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No Joke. The JOKER is Wild

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The JOKER is Wild... & carries a big punch

A created monster ... is the Joker, was he created by his Mother's Evil?


The LEFT killed comedy, and The Joker movie pushes back
Happy now? Everyone talking about 'JOKER'...

LOS ANGELES (AP) — There may be no such thing as bad publicity, but the spotlight on “Joker” is testing the limits of that old cliche.

The origin story about the classic Batman villain has inspired pieces both in defense of and against the movie. It’s been hailed as the thing that’s going to finally get Joaquin Phoenix an Oscar and also decried for being “dangerous,” ″irresponsible” and even “incel-friendly.” Last week, some parents of victims of the 2012 Aurora movie theater shooting even wrote to the Warner Bros. CEO asking for support for anti-gun causes. The studio issued a statement in response saying that the film is not “an endorsement of real-world violence of any kind.”

In his 80 years as part of the culture, the Joker has always had a way of getting under people’s skin — whether it’s because of who the character appeals to, what he represents or even the stories actors tell about how they got into character. But perhaps the biggest irony of all this time around is that for all the discourse and hand-wringing, the film has yet to even open in theaters. That doesn’t happen until Thursday night.

It’s made for a complicated release for the high-profile film, which got off to a triumphant start premiering at and then winning the top award from the Venice Film Festival. And while reviews are mostly positive, it’s also been heavily scrutinized and put the filmmakers on the defensive. Director and co-writer Todd Phillips doesn’t mind the discussion.

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“I’ll talk about it all day,” he said. “I’m not shy about it.”

He just wishes people would see the movie before drawing conclusions.

“It’s a little troubling when people write think pieces without having seen it. And even in their think pieces write, ‘I don’t need to see it to know what it is.’ I find it astounding, to be quite frank, how easily the far left can sound like the far right when it suits their agenda,” Phillips said. “To that point, I’ve been disappointed.”

The pre-emptive backlash is all the more baffling to Phillips because he hopes it inspires conversations: About guns, about violence and about the treatment of people with mental illness.

“Part of the reason we made the movie is a response to the comic book world of movies,” Phillips said. “Like, ‘Why is this celebrated? Why is this funny? Why is this fun? What are the real world implications of violence?’”

The film itself is a slow-burn character study of how a mentally-ill, middle-aged man named Arthur Fleck becomes the Joker. When the audience drops in on his life, he’s working as a clown-for-hire, living with his mother in a run-down Gotham apartment and checking in occasionally with a social worker. He has a card that he gives to people to explain that his spontaneous and painful bursts of laughter are because of a medical condition. His only joy seems to be watching the talk show host Murray Franklin (Robert De Niro) in the evenings.

Weight loss, dance and De Niro...

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“The truth is you see it and it’s heartbreaking. And he’s heartbreaking,” Phillips said. “And you know what happens in the movies when you have a world that lacks empathy and lacks love? You get the villain you deserve.”


It’s a role that has often required actors to go to difficult places, and “Joker” has the added complication of being more realistic than most of the other depictions even though it’s still set in a fictional world. To play Arthur and Joker, Phoenix researched a number of people that he’s reluctant to even name.

“Some of the people I studied, I feel what they crave is attention and notoriety,” he said. “I don’t feel like they deserve any more of that.”

He also underwent a drastic physical transformation, losing 52 pounds on an extremely calorie-restricted diet with the supervision of a doctor. He expected “feelings of dissatisfaction, hunger, a certain kind of vulnerability and a weakness.” Instead, he found the emaciation led to a physical “fluidity” that he didn’t quite anticipate.

The set was also fairly fluid in a way, and Phoenix said he and Phillips were constantly discovering new elements to Joker and Arthur.

“There seemed to be an infinite number of ways to interpret every moment or how he might behave in any moment. And there wasn’t anything that didn’t make sense. So we would do scenes so many different ways and some I would cry and others I would make jokes and others I would be angry and it would be the same scene and they all (expletive) made sense,” he said.

