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Spoilers for Joker: Folie à Deux (2024) ahead
Time for some low-stakes culture war. The sequel to Joaquin Phoenix's Joker movie is out. The first movie was essentially a remake of Scorsese's Taxi Driver with a little bit of supervillain flavour that resulted in a moral panic about how its empathetic portrayal of a mentally ill loner might spark an incel shooting. In the end, no shooting happened and the movie made bank.
The sequel now takes a different approach and turned out to be a musical featuring gay icon Lady Gaga. A bold choice that critics describe as
The Critical Drinker, a, uh, heterodox critic went a step further and had the following to say
Internet randos floated memes to the same effect. First, a plot summary:
And now for some red hot culture war schizophrenia:
And while I think the above conspiracy theory gets the motivations and machinations of the ominous they hilariously wrong, there is something to be said about a Zeitgeist that sees anything enjoyed by (white) men as something in dire need of female supervision.
A small kink in that explanation: The second movie was written and directed by the same people. So, what happened?
I can believe the writers thought the audience "didn't get the point" the first time and wanted to write a new movie with the "correct" message.
I think the more sinister conspiratorial nonsense - that the studios literally don't care about making a profit (!!) and deliberately did this as a "humiliation ritual" just to punish the audience, whom they hate - is ridiculous and a sign of how far down a rabbithole this sort of "THEY are out to get you" thinking can take you. Maybe there is a screenwriter somewhere chortling as xe/xir thinks "This will show those white incel losers!" but I am pretty sure there is no studio that will deliberately put out a money-loser because all the money-men are on board with a "punish incels" program.
Given the plot summary, anyone could have predicted it would be a box office failure. Why they went ahead with it anyway is anyone's guess, surely there was a variety of motivations, but repudiating/disavowing their unsought, deplorable fanbase was probably among them.
Actually, not only was the failure predictable from the plot, the plot was predictable from the existence of a sequel. Can you imagine a world where the lesson they took from Incel 1 was that there's an untapped audience of very online white male social rejects desperate to be shown in an, if not positive, at least "nuanced" light, and the sequel delivered even more on the power fantasy and/or sympathetic hearing aspects? Why does that sound so much less believable than their decision to have their core audience raped in
Minecrafteffigy?See, I know people say this all the time about movies that should have been obvious bombs in retrospect. And yet it has always happened, throughout the history of Hollywood. "How could anyone have thought this piece of crap wasn't going to bomb?"
People just overestimate how good studios are at predicting winners, and underestimate the egos of the people involved. Also, projects often sound very different on paper from the finished product, and the development process, especially nowadays, can radically transform a movie into something unlike what the money originally expected.
Does it really make sense to you that someone says "Yes, let's waste hundreds of millions of dollars just to say fuck you to incels"? And that everyone involved in writing that check nods their heads?
Individuals involved in the project, maybe. Though even there, I think that is pretty rare. Do you think Lady Gaga and Joaquin Phoenix knew as they were making this movie that it would bomb? Or knew as soon as they read the script? And they were okay with it? Actors will sometimes sign onto a crap project just to collect a paycheck, but usually they don't want to be associated with a bomb.
That's not how that pitch would have went. It would have been more like "Let's build on our prior success and open up this IP to an even broader audience. 2024 is not 2019, times have changed. We must cater to the tastes of modern consumers."
Sure, but that's a miscalculation and a bad bet, not a nefarious scheme to deliberately lose money just to piss off people you hate.
They never seem to make the mistake of over-appealing to young males and thereby losing lots of money. So its pretty deliberate.
What's the counterfactual here? Michael Bay still makes four-quadrant films. Top Gun: Maverick is a four-quadrant film. The original Star Wars trilogy were four-quadrant films. I can think of far fewer big films that tried to go hard on the two female quadrants (e.g. Twilight) than went hard on the two male ones, especially now that we're out of the romcom era. Joker is a two-quadrant film on the other axis because of its rating, not deliberate alienation of women, where it hit broadly the same 60-40 splits as the typical comic-book movie (e.g. Captain Marvel, Spider-man Homecoming).
The counterfactual is some org taking an IP like Barbie and basically cutting the ending. The movie Barbie is accidentally based. Ken learns about the patriarchy, brings it to Barbieland and creates a utopia where everyone is happy except the weird Barbie. This is then destroyed by the MC and her new friend by a contrivance, but if you just left it at that and added some American flags and explosions, you'd have the counter.
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