Eddington

Black Lives Matter protests and the murder of George Floyd become a major part of the town’s conflict. White teens copy social-justice language and pressure Black deputy Michael to show the right political response. The story also links police power, racial suspicion, white guilt, and Native land to the town’s violence. It mocks the activists’ performance, but race and identity politics remain a recurring part of the main plot.

Joe’s white sheriff acts like a Western hero, but the story shows him as weak, racist, and dangerous. The film shows Guy turning against Black deputy Michael and Joe trying to use Michael as a scapegoat. The protest scenes attack police power, while the data center and its backers show modern technology and local government using public conflict for profit. The film also mocks white male pride, polished liberal politics, and online media, so its critique reaches across several institutions.

The X pass found only a few small or anonymous accounts discussing the film. Some said it was not woke and mocked pandemic and BLM performance, while a few right-coded viewers said it was not anti-woke enough or did not offer a real escape from woke culture. No large account, boycott, review-bomb campaign, or sustained race, gender, or LGBT complaint was found. The evidence is fringe, so this factor stays low.

Aster’s cached score is 12/100, and his earlier work is mainly psychological horror and dark satire. His interviews frame Eddington as a study of online division and self-questioning, not as a diversity campaign. Most listed producers have low, production-focused scores, while Danny Cohen and Will Tracy add only mild context. The creator history therefore supports a low score, even though this film itself is strongly political.