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Tag: Joker 2

  • On Lady Gaga’s Harley Quinn as An Exemplification of Being a Poverty/Mental Illness Tourist

    On Lady Gaga’s Harley Quinn as An Exemplification of Being a Poverty/Mental Illness Tourist

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    While people have chosen to lambast Joker: Folie à Deux for all the wrong reasons (mainly because it doesn’t fit in any way with the fanboy expectation of the DC Universe—much the same fate that befell Marvel’s She-Hulk series), no one appears to be looking at all the very clear trolling Todd Phillips is doing. Not just of the so-called fans, but of a certain kind of person…as embodied by Harley “Lee” Quinzel. And while, obviously, Lady Gaga’s iteration of the character could never have been as iconic as Margot Robbie’s, Phillips and co-writer Scott Silver wield her for purposes beyond merely having Halloween costume cachet (which, by the way, this version of Harley does not).

    To mirror the phoniness of everyone who claims to be a supporter of Joker (Joaquin Phoenix), it seems inevitable that Lee should turn out to be a total poseur as well. Accordingly, she initially tells Arthur at Arkham, “I grew up in the same neighborhood [as you]. Me and my friends used to take that staircase to school every day.” This said when Arthur steals a moment with her after being placed in the same B Ward music class, despite his assignation to the E Ward (a.k.a. where the dangerous and violent are relegated). Because, for whatever reason, one of the usually bullying security guards, Jackie Sullivan (Brendan Gleeson, still bearing an Irish name in character, naturally), decides to get him into the class. (Based on certain information given later, who’s to say that Lee wasn’t the one to make that happen?)

    Having encountered Lee while walking past that class a few weeks prior, Joker is only too eager to attend—especially since Lee flashed him a flirtatious sign by wielding her index finger and thumb as a gun and pantomiming killing herself with it. Talk about love at first sight. Or so she wanted to manipulate him into believing….

    This comes complete with further laying it on thick with her “poor me” backstory so that Joker will feel even more “kindred” with her as she tells him, “My parents didn’t give a fuck about me either. My father beat the shit out of me.” And then died in a car accident. An elaborate sob story, to be sure. Along with her explanation for being at Arkham: “I set fire to my parents’ apartment building.” As a result, “My mother had me committed. She says I’m psychotic.” Per Lee’s version of events, anyway. But even before she expresses contempt for her own matriarch, Arthur, apparently feeling comfortable in her midst, confesses, “Nobody knows, but I also killed my mother.” Lee smiles at him fondly, as though he’s just told her the sweetest thing ever (though, based on some women’s mothers-in-law, the smile isn’t totally out of left field). She then makes him feel even safer about parading his crazy around her by responding, “I should have done that.”

    Although Lee’s secret intention is to make Arthur bring out his “true” self—Joker—the effect she ends up having on him is quite the opposite. For he falsely believes that Lee loves the “real” him, not the man who took leave of his senses for a few days, culminating in the murder of Murray Franklin (Robert De Niro) on live television. To Lee’s dismay, that’s not who he is—because, like many of us, he gave in to a single moment that caused him to snap. A blind rage-sadness that made him do something he wouldn’t have ordinarily done. And now everyone, including Lee, wants him to be that guy. The one Harvey Dent (Harry Lawtey) describes on the news as follows: “His depraved acts of violence are only admired by his followers, not only in our city, but all over the country… And they are still willing to commit acts of violence in his name. Now these people, they believe Arthur Fleck to be some kind of martyr.”

    Soon after Dent’s public declaration, Fleck appears on a TV special with interviewer Paddy Meyers (Steve Coogan). This arranged by his lawyer, Maryanne Stewart (Catherine Keener), as a means to funnel a bit more goodwill in Arthur’s direction. Indeed, Maryanne seems to be the only one in Arthur’s life who actually wants him to “just be himself.” Paddy, on the other hand, wants to invoke the beast for the sake of his viewership. Even after Arthur firmly tells him of the person that killed five (er, six) people, “That’s not me anymore. That’s not who I am.”

