When Elias Redlew was 14 years old and a freshman putting on football pads for the first time to try to impress his parents at home, he didn’t know what he was doing.
“I didn’t know how much range of movement I’d have or how it would affect my speed,” he said.
His father tried to help him.
“I walked outside and hit the door and he said, ‘You’re going to have to get used to the pads.’”
Redlew, 6 feet 2 and 185 pounds, has gotten as comfortable wearing pads as Superman wearing a red cape.
He has become a three-sport standout at San Pedro High with a 4.7 grade-point average. He was the City Section Open Division offensive player of the year as a junior receiver. This season, he has 60 catches for 1,150 yards and 13 touchdowns. He’s also a starting guard who dunks for the basketball team and is one of the favorites to win a City high jump championship after tying for second place last year.
He’ll be one of the players to watch when San Pedro plays host to Carson on Thursday night to decide the Marine League football championship.
“He never played football until high school,” coach Corey Walsh said. “His potential is super high. Each year, he’s continued to get better.”
Redlew’s intelligence combined with a personality that makes him unafraid to explore new experiences offers insights into an athlete not afraid to be uncomfortable at times.
“Experience brings you intellect,” he said. “If you step out of your comfort zone, it will build knowledge.”
San Pedro basketball coach John Bobich has known Redlew since he was 11. He was on a youth basketball team with his son.
“He is one the most humble and kindest athletes I’ve known,” Bobich said. “He definitely has the record for fist bumps as not a day goes by where Elias walks up with a fist bump and a smile saying, ‘Hello coach B!’”
Redlew has received one B in high school. He’s taking four advanced placement classes this semester.
“I’m down for the challenge,” he said. “In order to play sports, I had to hit the books. In middle school, I was always shy and thought I could do it on my own. I learned to ask for help. Teachers are never not going to help you.”
Redlew welcomes challenges on and off the field. He’s had several huge performances this season. He had six catches for 160 yards and two touchdowns against Wilmington Banning. He had 11 receptions for 217 yards and two touchdowns against unbeaten Laguna Beach. There were six catches for 212 yards and two touchdowns against Granada Hills Kennedy.
Receiver Elias Redlew of San Pedro has a 4.7 GPA.
(Jonathan Alcorn/For The Times)
Redlew said of playing receiver: “I really like how different it is. There’s so many unknown things you can do with the player guarding you . He doesn’t know your next move. You have the ability to affect the game as long as your team trusts you.”
San Pedro (5-4, 3-0) vs. Carson (6-3, 3-0) is always a big rivalry game. This one should be better than ever. Beside the league title being at stake, a Carson win might propel the Colts to the No. 1 seed in the City Section Open Division playoffs. Pairings will be revealed on Saturday. The atmosphere should be electric at San Pedro.
“I can’t wait for that game,” Redlew said. “Everybody will be there. Everybody knows that’s the biggest game of the year and is our senior night.”
If San Pedro wins, maybe he’ll do a dunk afterward in the gym or bring out the high-jump pit and try to clear his career-best 6-2.
Whatever happens, it’s OK to admire a teenager who gets A’s on his report card, plays three sports and has a desire to challenge his mind and body every day.
Walton Goggins seems extremely grateful to learn that, if Pete Davidson is right, he might be the next Pedro Pascal — even if that might not be a good thing.
The Emmy-nominated actor, known for his eccentric characters in shows like “Fallout” and “The White Lotus,” responded Sunday to comments comedian Davidson made last week on Theo Von’s “This Past Week” podcast.
Taking a spin as a fortune teller, the former “Saturday Night Live” cast member predicted that adoring fans would soon turn on Goggins, just as they had with Pascal.
“[Pascal] worked so hard and has been a struggling actor, f—ing blows up so f—ing hard, everyone’s like, ‘Daddy, daddy! Yeah, daddy, daddy,’” Davidson told Von. “And then a year later, he’s like in everything now cause he’s hot and big and everyone’s like, ‘Go the f— away, dude.’”
“It’s like, we build everybody up and now it’s so fast to turn,” he added. “It’s within months.”
Well, Goggins responded to Davidson within days.
“Pete we don’t know each other but I appreciate the heads up,” Goggins said on Instagram, posting an image of an article about the 31-year-old sharing his thoughts on fame. “We agree on one thing … Pedro Pascal isn’t a good man, He’s a great man. A dear friend of mine.
“As a 53 year old,” he continued, “I’m acutely aware that every experience has a shelf life.”