It made the experience constantly “exciting” and “surprising,” but portraying Arthur/Joker also proved to be “messy and uncomfortable” for the 44-year-old actor.

As for whether or not audiences will use the character as an inspiration or excuse to act out, Phoenix thinks that the onus is on the individual.

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Wild? ... Or Anti-Woke and anti-SJW

Director Of ‘Joker’ Explains Why His Film Pushes Back On Woke Culture And Immediately Gets Woke-Shamed by SJW Mob


As a culture, we should be celebrating writer/director Todd Phillips’ move toward a film like “Joker”, his anti-hero origin tale of Batman’s nemesis starring the always interesting Joaquin Phoenix. “Old School” was fantastic, don’t get me wrong. But “Joker” might have something to say that transcends the struggles of frat boys trying to launch.

But the wokest among us are already having serious problems with the film because they fear (Of course they fear. It’s what they do best.) Phillips might be encouraging empathy for a sociopathic murderer that could lead to actual violence. They are therefore in full-on cancel mode three days before the film is actually released.

In a really sharp profile of Phoenix at Vanity Fair, Phillips is quoted as saying he intentionally turned the corner on the types of films he was making because comedy, for all intents and purposes, is dead thanks to the PC police. Cut to the smart set shaming him for being a jackass with his own opinions on things and for using the nasty and offensive term “guys” to segregate women out of comedy.

. . .

Tannenbaum, as smart as he is, left out the really revealing part of Phillips’ quote. The part where the filmmaker explains the choice to film “Joker” — about a failed comedian who is either born homicidal or is nurtured into it — was in direct response to comedy dying a slow painful death at the hands of humor-murderers like Tannenbaum (emphasis mine).

“Go try to be funny nowadays with this woke culture,” he says. “There were articles written about why comedies don’t work anymore—I’ll tell you why, because all the fucking funny guys are like, ‘Fuck this shit, because I don’t want to offend you.’ It’s hard to argue with 30 million people on Twitter. You just can’t do it, right? So you just go, ‘I’m out.’ I’m out, and you know what? With all my comedies—I think that what comedies in general all have in common—is they’re irreverent. So I go, ‘How do I do something irreverent, but fuck comedy? Oh I know, let’s take the comic book movie universe and turn it on its head with this.’ And so that’s really where that came from.”

The result is a drama that doubles as a critique of Hollywood: an alienated white guy whose failure to be funny drives him into a vengeful rage.

So basically Phillips has already answered woke critics by making a film about what might happen to an already sick person who tries hard to make them laugh and finds that scolds would rather beat him up in the street than allow him the joy of bringing them joy.

. . . What Tannenbaum doesn’t realize is that this film isn’t trying to encourage, to hear Phillips tell it, the monsters out from hiding. Rather it should be taken as a mirror held up to woke critic’s own wagging finger, with the not-so-subtle suggestion that he, and the entirety of the whole woke subculture, might be the ones doing the pushing.

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"The first time a comic book character is treated like he is not a comic book character...

The violence is shown as if it is real."

Joker: The Moral Punch of Near-Pornographic Violence in 2019's 'A Clockwork Orange'

Stephen Galloway at HollywoodReporter.com offers praise for the near-pornographic violence in the new film, 'Joker' with Joaquin Phoenix. Like Stanley Kubrick's 1971 'A Clockwork Orange', which garnered an X rating, and a public outcry, the visceral impact of Joker sickens, yet packs a moral punch unlike anything in recent memory. Should Warner Brothers and others make gruesome films like Joker? Does the new movie show that someone in Hollywood still knows the difference between right and wrong?

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'Too terrifying': Viewers walk out...
Man spits at audience, claps during violent scenes...

Extra layers of security, intense on-screen action and a frightening incident inside a New York theater combined to create an unsettling experience for some moviegoers who went to see “Joker” on its opening weekend.