    When Paddy demands what’s changed, Arthur announces that he’s not alone now. Paddy, like most of Gotham, is aware of who he’s referring to, with Lee’s overt displays of affection for Joker making headlines everywhere—especially since she’s out of Arkham and ready to talk to whoever will listen. Of course, she tells Arthur that the reason she’s being “sent home” is because “they’re saying you’re a bad influence on me.” This after the two “escaped” (a.k.a. danced a bit outside the confines of the prison) together when Lee insisted they ditch a screening of The Band Wagon, with Phillips strategically homing in on the scene during which “That’s Entertainment!” is sung.

    Perhaps not aware of just how meta that choice would be, it bears noting that The Band Wagon was initially regarded as nothing more than a box office disappointment before going on to garner the eventual respect it deserved (one can only hope the same might happen for Joker: Folie à Deux). The choice is overt in its pointedness, placing especial emphasis on the lyrics, “Anything that happens in life/Can happen in a show/You can make ‘em laugh/You can make ‘em cry/Anything, anything can go/The clown/With his pants falling down/Or the dance/That’s a dream of romance/Or the scene/Where the villain is mean/That’s entertainment!”

    Making mention of a “clown” isn’t the only thing that applies to Arthur, with his own dream of romance causing him to be blind to the fact that, as Maryanne warns him, “She’s playing you for a fool.” And even though Arthur tells Paddy, “You’re just like Murray, you just, you want sensationalism. You don’t care about—you just wanna talk about my mistakes, you wanna talk about the things I did in the past, not about who I am now, not how I’m different now,” it’s something he could just as well be saying to Lee. After all, she just wants him to be the bad boy that will assist her in securing her own fame. A viable fear of Arthur’s that leads into one of Joker’s musical fantasies of the two doing a duet as Sonny and Cher (except they’re Joker and Harley).

    Soon, Lee starts to get a little too interested in her solo—a rendition of the Bee Gees’ “To Love Somebody”—with the crowd going quiet when Joker stops singing to tell her, “You weren’t even looking at me anymore. You were making it all about yourself. And the song is about loving meeeee!” The two then make nice as Lee agrees, “You’re right, let’s give the people what they want.” Joker assumes this to mean they’ll take it from the top again with their lovey-dovey song and vibes, only for Lee to pull a gun out and shoot him. For that is, in the end, what the people want. Because the Joker they had in mind didn’t live up to the ideal, with Lee, too, feeling exactly the same way after seeing far too much Arthur shine through.

    And, in the end, her only motive for checking herself into Arkham was for the purpose of “seeing” Joker, like some sort of private museum display meant solely for her to enjoy and exploit however she wants. In the end, she doesn’t “see” him at all though. Nor does Arthur really see her. Not for what she is. That unveiling is left to Maryanne, who informs her client, “She didn’t grow up in your neighborhood. She lives on the Upper West Side with her parents [this clearly being a nod to the frequent shade thrown at Gaga’s own real-life background]. Her father is not dead, he’s a doctor. She voluntarily committed herself to the hospital and then just checked herself out when she wanted to.”

    Arthur is still insistent that the lies Lee told him are true, prompting Maryanne to then ask, “Did she mention she went to grad school for psychiatry?” Needless to say, she’s a mental illness tourist—someone who likes to pick and choose certain facets of the DSM and try them on to see if it might make them more interesting. Not to mention a lover of poverty porn (à la Nicola Peltz-Beckham with Lola). Incidentally, Arthur sings a lyric from “Bewitched (Bothered and Bewildered)” that cuts to the core of who Lee is even before he finds out the truth, singing to Paddy, “She’s a fool and don’t I know it/But a fool can have her charms,” then shrugging, “Lost my heart, but what of it?/She is cold, I agree.”