The headline on the attached article? “Pete Davidson Predicts Fans Will ‘Turn’ on Walton Goggins Similar to Pedro Pascal Oversaturation Backlash.”
Goggins took a moment to explain he would be promoting some upcoming projects to “honor all those that worked so hard to bring these stories to fruition,” then encouraged people to simply scroll away if they weren’t interested in reading about it.
“See to me,” he wrote, “being included in this headline isn’t a curse it’s a blessing. How lucky am I that this is even a possibility?!!”
It’s something Goggins said he couldn’t have imagined as a poor kid from Georgia.
“So … if saying yes in life more than saying no is a crime, then I’m guilty as charged,” he said in closing. “And if this headline is a possibility or an inevitability, if this is my fate, well … f— it. I’m going to enjoy the F— OUT OF IT.”
Goggins told The Times last year that he sees his career as a stock he wants to own: “There have been dips, but it’s gradually gone up over time.”
Looks like it’s time to pump that stock before it’s dumped by the masses.
Joao Pedro scored his second goal in the Premier LeagueCredit: AFP
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Trevoh Chalobah was too soft in the backlineCredit: AFP
Summer signing Pedro gave the hosts the lead with a header in the dying seconds of the first half.
The Blues‘ afternoon was made more comfortable as Enzo Fernandez converted from the spot in the 56th minute.
Fulham did have chances as defender Trevoh Chalobah seemed like a weak spot in the backline.
Here’s how SunSport reporter Jack Rosserrated the Chelsea players…
Robert Sanchez – 6
Sanchez will have been relieved that Josh King’s opening goal was ruled out, given he was made to look rather silly with the near post finish.
Other than that, however, the Spaniard had a very, very quiet afternoon with little to do after the first half scare.
Malo Gusto – 6
A couple of fine, flying challenges to stop Fulham on the counter while also supporting the winger in flying forwards whenever he can.
Given how good he can be, it feels like Reece James may take the right-back spot from Gusto soon but the Frenchman is putting forwards a good case at the moment.
A very difficult first half for the Blues defender.
Chalobah was lucky that VAR intervened in the build-up to Fulham’s disallowed goal after he was easily rolled by Rodrigo Muniz.
Christopher Nkunku seals transfer to AC Milan just two years after Chelsea move
He was also easily beaten by Josh King not too long after that. Picked up in the second half.
Tosin Adarabioyo – 6
A tough battle with former Fulham teammates Muniz and Raul Jimenez a times but led the Blues back four well.
Came close to opening the scoring but could not react to get an effort on target after a corner deflected his way off of Kenny Tete.
Marc Cucurella – 6
The Spaniard was fairly untroubled throughout, keeping the danger down his side to a minimum – especially impressive after Adama Traore was thrown on to try and get Fulham back in.
As always, a ball of energy looking to cause trouble going forwards, but little joy on that front this weekend.
Moises Caicedo – 8
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Moises Caicedo impressed in the midfieldCredit: Shutterstock Editorial
Despite having trained just once this week since the West Ham game, Caicedo put in another stellar display.
Dominant against a hefty Fulham midfield, the Ecuador international held everything together for the Blues.
And even when the control slipped, Caicedo was there to save the day – making a superb last-ditch challenge to deny Timothy Castange what looked a certain goal minutes before the Blues opened the scoring.
Enzo Fernandez – 6
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Enzo Fernandez converted from the spotCredit: AFP
A bizarre afternoon for the Chelsea captain, who shushed his own fans and raged at the fitness coach at halftime.
Some sloppy play first half but stepped up and helped Chelsea gain a little more control after the break, before pulling rank and keeping his cool to convert the penalty and double the lead.
Estevao – 6
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Estevao put in another bright displayCredit: Getty
Another encouraging afternoon for the teenage winger.
Estevao showed his strength and power with a barge on Ryan Sessengnon in the first half, winning the ball before skipping away and past Calvin Bassey.
End product could do with some work still but plenty to be excited about.
Joao Pedro – 7
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Pedro opened the scoringCredit: Getty
Another week and another goal for Pedro.
The Brazilian found space well and confidently nodded home his second Premier League goal of the season to get things rolling.
Pedro even kept his mouth shut when Enzo Fernandez wanted to claim the penalty and open his account for the campaign, giving his captain a hug for support before the spot kick.
Pedro Neto – 5
A lot of hard work for little reward.
With Alejandro Garnacho watching on and Jamie Gittens already providing competition from the bench – Neto will have to show more if he is to keep his place in the side.