A young man who was loudly cheering and applauding on-screen murders sent some people heading toward exits in a crowded theater in Manhattan’s Times Square on Friday night. Other patrons yelled at the man, who spit on them as they left early, said Nathanael Hood, who was in the theater.

“I was scared. I’m sure a lot of other people were,” Hood said in an interview conducted by private messages.

'It's way too terrifying': Joker viewers around the world WALK OUT of movie theaters and urge cinemas to BAN the ultra-violent film saying it glamorizes gun crime and deals with mental health issues in a 'triggering' way

  • Some moviegoers bashed Joker on Twitter and said they walked out
  • A fan claimed Joker was 'too terrifying' considering 'what is going on the world'  
  • Others are raving about the twisted R-rated portrayal of Batman's nemesis
  • The film is raking in cash, breaking the October opening day box office record
  • So far there have been no serious incidents despite fears of a shooting
  • One theater in California shut down for a night after police received a threat
  • In Manhattan a disruptive patron was escorted out after scaring moviegoers
  • Police across the nation have high security in place for Joker screenings

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Mobsters with vaginas get a pass

Who is exploiting whom?  Maybe it is time we had a re-think

Nolte: Jennifer Lopez’s ‘Hustlers’ Is a Whole Lot More ‘Problematic’ than ‘Joker’


Because everything is stupid in the Age of Trump, you have a bunch of “film writers” who know nothing about pre-1999 film, pretending director Todd Phillips’ smash-hit Joker is something new and terribly dangerous —  as though Petrified Forest (1936), White Heat (1949), Clockwork Orange (1971), Taxi Driver (1976), Goodfellas (1990), Natural Born Killers (1994), Casino (1995), and Fight Club (1999), haven’t already mined the idea of siding with crazed, nihilistic psychos.

Taxi Driver ends with our psycho becoming a hero.

Clockwork Orange ends with us sympathizing totally with a spree killer and rapist.

Joker doesn’t even go that far. Something everyone is missing, especially these elite, know-nothing critics, is that fact that Joker is really a horror movie, and one no different than Psycho (1960) or Henry: Portrait of a Serial Killer (1986). And like those classics, Joker deliberately asks us to sympathize with its sad sack protagonist before ripping the rug out from under us by revealing just how monstrous our “hero” really is.

That is not an immoral approach to a movie. Rather, what could be more moral than shaming the audience for daring to empathize with such a person?

So not only is this neo-Moral Majority Tipper Gorey moral panic over Joker wrong on the facts, the hypocrisy is breathtaking.

If you want to get all worked up over a hit movie that actually does side with criminals and criminality, that actually does present the victims as having it coming, there is no question Hustlers applauds and endorses “women of color” poisoning rich, white men with drugs before maxing out their credit cards and expense accounts.

There is also no question The Kitchen sides with vicious mobsters who steal, murder, and muscle innocent people for protection money because the mobsters have vaginas.

> https://www.breitbart.com/entertainment/2019/10/08/jennifer-lopezs-hustlers-is-a-whole-lot-more-problematic-than-joker/

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The Joker

... follow-up...

"How do we know for sure this movie is so good?  Because all the right people HATE it!"

Why the WOKE Establishment Hates Joker


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This is unlike any comic book movie I have ever seen. 


MOVIE REVIEW: THE JOKER embodies politics similar to ANTIFA, FAR LEFT



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"we aimed for an Unsettling Feeling"

Joker Director Breaks Down the Opening Scene | Vanity Fair

/ 2 /

Joaquin Phoenix and Todd Phillips on Joker | Film4 Interview Special


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Woman Suggests That A Female Joker Would Be A Convincing Character, And Men Lose Their Minds

Ghostbusters, Oceans 8, Dr. Who – female reboots are a phenomenon that men continue to lose their minds over, even when said in jest. There are some hardcore women in the comic book world but what would happen if one of the more iconic male characters was a woman instead? Well, as one writer on Twitter discovered it would lead to some classic male outrage.
It all began when writer Geraldine DeRuite took to Twitter and proposed that The Joker from Batman should have been a woman, and tied in a joke about some classic misogyny. Most of the men missed the joke and instead spared no time voicing their horror.