    And it’s true, her coldness knows no bounds by the end of Folie à Deux, when she emotionally gut-punches him right on the very staircase that made him iconic, breaking the news, “We’re not going away Arthur. All we had was the fantasy, and you gave up… There is no Joker, that’s what you said, isn’t it?” In effect, because he doesn’t want to play along with the fantasy that she and everyone else has of him, she’s got to move on. This by way of singing “That’s Entertainment!” to convey that spectacle is all anyone truly wants—from him and in general.

    Arthur begs, “I don’t wanna sing anymore. Shh. Just talk to me.” He tries to cover her mouth while urging, “Just talk, please stop singing.” But she can’t be stopped. “That’s Entertainment!” must be sung in all its glory. Even though Phillips opts to leave out the additionally applicable lyrics, “The world is a stage/The stage is a world/Of entertainment!” and “The dame/Who is known as the flame/Of the king/Of an underworld ring/He’s an ape/Who won’t let her escape.” Funnily enough, that last line speaks to the version of Joker that Margot Robbie’s Harley Quinn gets wet for. The one that Lee wants to enjoy, too.

    Only she’s instead saddled with this flaccid incel type who hardly lives up to previous images of Joker played by the likes of Jack Nicholson, Heath Ledger and even Jared Leto (panned as Suicide Squad was, Leto still delivered on being the kind of “sexy” Joker Lee wants). A disappointment that effectively ends Lee’s “tour” of how the other half lives.

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    Genna Rivieccio

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  • Bad Romance: Joker: Folie à Deux Shows That Projection in Relationships Always Results in Dashed Expectations

    Bad Romance: Joker: Folie à Deux Shows That Projection in Relationships Always Results in Dashed Expectations

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    In many ways, the real reason the sequel to Joker is called Joker: Folie à Deux has little to do with a shared delusion between Harley Quinn and Arthur “Joker” Fleck, and more to do with Todd Phillips and Scott Silver calling out the delusions that fans have about those they worship. A delusion that can be shared by both parties in the situation only so long as the “revered” obliges the projections being cast onto them (see: Taylor Swift). Once they stop, however, the fans’ “love” for them suddenly disappears, turning often to hate—hence the expression: “there’s a fine line between love and hate.”

    In Harleen “Lee” Quinzel’s (Lady Gaga) case, the love she claims to feel disappears as soon as Arthur Fleck (Joaquin Phoenix) refuses to be “the guy” (read: Joker). The one she fell “in love” with when she watched him blow Murray Franklin’s (Robert De Niro) brains out on live TV. Or the one who was portrayed in the “really good” (Lee’s words) TV movie about the entire course of events (presumably including dramatized scenes of Fleck’s hyper-shitty early life). So it is that, like fans with celebrities, Lee’s first connection with Arthur is entirely parasocial.

    At first, of course, he’s only too willing to play the part she expects of him, knowing on some level that her attraction is rooted in what she knows of him through the media’s portrayal—which only focuses on his “Joker era.” As such, he’s often reluctant to be “full Arthur” around her, while simultaneously being amazed that she could possibly be interested in him in any capacity—Joker or otherwise. And yet, like many who have been glamored by lovebombing, Joker falls for Lee’s flattery easily, letting her beguile him with the notion that they’re both two broken souls who can “mend” one another. To boot, that he is powerful and can do anything he wants—a feeling that becomes even more adrenaline-boosting when buttressed by notions of “two against the world”-type love. As for Lee, she sees in Joker someone who can be her diabolical savior. The “sexy” solution to all her “psychotic” woes because he accepts them, is unfazed by them. And because his are so much worse.