Liam Delap – n/a
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Liam Delap went off injuredCredit: Getty
The striker suffered a huge blow as he went off injured early in the first half.
Substitutes
Tyrique George (Delap, 13′) – 5
Thrown in much earlier than expected after Delap’s early injury and asked to lead the line – not his usual position.
It was a surprise George was even turned to given talks progressing over a move to Roma.
his was not a performance that will add any more to the transfer fee as George struggled to make an impact.
Jamie Gittens (Estevao, 67′) – 6
Offered precious little from the bench, although Chelsea were more seeing out the game rather than pushing desperately for a third goal once Gittens was sent on.
With the 1980s came an influx of Western women ascending in white-collar professions — and their increase in power demanded some formidable work wear to match.
As ruthless as she is seductive, Spanish businesswoman Marioneta Negocios (voiced by Pepa Pallarés) is among them. We meet her when she lands in Quito, Ecuador, to wreak havoc in Gonzalo Cordova’s stop-motion animated show, “Women Wearing Shoulder Pads,” Adult Swim’s first-ever Spanish-language program, which premiered Sunday.
In the South American country, cuys (guinea pigs) are part of the local diet, but the conniving Marioneta wishes to change the local mindset so that the creatures are seen as pets. Her plan angers Doña Quispe (Laura Torres), who makes a living selling cuys to be eaten, leading to a melodramatic feud.
True to her name, Marioneta is a puppet whose look is immediately recognizable as that of Carmen Maura’s character Pepa in Pedro Almodóvar’s 1988 “Women on the Verge of a Nervous Breakdown.” The show is profoundly indebted to Almodóvar’s universe.
Cordova, 39, lived in Ecuador and Panama until he was 6 years old, when his family moved to South Florida. He discovered American culture through copious hours of TV, with “The Simpsons” and comedian Conan O’Brien becoming key influences on his sensibilities.
“It’s just such a joy to have this TV show that mixes together all these childhood memories of Ecuador, but also TV and movies, smashing them together into one thing,” he says during a recent video interview from his home in Pasadena.
“Women Wearing Shoulder Pads” from creator Gonzalo Cordova.
(Warner Bros)
The genesis of “Women Wearing Shoulder Pads” occurred at the height of the COVID-19 pandemic. Cordova had been working on a Mexican American project, but he ached to create a story that specifically reflected his Ecuadorean background.
Having worked as a story editor and producer on the animated series “Tuca & Bertie,” Cordova had a relationship with Adult Swim, Cartoon Network’s programming block aimed at mature audiences. He pitched them his idiosyncratic idea inspired by Almodóvar’s ‘80s films, Ecuadorean culture and his love of the Bob Baker Marionette Theater, an L.A. institution.
At first, Cordova did not tell Adult Swim that he intended for the show to be in Spanish. He tried to ease them into the idea. “I did not mention that in the pitch,” he admits. “They showed some interest and when I was writing the script, I started telling them, ‘This really should be in Spanish.’ But I always knew that was the correct way to do it.”
Executives were surprisingly receptive and allowed him to move forward with the pilot, with the caveat that they could change course. “I’m not going to lie and say that it was just smooth sailing,” Cordova explains. “But Adult Swim really listened to me and was very supportive. It has taken a big risk.”
The funniest version of this TV show had to exist in Spanish, he thought. His conviction derived from his experience writing jokes and testing them in front of an audience.
“I did stand-up comedy for eight years in New York, and if you don’t believe in the thing you’re doing and don’t fully commit, it’s not going to work,” he says. “The audience feels it. And to me, doing it in Spanish was just part of the commitment to the bit that I’m doing.”
The HBO Max show “Los Espookys,” which set the precedent that a U.S. production could premiere in Spanish, deeply emboldened Cordova in his creative impulse. “That show gave me a little bit more of chutzpah in asking for this,” he adds.
For Cordova, “Los Espookys,” created by Julio Torres, Ana Fabrega and Fred Armisen, conveyed “a Latin American sensibility and sense of humor,” which he describes as “a little offbeat and a little quirky.” That tone is also what he sought for his show.
First, Cordova wrote “Women Wearing Shoulder Pads” in English over two months with an all-Latino writers’ room, where each person had different levels of Spanish proficiency. Writing in English, their dominant tongue, allowed them to “shoot from the hip,” as he puts it. “The show really relies on absurdism, which heavily relies on instinct,” he explains.
