The Joker film might be regarded as a sort of revenge by a thwarted Jewish comedy film maker who feels his genre has been shut down by moralists. Essentially he threw the toys out of the pram shouting – to paraphrase the outburst – “f**k comedy then, how about I turn this other film genre on its head and get naughty with that?!”
The Joker is currently doing the rounds and has led to much controversy. Let’s take it from an angle that is not being currently explored. All the clues are there but the conclusions have been avoided by people wanting to shoe-horn any message from the film to their own agenda.
Perhaps the real point of the film was to see who it might provoke into a meltdown in the “woke Left” who try to ban everything that they find offensive. Having censored comedy, now they are triggered by a plot about a comic book character.
Let’s take the director and screen writer of the film Todd Phillips – a Jewish man who changed name from Todd Bunzi. Another Jew, Scott Silver co-wrote the screenplay. In the past Phillips has made sleazy comedy films such as the Hangover trilogy.
Of course sleazy jokes make people offended. Phillips gave offence to what is called “woke” leftists with such references in his films to characters joking they had sex with a pre-op transsexual “man with boobies”. Of course this offends more conservative tastes as well – except it is nothing unusual for Jewish comedy. Phillips is expecting the “humour” to be enjoyed by people who have no standards, or enjoy dirty jokes greatly, and who are perfectly fine with lighthearted references to men or women having any kind of bizarre sex.
It is a method to influence the “Overton window” and increase tolerance of perversion, a form of culture distortion.
Todd Phillips is anti-Trump and wishes the “Left” and the “Right” were a lot less strict and would embrace the libertine perversions that he wants his audience to embrace.
“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.”
Phillips seemingly failed to realise that the Jewish preference in the media, culture and establishment is to promote this “woke” idea (somehow while also pushing the filth that often is against “woke” rhetoric) and that films that fail to do so are severely attacked. This fate was therefore inevitable for The Joker.
The climax of The Joker involves a talk show host who, having humiliated the Joker for not being funny, is shot dead by him on live television.
The Jewish “woke” Left were offended again obviously and quite likely intentionally as Phillips may have been playing a game with them.
The media terrorised movie goers with hysterical scaremongering that some crazed and presumably “alt right” and “incel” shooter would open fire on the audience at the cinema. They said this regardless of the fact that the Joker shoots the media representative, played by Robert de Niro, and therefore talk show hosts or the media generally would be the obvious target of any such lunatic.
Mainstream critics panned the film with a huge disparity on the site Rotten Tomatoes where nearly all of the audience enjoyed the film but barely over half of the critics officially praised it.
The following quote from Todd Phillips went viral.
“What’s outstanding to me in the discourse of this movie is how easily the far left can sound like the far right when it suits their agenda.”
The Joker was very well put together and acted from an objective standpoint and it would be fair that Joaquin Phoenix, the star playing the titular part, deserves an Oscar. He may yet get the award despite all the hand-wringing.
A couple of years ago the actual Batman comic series decided to start portraying The Joker as being a “heroic” Social Justice Warrior. Many of the “woke Left” felt The Joker was standing up to the “fascist” Batman and wanted to identify with that character.
These people could have chosen to side with The Joker in Todd Phillips’ (and Scott Silver’s) film and observe the following gifts that were thrown to them: They had the White man, the Joker, fall for a black single mother. They had him wearing make-up (obviously) and prancing about in an effete way, talking in a rather feminine manner.
They had a somewhat Donald Trump-esque character, the mayor Thomas Wayne (Batman’s father) portrayed as a bigoted rich, unsympathetic “fascist” character and they had wealthy young White men portrayed as violent thugs on a train whom the Joker then gunned down.
The Jewish scriptwriters had intended, it appears, that the “anti-fascist” protestors inspired by the Joker (without his intention, as he says he is not political) would be like an ANTIFA mob.
None of these aspects have been actually highlighted by anyone involved in making the movie. Maybe they are embarrassed that almost no one noticed and they did not gain their brownie points?
Another possibility is that Phillips is not surprised at all that the “woke” missed an opportunity and ended up handing the Joker over to be seen as a nihilist of the disenfranchised White man sort.
The result was to make the “woke” side look really stupid and allow pro-White people to have a bit of a chuckle at the irony of it all. At the same time Phillips had his revenge on the moralists of the “progressive Left”.