    Accordingly, it doesn’t take long for the pair to start projecting all of their unhinged ideals and fantasies onto one another—with Joker in particular constantly fantasizing about Lee in various musical settings that often remind one of a sort of “macabre La La Land” (particularly that sequence when they’re dancing with a giant moon behind them). Indeed, in one of many contrasts to the usual telling of Joker and Harley’s story, it is so clearly Joker who is more obsessed and smitten with Harley than the other way around (as Margot Robbie’s version elucidates in Suicide Squad and Birds of Prey). Because, as he tells his interviewer, Paddy Meyers (Steve Coogan), he’s a changed man now thanks to “not [being] alone anymore.” Falling prey to the old adage, “You’re nobody until somebody loves you” (which really should have been a musical number in the movie at some point). Or until you create a sinister alter ego and go on a killing rampage like Joker. Thereby becoming a magnet for freaks and faux freaks alike. Lee, as it turns out, subscribes to the latter category—ostensibly looking to Joker to make her “legitimate” on the disturbed and deranged front. As it transpires though, she’s ultimately more fucked-up than Joker in terms of callousness and plotting. Discarding him with ease once he renounces his Joker identity on live TV.

    Up until that moment, however, she was willing to do whatever it took to be with him based on her false projection, hoping against hope that he’ll take her cues about how he’s “supposed to be.” Case in point, she even insists upon Arthur wearing the Joker makeup she smuggles into his prison cell. So committed is she to upholding this projection of hers. Joker, meanwhile, is still too blinded by his “love” for her (read: his own false projection), dumbly remarking, “You brought makeup.” Lee asserts, “I wanna see the real you.” She then starts to apply the signature Joker colors to his face. This apparently getting her “wet” enough to not be totally repulsed when Arthur asks her, “Can you do it?” before they start to fuck. As in: can she guide him/his penis on how to even “do sex”? The scene is among the grimmest in the movie, with no fantastical/musical elements added to it as a means to mitigate the drab, grotesque “consummation” of their “relationship.” A relationship that is a folie à deux in that each person has their own separate but shared delusion about the other.

    Perhaps one of the most overt examples of this from Lee is her wording of the phrase, “When I first saw Joker—when I saw you on Murray Franklin… for once in my life, I didn’t feel so alone anymore.” That she has to remind herself that the pathetic, maquillage-free person in front of her is “technically” Joker—not Arthur—seems telling of the fact that she’s already noticed a disconnect between the man on the screen and the flesh and blood man in front of her. Who, if she’s being honest, can’t quite measure up to the projection she already saw and then built further up as her own.

    Arthur’s parallel belief in Lee as a kindred spirit (especially since she lies to him and says she’s from the same neighborhood and also had an abusive childhood) is also doomed to be dashed sooner or later. Particularly since his “living in a fantasy world” tendencies start to ramp up as he dreams of the two of them together in various musical scenarios, singing such love songs as “Folie à Deux” (one of the original songs on Harlequin) and “To Love Somebody” (originally sung by the Bee Gees). The lyrics of the former are most telling of each person’s respective projection as Lee lackadaisically sings, “In our minds, we’d be just fine/If it were only us two.” This line indicates that without the inevitable outside influence of others, maybe their delusions about one another could stand a chance and the relationship could still survive…albeit on a bed of lies.

    Lee then adds, “They might say that we’re crazy/But I’m just in love with you.” And yes, it is an adage widely disseminated in various art forms that the word (and act of) “love” is synonymous with “crazy.” To name a few examples, “The things we do for love,” “Love makes you do crazy things,” “Your love’s got me lookin’ so crazy right now,” etc. But the “crazy” in Joker: Folie à Deux is all about the insanity of projection rather than true love itself being the thing that makes a person go “crazy.”

    Then again, isn’t every form of falling in love ultimately a product of projection? People fall in love with the version of someone they build up in their head only to unearth some form of disappointment after they’ve already convinced themselves it’s love. Gone too far down the rabbit hole to turn back. But for Lee, it isn’t too late (as it never is for rich girls) once she realizes that Arthur refuses to be “who he really is.” Or rather, who she and everyone else so desperately wanted him to be: Joker.