To ensure that the jokes were not getting lost in translation, Cordova worked closely with Mexico-based Mireya Mendoza, the translator and voice director on the show. Once they had made way in the Spanish translation, the production brought on Ecuadorean consultant Pancho Viñachi to help make the dialogue and world in general feel more authentic.
“Pancho started giving us these very specific, not only slang, but also Quechua words and things that would make it feel very specifically Ecuadorean,” Cordova says. “I took that very seriously too. We spent maybe as long translating it as we did initially writing it.”
That “Women Wearing Shoulder Pads” is decidedly a queer show with no speaking male characters came from Cordova’s desire to further exaggerate the fact that in melodramas or classic “women’s pictures” the male parts are secondary to their female counterparts.
“Once you go, ‘No male characters,’ your show’s going to be queer,” he says smiling. “You wrote yourself into a corner because you can’t do a parody of these kinds of work without sex in it and without romance or passion. I was like, ‘The next step is to also make this very queer.’”
As for the decision to use stop-motion, Cordova credits Adult Swim for steering him in that direction. “Initially, when I pitched the show I wanted to do an Almodóvar film with marionettes and Adult Swim very wisely said, ‘This is going to create more complications for you,’” he recalls. “They suggested stop-motion and connected me to Cinema Fantasma.”
Based in Mexico City, Cinema Fantasma is a studio that specializes in stop-motion animation founded by Arturo and Roy Ambriz. The filmmaker brothers are also behind Mexico’s first-ever stop-motion animated feature, “I Am Frankelda.”
Cordova visited the studios throughout the production, gaining a deeper appreciation for the painstaking technique in which every element has to be physically crafted.
For Cordova, creating “Women Wearing Shoulder Pads” entailed mining his memories of Ecuador in the late ‘80s, including growing up hearing over-the-top, partially fictionalized family stories. Those recollections also helped shape the look of the puppets.
“We used a lot of film references. That’s why some of the characters just looked like they come straight out of a Pedro Almodóvar’s film,” he says. “But I also sent Cinema Fantasma a large Google Drive folder with tons of family photos. And we started finding like, ‘Doña Quispe is going to look like this relative mixed with this drawing from ‘Love and Rockets.’”
In this scene, Marioneta leads a “guinea pig rights group.”
(Warner Bros.)
The prominence of cuys in the show also stemmed from remembering how seeing them at restaurants or in cages would shock him when he returned to Ecuador as a teen after living in the U.S. for many years. Now he looks at the practice with a more mature perspective.
“I understand that this is a food and it’s no different than being served duck in a restaurant,” he says. “The show tries to make that point, but also preserves my childhood perspective on it through other characters.”
The line between the creative and the personal blurred even further because many of the costumes were based on designs that Cordova’s mother created when she was studying fashion in Panama and thought would never see the light of day.
Though she was delighted by this homage, her thoughts on the show surprised him. “My mom’s reaction has been interesting because she was like, ‘This is just a good drama.’ The comedy elements are not on the forefront for her,” Cordova says with a laugh. “For her it’s like, ‘I want to know what happens next,’ which I didn’t really expect.”
By putting Ecuador in the forefront of his mind and of this hilarious work of collage, Cordova made a singular tribute to his loved ones.
“There are so many weird little moments in the show when my family was watching and they were like, ‘Oh, that’s your tía’s name, that’s your sister’s nickname.’” Cordova recalls fondly. “It’s almost like how in superhero movies they’ll put Easter eggs, these are Easter eggs for my family only.”
But there’s another opinion Cordova is eager to hear, that of Almodóvar himself. His hope is that, if the Spanish master somehow comes across the show, he feels his admiration.
“I hope that if he does watch it, that he knows it is just very lovingly inspired by his work and that it’s not a theft,” Cordova says. “I make it very obvious who I’m taking from. I may have borrowed from him quite a bit, so I hope he sees that it’s done out of a deep respect.”
CHELSEA showed that pre-season might be merely a formality as they rolled over AC Milan by four goals to one, lifting the coveted VisitMalta Weekender trophy for the second time in three days.
The Blues have made two supposedly decent teams look like amateurs, in what were hardly tough tests for Enzo Maresca’s young team before playing Crystal Palace in the opening game of their season.
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Joao Pedro was on target again to cement his place in the Chelsea XICredit: Shutterstock Editorial
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But he has Liam Delap breathing down his neck after a brace against AC MilanCredit: AFP
New signing Jamie Gittens announced himself to the world against AC Milan for Borussia Dortmund two seasons ago, who may well be his favourite opponents as he gave their defence, Yunus Musah in particular, a torrid time today.
