, to which we desperately craved access. This made him dramatically unlike his peers. Tupac and Biggie were confrontational, and look where it got them. Rap entrepreneurs such as Master P and Brian 'Baby' Williams were rich but ghettoized; any number of establishments wouldn't seat them. Puffy, by contrast, looked like a marvelous solution to the problem of success and authenticity that my friends and I had been struggling to solve. Yet we were suffering from a kind of myopia. And it wasn't unique to us. The generation after us put their faith in Kanye West, whose most recent contribution to the culture is a single titled 'Heil Hitler.' Role models are like seasons. One passes irretrievably into the next, but for a moment they might reveal possibilities that outlast and surpass them.