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    Genna Rivieccio

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  • Joker: Folie à Deux: The Symbol Becomes More Powerful Than the Real Person Behind It

    Joker: Folie à Deux: The Symbol Becomes More Powerful Than the Real Person Behind It

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    It was Todd Phillips himself who said that Joker was never intended to have a sequel. In many regards, that’s not what Joker: Folie à Deux is, so much as a “second act” or “companion piece” that follows up the rise of Joker with the fall of Arthur Fleck (Joaquin Phoenix). Regardless, a large majority of viewers and critics haven’t been able to receive Joker: Folie à Deux in the spirit with which it was intended.

    From the beginning of the announcement of the movie’s existence, the automatic reaction upon hearing that a “sequel” to Joker would arrive in the form of a musical was met with more than slight hesitancy on the part of many “purists.” That Lady Gaga was going to be cast in the role of Harley Quinn—brandishing the diminutive “Lee” instead, as though to differentiate from Margot Robbie’s untouchable performance—was meant, perhaps, to assuage those who were nervous about the film’s viability. Granted, there are just as many who lost even more faith in it upon seeing Gaga’s name next to Joaquin Phoenix’s. And yet, it is not really supposed to be taken seriously as a musical (those who do are naturally going to pan the movie). That genre merely being a tool to exemplify the artifice and spectacle that ensues after a person achieves notoriety-turned-laudability/“respectable” fame. As Arthur Fleck does in Joker after going on a killing rampage spurred, ultimately, by his total ostracism from society.

    Ending up at Arkham Asylum at the end of Joker, Arthur has developed more than a mere cult following for his presumed anti-Establishment, anti-wealthy, generally anarchic tendencies. Whether he wanted to or not, he becomes a symbol. Something that the alienated and disenfranchised can project their disillusionments onto. And, although Arthur was seemingly happy to become that symbol at the end of Joker, his reluctance about being some kind of figurehead for chaos and misanthropy has waned in Joker: Folie à Deux, as he realizes that, once again, no one is actually seeing him—Arthur. They just want Joker, and he’s no longer sure if that’s who he “is,” or if it was who he became during a moment of weakness/a general nadir.

    Taking place two years after the rampage he went on in 1981 (even though five years have lapsed since Joker came out in 2019), the movie, nonetheless, has a decidedly 1970s feel and aesthetic, complete with sartorial choices—particularly during the fantasy sequences—and a blatant nod to The Sonny and Cher Show (hence, calling it The Joker and Harley Show) when Lee and Joker are singing the Bee Gees’ “To Love Somebody” on a TV stage in front of a live audience. By this point in the movie, Arthur has fallen hopelessly and blindly in love with Lee, forced to question that love when his lawyer, Maryanne Stewart (Catherine Keener), reveals to him that everything she’s told him about herself is a lie—particularly the fact that she grew up in the same neighborhood as Arthur with similarly abusive parents when, in fact, she’s from the Upper West Side (a meta detail considering Gaga’s own origins there) and her father is a well-to-do doctor. It is after this moment that he not only has The Joker and Harley Show fantasy (wherein said fantasy is tainted by the reality that she might not be all that she seems), but also starts to comprehend that maybe the only reason anyone is interested in him at all is because of their false projections. Much as he falsely projected onto her the ideal of a perfect “other half” who might save him from his misery.

    The misery that Phillips and his co-writer, Scott Silver (who also co-wrote Joker), highlight in the very first few minutes of the movie via an “old-timey” WB cartoon called “Me and My Shadow,” in which Joker struts into the Franklin Theater (in ironic honor of Murray Franklin [Robert De Niro], one imagines) with his shadow starting to act out in ways far more sinister than Peter Pan’s. Eventually, the shadow self overtakes the real Joker long enough to go out onstage, wreaking havoc before and during the performance so that when he finally is subdued by the real Joker again, it is that real Joker who is blamed for everything his shadow self did.