The electric Englishman was perhaps overshadowed by Estevao against Bayer Leverkusen, but put in a performance today that showed he could nutmeg a mermaid in a telephone box if ever put to the test.
It was his direct running and trickery that won the free-kick for Chelsea to open the scoring through an Andrei Coubis own goal on the stroke of the 5th minute, after a calamitous mix-up between the Italian and Mike Maignan in the Milan goal.
Moments later and Joao Pedro and Pedro Neto combined for the Brazilian to head home his fifth goal in five games.
A driving run from Neto down the right was followed by an inch perfect cross, met by a header that could’ve ripped a hole in the net to add Chelsea’s second in as many minutes.
He’s proving exceptional value for his £60m fee.
The Blues continued to dominate until the half-time whistle, helped out on the way by Milan defender Andrei Coubis’ afternoon going from bad to worse with a straight red card for bringing down Joao Pedro who was through on goal.
The Italian booted a water bottle as he stormed down the tunnel, and rightly so, you may not see a worse 17 minutes at Stamford Bridge this season than that.
Cole Palmer went close twice from first-half free-kicks, one that left the post rattling and another which left former Chelsea target Mike Maignan being ridiculed as a ‘s*** Robert Sanchez’.
The Blues’ number ten almost went on to recreate Gus Poyet’s famous 1999 ‘scissor volley’ minutes later, but his effort just sailed over the bar.
Unsurprisingly, it was Rafael Leao who lead the AC Milan charge.
He was denied by Robert Sanchez, Tosin and Reece James before finally beating the Spanish stopper, only to see the offside flag raised on the near side.
Half-time brought the introduction of six-time Champions League winner, Ballon D’or winner and Swansea part-owner Luka Modric into the middle for Milan.
The Croatian was left chasing the shadows of Chelsea’s young and energetic midfield throughout the second half, his only highlight being a tame shot claimed by Robert Sanchez.
After the disastrous news that future captain Levi Colwill required surgery on an ACL injury, Enzo Maresca will have winced as Trevoh Chalobah was forced off with a knock in the 56th minute and replaced by Josh Acheampong,
Milan grew into the game in the second half, and simply had to score when Yunus Musah rolled the ball past Robert Sanchez before Reece James arrived on the scene to put that fire out.
Expectedly, a flurry of Chelsea changes came with 30 minutes to go, and unsurprisingly it was teenage prodigy Estevao replacing Cole Palmer that drew the biggest cheer at Stamford Bridge.
It took the 18-year-old exactly five minutes to be involved in another Chelsea goal, as he was brought down inside the box, allowing Delap to rifle a penalty into the bottom left corner.
The rest of his touches brought an expectant gasp out of everyone in the stadium, as he danced and dazzled with fancy footwork in front of the Matthew Harding stand.
AC Milan got a consolation goal, courtesy of Youssaf Fofana who smashed the ball past Robert Sanchez at the near post with 20 minutes to go, assisted by Alexis Saelemaekers.
Just when fans thought that would be game, set, and match, Chelsea added a fourth and final goal.
Andrey Santos’ perfectly weighted ball into the path of Liam Delap allowed the English striker to make it a brace with a fine finish into the bottom left corner.
CHELSEA hardly needed to play like world-beaters to see off lacklustre Leverkusen.
But there was plenty for the Blues to feel positive about from their first game as world champions.
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Estevao scored his first Stamford Bridge goalCredit: Alamy
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The Brazilian tucked home after 18 minutesCredit: Shutterstock Editorial
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It was a game largely devoid of quality despite the Blues dominanceCredit: Reuters
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Joao Pedro then brought more Brazilian brilliance as he added a second goalCredit: Reuters
Estevao’s goal and all-round first-half performance on his debut was the undoubted highlight, before Club World Cup hero Joao Pedro made it two late on.
And although boss Enzo Maresca regularly showed frustration with his team, this was a decent showing from a group of players with less than a week of training under their belt.
Maresca gave 10 outfield substitutes a run out without losing control of a game that at times had a bit more needle than he would have liked.
The way Cole Palmer linked up with Estevao will have pleased the Chelsea head coach.
The challenge which former Liverpool defender Jarell Quansah put in on Palmer will have had him wincing.
Especially after losing defender Levi Colwill to ACL surgery after a knock picked up in the very first training session since the CWC victory.
Palmer was incensed, and his team-mates backed him up in a brief outbreak of handbags.
Yet it was Chelsea who looked the fresher team.
