Entertainment
Review: Biden’s diminished capacities and cover-up explored in painful, if necessary, book
Book Review
Original Sin: President Biden’s Decline, Its Cover-Up, and His Disastrous Choice to Run Again
By Jake Tapper and Alex Thompson
Penguin Press: 352 pages, $32
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Jake Tapper and Alex Thompson’s superbly reported “Original Sin: President Biden’s Decline, Its Cover-Up, and His Disastrous Choice to Run Again” reads like a Shakespearean drama on steroids. During his latter years as No. 46, Biden is portrayed as a lion in winter — shockingly frail and forgetful with a ferocious pride that blinds him to the fact that it’s time to exit the stage. He was assisted in that delusion, the authors claim, by the mythology his family erected around him — that he was indestructible — and by his zealously protective inner circle, dubbed “the Politburo.”
Though Tapper and Thompson’s mostly anonymous sources (it’s jarring that so few went on the record) suggest that the first disturbing signs of Biden’s diminished capacities emerged as early as 2015, many around him chalked them up to the “Bidenness” of it all: “He was known on the Hill for being congenitally prone to long stories, gaffes, and inappropriate comments,” the authors observe. “Even in tightly choreographed Zoom calls with friendly audiences, Biden could step on a rake.”
That propensity appeared to morph into something more worrisome even before Biden was elected president. An unnamed Democrat who witnessed candidate Biden being prepped for a taping prior to the 2020 convention in Milwaukee was startled by his incoherence, commenting that it “was like watching Grandpa who shouldn’t be driving.” Once in office, the White House staff “treated him as very delicate,” and the pandemic gave aides an excuse to build “barriers” around him so few could gain access. The news media and public were kept at arm’s length, as were many members of the Cabinet and Congress, which led to a “uniquely small and loyal inner circle.” “I’ve never seen a situation like this before, with so few people having so much power,” said one unidentified top official.
That elite quintet consisted of domestic policy advisor Bruce Reed, chief strategist Mike Donilon, legislative affairs guru Steve Ricchetti and chief of staff Ron Klain, each of whom had deep ties to Biden. “Five people were running the country, and Joe Biden was at best a senior member of the board,” offered one person familiar with the dynamic. As time went on and more grew concerned about Biden’s behavior, those who inquired were routinely told that everything was okay. One staffer who didn’t have regular access to Biden during this period said that when they did see him in person, they were “shocked, but the other people around him didn’t seem to be, so I didn’t say anything.”
It wasn’t until around the time Biden broke his one-term pledge to be a “bridge” president and made clear he intended to run again that some began to feel a sense of alarm. For example, in 2023, Congressman Mike Quigley (D-Ill.) was with Biden when he visited Ireland. Biden seemed to gain strength from the crowds that greeted him, but then appeared “sapped and not quite there.” The authors write that Quigley “realized why this all felt so familiar to him … This was how his father, Bill, had been before he died.” Similarly, Minnesota Congressman Dean Phillips was so disturbed by Biden’s reduced “speaking and walking skills” that he pressed Democratic officials as to whether the president was up to the job. Even those who admitted to having concerns offered the “yes, but,” as in, “Yes, Biden is in decline but can you imagine Trump winning?” Phillips could imagine such a scenario, “especially if Biden were the Democratic nominee.” Failing to get anyone to take his worries seriously, he declared his own candidacy. But “the whale who spouts gets harpooned,” Phillips later noted after the “Democratic machine” set out to quash his chances. He reluctantly pulled out of the race and “watched his party sleepwalk toward disaster.”
Alex Thompson, left, and Jake Tapper argue that there was a conspiracy to conceal President Biden’s “cognitive diminishment” from the press, public and top Democrats.
(Elliott O’Donovan)
Though some top Democratic supporters such as Hollywood mogul Ari Emanuel refused to support Biden’s bid for reelection — even shouting at Klain during a “power-player retreat” that, “Joe Biden cannot run for reelection! He needs to drop out!” — most remained in the president’s corner until his disastrous debate performance in late June 2024. Following that, the slow drip of Biden allies calling for him to withdraw became a downpour, with even loyalists like George Clooney remarking publicly in an op-ed that while he “loved” Joe Biden, “the one battle he cannot win is the fight against time.”