    It also bears noting that, in the title card of “Me and My Shadow,” while the flesh and blood Joker is wielding his index finger and thumb in the shape of a gun, his shadow self is toting a real gun—this being the ultimate clue that Joker is merely Arthur’s id, not who he really is a.k.a. who everyone, including Lee, wants him to be. That musicals themselves are entirely rooted in fantasy and fantastical elements further accentuates the idea that Arthur is now living in a distorted reality, a nightmare that he didn’t entirely create. For it is the public that has perpetuated this image of him as Joker…even if he’s no longer necessarily certain that’s who he wants to be (hell, if that’s who he ever was). And even if that acknowledgement means not getting the girl in the end as a result.

    And yes, it becomes increasingly difficult for Arthur not to notice what a “social climber,” for lack of a better word, Lee is. Which is ironic considering she’s already at the top of the social stratum. But what gets her off is “slumming it” with Joker, who she visits in prison at one point to wistfully encourage him, “You should see it out there, they’re all going crazy for you” (Gaga loves a Madonna reference, after all). Only they’re not going crazy for “him,” but rather, “Joker.” A man who doesn’t really exist. When Arthur finally admits that to everyone in the final courtroom scene, any “public sympathy” he might have had by pleading some “insanity defense” by way of the “it wasn’t me, it was my alter ego” excuse disappears entirely. And with it, his devoted following who wanted him to be “that guy.” The guy that could represent all of their ideals and beliefs because he, too, possessed them. In the end, however, Arthur is still the confused, emotionally insecure incel that audiences first met in Joker (even if he does get to give Lee a few pathetic thrusts during an impromptu conjugal visit).

    Yet, even though this very public admission should have been the death of Joker and all that he “means,” it instead opens the door for those who simply want to cherry-pick various “tenets” of his message to form their own factions, leaving the title available for a new, truly nefarious Joker who will take the helm without hesitation or any “pussy” qualms about doing what “needs” to be done. Because the Joker can be anyone, everyone. In some sense, it’s akin to how Trump is the latest symbol for white supremacy and fascistic conservatism, yet his “acolyte,” JD Vance, is the next-generation, more extreme version of it, poised for a takeover with Trump being too decrepit (and concerned with being “liked”) to maneuver his so-called beliefs toward an “optimum” level.

    In another sense, Arthur’s reluctance to accept his notoriety without questioning why people are so obsessed with him (or rather, his false image) also echoes another au courant occurrence: Chappell Roan renouncing fame and insisting she’ll abandon music altogether if her fans keep acting batshit. Arthur, too, has these same kinds of feelings, but doesn’t have the, let’s say, “likeability” aspect that Roan has going for her to carry it off. What’s more, Roan has yet to be knocked off her “pedestal” the way Joker is in Folie à Deux. Though that does seem inevitable since, to loosely quote Madonna, there is nothing the public loves more than elevating and then desecrating those they “worship.”

    This, in part, is what makes the reaction to Folie à Deux so predictable, with critics lining up to condemn it despite how in love they were with Joker in the first film. And perhaps that was Phillips’ intent in making Folie à Deux: to show something to the world about itself and the way it treats their “gods.” Even if they still can’t seem to see it.

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    Genna Rivieccio

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  • Joker 2 Is Apparently Aiming to Be DC’s First Jukebox Musical

    Joker 2 Is Apparently Aiming to Be DC’s First Jukebox Musical

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    Image: DC Studios

    Get ready to see Todd Phillips send in the clowns in Joker: Folie à Deux—the jukebox musical! Though we’ve long heard the DC Studios film starring Lady Gaga as Harley Quinn and Joaquin Phoenix as the Joker will be a musical, we now know a bit more about the off-kilter romantic showdown.