Former Bundesliga champions Leverkusen had been working together for a full pre-season under new boss Erik ten Hag.
But they felt like one of Ten Hag’s old Manchester United teams: flat and toothless up front, having lost playmaker Florian Wirtz and wing-back Jeremie Frimpong to Liverpool.
Blues goalkeeper Filip Jorgensen made only a couple of routine saves and the visitors were unable to capitalise on the odd defensive error.
Otherwise it was all Chelsea.
Marc Cucurella and Estevao had shots blocked before the Brazilian started and finished the key move of the match.
After retrieving the ball near the halfway line, the right winger Cucurella, whose pass inside fell for Palmer.
The No 10s lob came back off the bar but Estevao volleyed it home.
Chelsea’s new No 9, Liam Delap, had two decent sights of goal but was denied each time by former Brentford goalkeeper Mark Flekken.
Delap might have done better, particularly with the first opportunity from Cucurella’s cross.
Estevao saw a shot blocked by Piero Hincapie’s head just before the break.
Palmer went off at half time, presumably as a precaution rather than because of any lasting damage from Quansah’s foul.
Estevao took his place in the No 10 position, leaving Pedro Neto to “follow that” on the right wing.
The young Brazilian had been less impressive in the second half yet had a chance to make the night even more special.
But he pulled a good chance wide before being replaced with 15 minutes to go to a loud ovation from the crowd.
Neto forced a decent save from Flekken and Chelsea were on the verge of settling for a scoreline that did not reflect their superiority.
But Joao Pedro put some extra shine on a night lit up by his fellow Brazilian Estevao with a last-gasp second.
THIS IS A DEVELOPING STORY..
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Ari Aster’s “Eddington” is such a superb social satire about contemporary America that I want to bury it in the desert for 20 years. More distance will make it easier to laugh.
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.
‘Eddington’
Rated: R, for strong violence, some grisly images, language and graphic nudity
Joao Pedro registered 26 touches of the ball against Fluminense. Of all Chelsea forwards to have started at the Club World Cup, only Jackson has managed as many touches in a match.
Not all of the Brazilian’s touches took place inside the opposition half, however – far from it.
He was involved all over the pitch in Tuesday’s semi-final, with seven of his touches coming inside his own half.
“The good thing about Joao is that we knew already how good he was,” said Maresca after the game, also revealing he spoke to ex-Brighton manager Roberto de Zerbi prior to signing him.
“Today he played deep but we know he is able to drop deep and link up the play. That’s why we decided to bring him in.”
By contrast, Delap only touched the ball twice inside his own half after starting Chelsea’s final group game against Tunis, while only four of Jackson’s touches against Palmeiras took place in the Blues’ half of the pitch.
Joao Pedro also made more of an impact in wide areas, regularly popping up on both flanks in an effort to influence Chelsea’s build-up play.
The majority of Delap and Jackson’s touches, meanwhile, were in central areas in the final third of the pitch.
“Every team has a different style to play: Delap has a style, Jackson another and I have my way,” Joao Pedro said before Tuesday’s game.
“I think whoever brings more good things to the team is going to play.”
On this evidence, Joao Pedro has more than an outside chance of beating both Delap and Jackson to a starting berth in Sunday’s showpiece.
Joao Pedro hits a brace on debut against former club Fluminense to send Chelsea into FIFA Club World Cup 2025 final.
England’s Chelsea defeated Fluminense of Brazil 2-0 to reach the final of the FIFA 2025 Club World Cup, with Blues debutant Joao Pedro netting twice against his boyhood club.
The Brazilian forward, who was at Fluminense from age 10 until leaving for Watford in 2020, curled his new club in front at MetLife Stadium on Tuesday from the left side of the box in the 18th minute.
The 24-year-old, who joined the Londoners from Brighton for $81.5m last week, sealed the win in the drilled effort that went in off the underside of the bar early in the second half.
Chelsea’s Joao Pedro scores their first goal past Fluminense’s Fabio [Mike Segar/Reuters]
Temperatures were soaring in New Jersey, which will stage next summer’s FIFA 2026 World Cup, ahead of the 3pm kickoff.
A crowd of 70,556, which was only 10-15 percent short of capacity, attended the game, despite the 34 degrees Celsius (93F) at kickoff, with humidity that made it feel like 40C (104F).
FIFA had, however, cut ticket prices from $473.90 to $13.40 last week.
It did not take long for the action on the field to reach similarly heated levels soon after Pedro’s opener, when Chelsea defender Trevoh Chalobah handled in his own area.