Was there a conspiracy to conceal Biden’s symptoms from the press, public and top Democrats? The authors conclude there was. “The original sin of Election 2024,” they write, “was Biden’s decision to run for reelection — followed by aggressive efforts to hide his cognitive diminishment.” The course Biden’s family and inner circle chose was tantamount to “gaslighting the American people.” Many other key Democratic officials and donors simply felt that even a weakened Biden was the best bet against the “existential threat” posed by Trump, until the debate shattered that rationalization. In any case, Biden allies “who voiced fears were flicked away like lint.”
In the end, I’m not convinced there was a coordinated campaign to hide the truth about Biden’s “condition,” but maybe that doesn’t matter. In the book’s final chapter, the authors quote former Watergate special prosecutor and law professor Archibald Cox on what lessons Americans should take away from the Watergate scandal. He observes that “we should be reminded of the corrupt influence of great power. … Perhaps it is inescapable that modern government vests extraordinary power in the President and puts around him a large circle of men and women whose personal status and satisfaction depends entirely on pleasing one man.”
But Biden isn’t Nixon. He is a man who generated intense love and loyalty, whose life has been filled with tragedy as well as opportunity; who adeptly and passionately served his country for decades. “Original Sin” is not a compassionate account of Biden’s last campaign — at times it’s even a painful, if necessary, piece of journalism. A great takeaway from 2024, according to political strategist David Plouffe, is that “never again can we as a party suggest to people that what they’re seeing is not true.” We don’t know if Trump could have been defeated had Biden opted not to run. But in the future, we can’t afford to be in denial.
Haber is a writer, editor and publishing strategist. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.
Movie Reviews
Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror
PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.
Let’s have a look…
Synopsis
A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.
Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)
My Thoughts
Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.
Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!
Entertainment
Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25
Todd Meadows, a crewmember on one of the fishing vessels featured on the long-running reality series “Deadliest Catch,” has died. He was 25.
Rick Shelford, the captain of the Aleutian Lady, announced in a Monday post on Facebook and Instagram that Meadows died Feb. 25. He called it “the most tragic day in the history of the Aleutian Lady on the Bering Sea.”
“We lost our brother,” Shelford wrote in his lengthy tribute. “Todd was the newest member of our crew, he quickly became family. His love for fishing and his strong work ethic earned everyone’s respect right away. His smile was contagious, and the sound of his laughter coming up the wheelhouse stairs or over the deck hailer is something we will carry with us always.
“He worked hard, loved deeply, and brought joy to those around him,” he added. “Todd will forever be part of this boat, this crew, and this brotherhood. Though we lost him far too soon, his legacy will live on through his children and in every memory we carry of him.”
A fundraiser set up in Meadows’ name described the deckhand from Montesano, Wash., as a father to “three amazing little boys” who died “while doing what he loved — crabbing out on Alaskan waters.”
According to the Associated Press, Meadows died after he was reported to have fallen overboard around 170 miles north of Dutch Harbor, Alaska.
“He was recovered unresponsive by the crew approximately ten minutes later,” Chief Petty Officer Travis Magee, a spokesperson with the Coast Guard’s Arctic District, told the AP. The Coast Guard is investigating the incident.
Meadows was a first-year cast member of “Deadliest Catch,” the Discovery Channel reality series that follows crab fishermen navigating the perilous winds and waves of the Bering Sea during the Alaskan king crab and snow crab fishing seasons. The show debuted in 2005. No episodes from Meadows’ season has aired.
Deadline reported that the show was in production on its 22nd season when the incident occurred, with the Shelford-led Aleutian Lady being the last of the vessels still out at sea at the time. Production has subsequently concluded, per the outlet.
“We are deeply saddened by the tragic passing of Todd Meadows,” a Discovery Channel spokesperson said in a statement that has been widely circulated. “This is a devastating loss, and our hearts are with his loved ones, his crewmates, and the entire fishing community during this incredibly difficult time.”
Meadows is the latest among “Deadliest Catch” cast members who have died. Previous deaths include Phil Harris, a captain of one of the ships featured on the show, who died after suffering a stroke while filming the show’s sixth season in 2010. Todd Kochutin, a crew member of the Patricia Lee, died in 2021 from injuries he sustained while aboard the fishing vessel, according to an obituary. Other cast members have died from substance abuse or natural causes.
Movie Reviews
‘Hoppers’ review: Pixar’s best original movie in years
“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway.
It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.
Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.
We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.
Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.
That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.
Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.
The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.
And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged.
“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.
HOPPERS opens in theaters Friday, March 6th.
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