Critics at Large | The New Yorker Episode: “Eddington” and the American Berserk
Release Date: July 17, 2025

Introduction

In this episode of Critics at Large, The New Yorker's staff writers Vinson Cunningham, Naomi Frye, and Alexandra Schwartz delve into the intricate tapestry of contemporary American culture through the lens of Ari Aster's latest film, "Eddington". They explore the concept of the "American Berserk", a term coined by novelist Philip Roth to describe the overwhelming and often chaotic nature of American society. The discussion intertwines film analysis, literary theory, and reflections on the current socio-political climate.

The Fractured State of America

[02:31] Alex Schwartz opens the conversation by painting a vivid picture of America in the summer of 2025, asserting, “Things feel on a national and cultural level, I would argue absolutely, completely insane.” The trio acknowledges the pervasive sense of turmoil, citing incidents like the resurgence of Jeffrey Epstein and the polarized responses to events such as the Camp Mystic tragedy and the Texas floods. This backdrop sets the stage for their exploration of how art mirrors and contends with such societal chaos.

Introducing "Eddington"

[03:56] Alex Schwartz introduces Ari Aster's new film, "Eddington", which debuted at the Cannes Film Festival in May. Described as a departure from Aster's earlier horror-centric works like Hereditary and Midsommar, "Eddington" blends elements of a Western, political thriller, conspiracy comedy, and action. The film portrays Joe Cross (played by Joaquin Phoenix), the sheriff of a small town grappling with a forthcoming mayoral election amidst a backdrop of COVID-19, BLM protests, and emerging conspiracy theories.

Hosts' Reactions to "Eddington"

[04:47] - [05:24]

• Naomi Frye characterizes the film as "a mashup" that skillfully intertwines various genres to reflect the multifaceted crises engulfing America.
• Vincent Cunningham remarks on the film’s "encyclopedic" ambition, aiming to encapsulate every facet of the moment both in plot and atmosphere.
• Alex Schwartz ties the film’s complexity to the broader concept of the American Berserk, suggesting that "there's so much happening in this movie, and that's because there's so much happening in America."

Defining the "American Berserk"

[26:47] - [27:16]
The discussion pivots to Philip Roth's term "American Berserk", introduced in his 1997 novel American Pastoral. Roth uses this concept to describe the relentless and often uncontrollable craziness of American reality that defies artistic representation. Alex Schwartz elaborates on Roth's struggles to capture this chaos in fiction, juxtaposing it with Tom Wolfe's assertion that contemporary journalists could fill this literary void.

Analyzing "Eddington" Through the Lens of the American Berserk

[05:24] - [24:29]

• Vinson Cunningham initially perceives "Eddington" as a "parody of liberal overbearingness" but grows to appreciate its violent and expressionistic departures, acknowledging the film's reflection of the isolating polarization in America.

  Quote:
  Vinson Cunningham: “By the end, I felt the deeply isolating polarization of that time.” [11:59]

• Naomi Frye finds resonance in the film's depiction of overwhelming societal forces, aligning it with her own sense of bafflement and the challenge of engaging with fragmented realities.

  Quote:
  Naomi Frye: “I can think about what it means. Things from different sides of the map, I can look at and say, okay, this is what I think it means.” [20:19]

• Alex Schwartz critiques the film's apparent detachment but appreciates its ambition to portray a moment of profound societal unraveling.

  Quote:
  Alex Schwartz: “How do you out crazy what's actually happening in America? And should you.” [43:39]

Comparative Analysis: Literature and Film Reflections

[27:16] - [36:15]
Alex Schwartz traces the evolution of the American Berserk from Philip Roth's literary musings to cinematic interpretations. He references Roth's challenge to himself and Tom Wolfe, culminating in American Pastoral, where Roth attempts to depict the unraveling of American idealism amidst historical upheavals.

• Naomi Frye draws parallels between "Eddington" and films like Natural Born Killers and Sorry to Bother You, emphasizing their roles in capturing the surreal and heightened realities of American society.

  Quote:
  Naomi Frye: “Natural Born Killers is ... very reflective of the kind of like overmuchness of kind of like 90s media culture.” [34:20]

• Vinson Cunningham contrasts the encyclopedic and seamless narratives of Melville’s Moby Dick and Roth’s American Pastoral with "Eddington", pondering the film’s ability to unify disparate societal issues without losing its narrative coherence.

The Role of Art in Conveying Chaos

[39:23] - [52:52]
The trio debates whether artists can effectively encapsulate the "American Berserk" without succumbing to the same chaos they aim to portray. They discuss the balance between depicting raw, unfiltered reality and creating coherent narratives that offer reflection and synthesis.

• Vincent Cunningham suggests that "Eddington" subtly expresses leftist ideologies through its portrayal of distractions like the data center, which symbolizes materialistic distractions from deeper societal issues.

  Quote:
  Vinson Cunningham: “It wants to do that, through landscape...distractions from the real event.” [24:29]

• Naomi Frye contemplates the feasibility and artistic responsibility of creating works that mirror societal chaos, highlighting the commendable ambition even if the execution sometimes falters.

  Quote:
  Naomi Frye: “I appreciate the attempt, which I think is perhaps getting more and more rare as time goes on.” [43:39]

• Alex Schwartz emphasizes the importance of focusing on human elements amidst overwhelming systems to retain political and emotional resonance in art.

  Quote:
  Alex Schwartz: “How do you not get warped in the process?... stay with people, because none of this matters without people.” [40:09]

Conclusion

The episode culminates in a contemplation of the persistent endeavor of artists to grapple with the ever-escalating complexities of American society. The hosts acknowledge the challenges inherent in depicting a nation in flux but remain cautiously optimistic about the potential for meaningful artistic engagement.

Final Thoughts:
"Reality is always going to outstrip the art that's made about it. So my question is, what do we think the point is if this reality is always going to outstrip depiction?" [43:39]

Key Takeaways

• "Eddington" serves as a cinematic embodiment of the American Berserk, attempting to capture a fragmented and polarized societal moment.
• The concept of the American Berserk, originating from Philip Roth, underscores the struggle of art to faithfully represent the chaotic essence of American reality.
• The hosts explore the balance between ambitious artistic portrayal and narrative coherence, emphasizing the importance of human connection amidst overwhelming societal forces.
• Comparative analyses with literary and cinematic works highlight the enduring challenge of depicting an ever-evolving American landscape.

Notable Quotes:

• Alex Schwartz: “Things feel on a national and cultural level, I would argue absolutely, completely insane.” [02:23]
• Vinson Cunningham: “By the end, I felt the deeply isolating polarization of that time.” [11:59]
• Naomi Frye: “I can think about what it means. Things from different sides of the map, I can look at and say, okay, this is what I think it means.” [20:19]
• Alex Schwartz: “How do you not get warped in the process?... stay with people, because none of this matters without people.” [40:09]
• Alex Schwartz: “Reality is always going to outstrip the art that's made about it. So my question is, what do we think the point is if this reality is always going to outstrip depiction?"** [43:39]**

This comprehensive summary captures the essence of the episode, weaving together the hosts' insights, critical analyses, and reflections on the interplay between art and the tumultuous state of American society.