And men proceeded to lose their collective minds



"lose their minds"?

That man seems more reality based than the woman.

Being asked to smile, in a woman's mind, is equivalent to the tortue the Joker suffered at the hands of his evil single mother. Ugh! Is there a sane woman posting out there??

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EVIL : we have to expose ourselves to it, to understand it exists

(And maybe especially Female Evil, and the roots that male evil has in female evil)

Jordan Peterson Discusses What Goes On In the Mind of a Killer

Evil people nurse grievances and aim for Mayhem.

Serial killers most commonly have problems with their mothers, not their father

"Many serial killers hate their mothers, and kill them, or fantasize about killing them"

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Film Theory: Joker Ending Explained (ft. Pitch Meeting)


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Nolte: Woketard Film Critics Hit Hardest as ‘Joker’ Breaks Box Office Records


This might seem difficult to believe, but the American people appear to have no respect whatsoever for the elites who attempted to shame and scare them from seeing director Todd Phillips’ Joker.

After its second weekend in release, there is just no question Joker is a legitimate pop culture phenomenon. Although it cost just $55 million to produce (add another $35 million or so for promotion), the same movie that was sentenced to a lonely, twitching death at the hands of a thousand left-wing hot takes, is well into profit.

Assuming the breakeven point is around $200 million, Joker has already made that in North America alone ($193 million). This means that everything after $200 million is pure gravy, and a worldwide haul thus far of $544 million is an ocean of gravy.

Joker also has something that is known in the business of show as legs. In its second domestic weekend, Joker earned another whopping $55 million, which is a drop of just 43 percent compared to its first weekend’s $96 million haul. That kind of hold is almost unheard of for any movie, much less a front-loaded comic book flick that opened huge.

All of this success is even more amazing when you remember Joker is a very, very, very dark, R-rated movie with no super-heroics, no catharsis, just an unrelenting (and glorious) sense of dread and grimness. In tone and payoff, Joker is much closer to a Last House on the Left (1972) or Henry: Portrait of a Serial Killer (1986) than it is to any comic book movie, including Zack Snyder’s Watchmen (2009).

Nevertheless, thus far, according to Box Office Mojo, Joker has enjoyed the best October opening weekend in history, the second best-ever Fall opening (It: Chapter One is number one), the fourth best opening weekend for an R-rated movie ever, and the numero uno largest second weekend October haul ever, crushing second place Gravity’s $43 million.

.. .

When it came to Joker, the elite media were in full sabotage mode. Everything possible was done to cancel and blacklist the movie in the crib, and those the media could not shame into staying home, the media instead tried to terrorize with the assurance Joker would result in shooting massacres in movie theaters across the nation. (Fake news alert: despite the media’s best efforts, this did not happen).

Reading all of those melodramatic and alarmist hot takes, you would have thought Joker was a dangerous call to arms for red-hatted incels. What real people saw, through, what everyday moviegoers saw, is something very special: a totally unique and original movie-going experience produced for adults — a genre long thought dead.

Most of all, movie-goers saw a jaw-dropping central performance from Joaquin Phoenix, stunning cinematography, perfectly-realized world-building (New York City circa 1980), and a story so compelling it casts a hypnotic spell unlike any movie in recent memory.

My personal belief is that all those woketard hot takes were inspired by only one thing: the movie daring to put RESIST signs in the hands of Joker’s anarchist followers. That’s it. That’s all it was. A couple of shots of RESIST signs triggered a gajillion crybaby hot takes from a gaggle of thin-skinned losers genetically incapable of dealing with any kind of criticism. Yep, a couple RESIST signs and they all melt down like the stupid, spoiled, entitled 12-year-old girls they all really are.

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