Video Referee Assistant (VAR) intervened, and the original awarding of the penalty was overturned. Fluminense were incensed, but Chalobah’s arm was in a natural position by his side.
Fluminense’s best opening came moments earlier, when Marc Cucurella was forced to clear Hercules’s shot off the line in the 27th minute.
Former Chelsea defender Tiago Silva, who appeared 113 times for Brazil, lined up against his former club since departing the London club last October.
The 40-year-old was far busier than his former teammates in their defensive lines, with his keeper, Fabio, drawn into a number of saves.
Chelsea’s Joao Pedro scores their second goal [Agustin Marcarian/Reuters]
There was little the oldest player in the tournament, at 44, could do about either of Pedro’s strikes, the second a brilliant finish following a counterattack early in the 56th minute. Cole Palmer set the move in motion by dribbling past three players before laying off for Enzo Fernandez, who in turn laid on to Pedro.
Much like his first goal, where he took two steps to start to celebrate, then stopped and clasped his hands, Pedro showed respect to his former club by muting his response to both strikes.
Chelsea will now seek to secure a second FIFA Club World Cup, following their 2021 victory.
European teams will win their 12th straight Club World Cup title, and 17th in 18 tries, the lone exception a 2012 victory by Brazil’s Corinthians over Chelsea.
The London-based club has earned $88.4m to $103.8m for reaching the final, the amount depending on a participation fee FIFA has not disclosed.
Brighton have rejected two bids by Premier League clubs for forward Joao Pedro.
The clubs have not been revealed, but Chelsea and Newcastle are currently targeting the Brazil striker.
Liverpool are also known to admire the 23-year-old, though are not pursuing a move at the moment.
The bids are reportedly about £50m, as Brighton hold out for at least £60m for Pedro, who was signed from Watford for a then club record £30m in 2023.
Pedro, who has three caps, is known to be keen to move away from the south coast, while Chelsea and Newcastle are able to offer him Champions League football.
The Blues see Pedro as a replacement for versatile forward Christopher Nkunku, who is expected to leave Stamford Bridge despite his current involvement in the Club World Cup.
Pedro scored 10 goals and six assists in 27 Premier League games for Brighton last season, but was excluded from the squad by manager Fabian Hurzeler for disciplinary reasons on the last day of the season.
Turkish club Trabzonspor have agreed a fee in the region of £6.8m (€8m) with Southampton for striker Paul Onuachu, 31, and negotiations over personal terms are ongoing. (Fabrizio Romano), external
The Saints have rejected a £10m (€12m) bid for winger Kamaldeen Sulemana, 23, from Italian Serie A side Atalanta, who are managed by former Southampton boss Ivan Juric. (Sky Sports), external
Southampton and Sheffield United face stiff competition from Leeds, Wolves and four German Bundesliga clubs to sign French striker Willem Geubbels, 23, from Swiss Super League side St Gallen after he netted 14 goals in 31 games last season. (L’Equipe – in French), external
Watford are set to sign Udinese defender James Abankwah, 21, and Chelsea left-back Caleb Wiley, 20, on loan again for the 2025-26 campaign after they both spent the second half of last season with the Hornets. (Sky Sports), external
Wrexham are targeting a move for former England duo Danny Ings, 32, and Aaron Cresswell, 35, from Premier League side West Ham United. (Mirror), external
Middlesbrough have shown interest in signing Chelsea defender Alfie Gilchrist, 21, who spent last season on loan at Championship rivals Sheffield United. (Yorkshire Post), external
Blackpool are interested in signing Millwall midfielder George Honeyman, 30, and Birmingham City midfielder Brandon Khela, 20, who spent the second half of last season on loan at Bradford City. (Blackpool Gazette), external
Tijjani Reijnders closes in on move to Manchester City, Newcastle United switch attention to try to sign Brighton forward Joao Pedro and Brentford could move for Ipswich Town boss Kieran Mckenna if Thomas Frank leaves.