    Spoilers of the Week | June 17th

    Variety cites insider sources as revealing Joker 2 will be “mostly a jukebox musical,” with at least 15 covers of “very well-known” songs with room for original music. I mean they have Lady Gaga so one would hope some original music will be in the mix. Composer Hildur Guðnadóttir, who won an Oscar for Best Original Score for 2019’s Joker, is also aboard the sequel, and Variety’s source notes her “haunting” musical cues will have a presence once more.

    Among the cover songs is “That’s Entertainment” from The Band Wagon, a 1953 musical starring Judy Garland (which just so happens to open with the lyric “A clown with his pants falling down”). We can imagine that the music will harken mostly to old Broadway showtunes as opposed to a broader playlist of classic and modern hits like Baz Luhrmann’s Moulin Rouge. There’s definitely an old Hollywood romance vibe to all the imagery we’ve seen of the duo in their dreamlike mad love story.

    Joker: Folie à Deux from DC Studios Elseworlds is set for release October 4.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Sabina Graves

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  • ‘Joker 2’ Wraps With New Image of Lady Gaga’s Harley Quinn

    ‘Joker 2’ Wraps With New Image of Lady Gaga’s Harley Quinn

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    As filming wraps on the long-awaited Joker: Folie à Deux, more set photos have been released. An Instagram post made by director Todd Phillips features Lady Gaga as Harley Quinn, and Joaquin Phoenix as Arthur Fleck. While some people have been taking a measured approach to expectations with this one, the excitement is everywhere. At first, some were caught off-guard by the fact that its a musical, but a risk like that could have a serious payoff if it goes over well. Especially after Gaga’s performance in A Star Is Born.

    It’s unclear how exactly the movie could really even exist given the ending of 2019’s Joker, but there are a few ways to get around that. In the last film, we only really saw the beginning of Fleck’s career. Then, there’s also the fact that he hallucinated an entire relationship. Could he not hallucinate a life outside the walls of an asylum just as easily? Or a relationship with Gaga’s character?

    Phillips’ post revealed two new images of Gaga and Phoenix in costume as their DC characters.

    READ MORE: DC Announces New Universe of Movies and Shows

    Todd Phillips captioned the post with the following text:

    That’s a wrap. Thanks to these two (+ the entire cast) and the BEST crew that the film industry has to offer. From top to bottom. Gonna crawl into a cave now (edit room) and put it all together.

    This sequel will exist in an interesting new space for DC. It’s being branded an Elseworlds title, which essentially means that it isn’t canon to any other kind of shared universe. Matt Reeves‘ The Batman also exists in the same kind of liminal space.

    The New DC Universe of Movies and Shows

    All the projects announced by DC Studios as the start of “Chapter 1” of the company’s new universe of movies and shows.

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    Cody Mcintosh

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  • Joker 2: The first look at Lady Gaga’s character in the Joaquin Phoenix starrer is here

    Joker 2: The first look at Lady Gaga’s character in the Joaquin Phoenix starrer is here

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    Todd Phillips’ Joker is one of the most interesting portrayals of the DC character in a live-action movie. The film is set for a sequel titled Joker: Folie À Deux which also features Lady Gaga as Harley Quinn.

    On Wednesday, Todd Phillips shared the first look from Joker 2 revealing the first look at Lady Gaga’s character. Both Gaga and Phoenix have their eyes locked onto each other in the still. He captioned the post, “Happy Valentine’s Day.”

    Check it out here:





    Earlier, Phillips had shared a BTS pic form the film’s set. 

    So far we know that Lady Gaga will play Harley Quinn or a character equivalent to the DC anti-hero. Margot Robbie essayed the role in Birds of Prey and the Suicide Squad films.

    Joker 2

    Joker which was released in 2019 was a standalone psychological thriller that revolves around Arthur Fleck, a wannabe comedian with a mental illness. The film also featured Robert De Niro, Zazie Beetz and Frances Conroy.

    Joker: Folie À Deux is set to release on October 9, 2024.

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    Filmfare

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