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In which we decode Eddington’s subtextual conspiracy themes, endeavoring to argue that the new Ari Aster is perhaps the first major, theatrically released film to have accurately encapsulated the essence of the technocratic AmerIsraeli Years of Lead—in accordance with my personal timeline of the ongoing deep political era that would place its inception around Covid time—and the Silicon Valley capitalist elite's embrace of strategy of tension in the cybernetic service of of updating America's Total Info Awareness 2.0 operating system and the installation of their long planned predictive policing panopticon.

We discuss: why the appearance of the globo "Antifa PMCs" isn't actually crypto-MAGA chicanery (seeing as they are Gladio operators); Joaquin Phoenix's turn as Sheriff Joe Cross, a Gen X, mumblecore, adoptive son of Sheriff Joe Arpaio type; Eddington as Nashville esque ensemble comedy cum Coen Brothers Covid Wester with the accompanying masking/social distancing standoffs; diagnosing the alienation and social media siloing of the wokespeak & QAnon brain rot of that hot 2020 summer; the role of calibrated algorithmic control; Sheriff Cross's Israeli Civil Guard pin in the OG script; the unfortunate executive production of Len Blavatnik, the Zio·nist billionaire "philanthropist" tied to Brett Ratner, Weinstein, the Bronfmans, etc, mulling whether he might have vetoed the inclusion of that visual gag on Sheriff Joe's regalia vest; the Solidgoldmagikarp Proposed Hyperscale Data Center project, the underlying Pynchon-esque real estate development and land and water use conspiracy; the schizophrenic drifter character Lodge, who opens the film, and his Homeric oracle qualities, spiritually warning against the onset of the Age of AI-quarius; Mike the One Armed Man from Twin Peaks comparisons; Pynchonian Lodge puns; Chekhov's Cough; Louise Cross, Sheriff Cross's wife, the one other farsighted character, and her haldol prescription, evoking Twin Peaks again; a demonic Mark Zuckerberg hinted at as one of the shadowy backers of the Solidgoldmagikarp Data Center in the earlier draft; Gov. Grisham making it into the film by way of an honorary watch and Covid headlines; the David Dees vibe of the cell towers in the opening sequence and various 5G diatribes; Aster lurking on Twitter; an earlier version of the second scene in which Sheriff Cross wrestles with Officer Butterfly Jimenez over who gets to investigate the self-immolation death of a paraplegic conspiracy Youtuber named Mitchell and the Native school uniforms discovered in his accessible van (evoking Missing Indigenous Children); the film's abiding interest in the neocultures that have cropped up around QAnon & pedo-hunters; borderlands and issues of jurisdiction between the Sevilla Co. Sheriff and the Santa Lupe Pueblo Tribal Officers; Cesar Chavez & Dolores Huerta's (a New Mexican) Hispanic borderlands community union LUPE aka La Union de Pueblo Entero aka The Union of the Whole People; Santa Lupe Pueblo = SLP = Speech Language Pathologist?; the neighboring, colonized tribal peoples, at their slight remove from Eddington and Treatlerite American society moreover, being the observers best prepared to pathologize the alienation and atomization and societal decay taking hold in the town over Covid; in regards Speech Language Pathologists, the ever-present theme of miscommunication and the deterioration of consensus reality caused by social media echo chamber-induced myopia, as well as the specter of LLMs or Large Language Models; "Solidgoldmagikarp" alluding to AI & ChatGPT tokens that cause anomalous or erratic behavior...

FULL LINER NOTES ON THE PATREON

Music:

| Matt Akers - "Necessary Rhythms" https://matthewakers.bandcamp.com/album/tough-to-kill |

| Matt Akers - "Night Drive II (Detroit at 2 AM" |