Netherlands midfielder Tijjani Reijnders, 26, is due to have a medical at Manchester City on Sunday to finalise his move from AC Milan. (Sky Sports), external
Bournemouth left-back Milos Kerkez has been released from international duty by Hungary as the 21-year-old closes in on a move to Liverpool.(Mirror) , external
Newcastle United are set to step up their pursuit of Brighton and Brazil forward Joao Pedro, 23, having appeared to have missed out on 25-year-old Cameroon winger Bryan Mbeumo, who is expected to join Manchester United from Brentford.(Telegraph – subscription required), external
Ipswich Town manager Kieran McKenna is on Brentford’s list of possible candidates to succeed Thomas Frank, who is believed to be a leading option to replace the sacked Ange Postecoglou at Tottenham.(Talksport), external
Portugal winger Rafael Leao has told AC Milan he wants to leave the club, who want at least 70m euros (£59m) for the 25-year-old, who is one of the targets being considered by Bayern Munich.(Florian Plettenberg), external
Chelsea are set to return with a second bid for France keeper Mike Maignan, 29, after having a first offer, which is considerably short of AC Milan’s asking price, rejected by the Serie A side. (Calciomercato – in Italian), external
Juventus have reached an agreement with Paris St-Germain to extend France forward Randal Kolo Muani’s loan spell, in order for the 26-year-old to play for the Serie A side at the Fifa Club World Cup. (Sky Italy), external
Napoli’s Nigeria forward Victor Osimhen, 26, has accepted a contract offer from Saudi Pro League side Al-Hilal. (Sky Italy), external
Fenerbahce have joined fellow Turkish club Galatasaray in wanting to sign 29-year-old Germany winger Leroy Sane, who has yet to accept the offer of a new deal with Bayern Munich.(Sky Sports Germany), external
Bayern Munich have reached a deal with Bayer Leverkusen to sign Germany defender Jonathan Tah, 29, before his contract ends on 30 June so he can play at the Fifa Club World Cup. (Fabrizio Romano), external
Arsenal are set to sign Chelsea goalkeeper Kepa Arrizabalaga, 30, by activating the £5m release clause in the Spaniard’s contract. (Evening Standard), external
Granada Hills means business in the City Section softball playoffs that began Thursday. Beaten in the championship game the last two seasons, the Highlanders opened action with a 13-0, mercy-rule win over Banning in the Open Division.
Addison Moorman gave up no hits and struck out 11 in five innings. Lainey Brown and Elysse Diaz each had three hits. Granada Hills, seeded No. 1 in the eight-team tournament, will play host to Venice in Wednesday’s semifinals.
Venice 2, El Camino Real 1: In the bottom of the ninth inning, the Gondoliers won it when Abigail Acensio got a walk-off single with the bases loaded. Violet Acensio struck out four with no walks in nine innings. Sophomore Remy Glassman of El Camino Real struck out 12.
San Pedro 6, Kennedy 1: Caroline Baker scattered nine hits, while striking out eight with no walks, for the Pirates, who will have a rematch with Marine League rival Carson in the semifinals on Wednesday. Jenna Ortega had two hits and two RBIs.
Carson 16, Birmingham 5: The Colts picked up a mercy-rule win in the sixth inning. Rylee Gardner hit two home run and drove in six.
Actory calls on filmmakers to ‘keep telling the stories, keep expressing yourself and keep fighting to be who you are’.
Chilean-American actor Pedro Pascal has called on members of the film industry to “fight back” and keep expressing themselves amid what he appeared to describe as a political climate of fear in the United States.
“F*** the people that try to make you scared. And fight back. This is the perfect way to do so in telling stories. Don’t let them win,” said 50-year-old Pascal, who was at the Cannes film festival for the premiere of “Eddington”.
“Fear is the way that they win, for one. And so keep telling the stories and keep expressing yourself and keep fighting to be who you are,” he said.
“Eddington” stars Pascal as a small-town mayor campaigning against a down-on-his-luck sheriff played by Joaquin Phoenix in a New Mexico town where tensions are simmering over COVID-19 mask policies and the Black Lives Matter protests.
Pascal, known for his role in dystopian video-game adaptation “The Last of Us”, added that it was “far too intimidating” for him to address a question about US President Donald Trump’s immigration policy.
“It’s very scary for an actor participating in a movie to sort of speak to issues like this,” he said.
“I’m an immigrant. My parents are refugees from Chile. We fled a dictatorship, and I was privileged enough to grow up in the US after asylum in Denmark … I stand by those protections,” the 50-year-old told a news conference in Cannes.
Trump has launched a crackdown on irregular immigration and has also detained and moved to deport a number of legal permanent US residents, his policies triggering a rash of lawsuits and protests.
Trump has made himself one of the main talking points in Cannes this week after announcing on May 5 that he wanted 100 percent tariffs on movies “produced in foreign lands“.
Acting legend Robert de Niro, who accepted a Cannes lifetime achievement award on Tuesday, also urged an audience of A-list directors and actors to resist “America’s philistine president”.
