A Train in Woman's Clothing

miles never says he has PTSD but he does say "my brain blocks out this memory's clarity as a coping mechanism." he does say he has chronic nightmares of the event in question. he blacks out, he loses function, characters call his triggers "fears" but we have enough information to understand it's far more deep-seated than that.

and the same is true for adrian. the game repeatedly tells us that her personality is disordered. in the re-release, with terminology corrected, the word "dependence" is constantly spoken not as a trait but as an ailment she lives with, something she does not by choice but because she literally cannot stop without intervention. like miles, she is canonically neurodivergent, with a suicide attempt in her past and canonical therapy that she attended after.

while none of these characters ever look to the camera and say "here is my diagnosis" the way the characters talk about their very specific neuroses make it clear that they're meant to divert from the typical way a brain should act and function. like it's not just me being like "teehee mental illness headcanon" it is very clear that, even if takumi and his writers did not know if DPD was a real thing (hell, the DSM might not have even had that specific diagnosis at the time) they knew that adrian had it just by existing in the world around people who probably did.

Beyonce x Bioncle advert, circa 2002

Also, more often than you might think, they’re not actually promoting bigotry so much as “didn’t consider all the implications of something” or just used words that were polite then but considered offensive now.

Just because I left Fort Lauderdale, and with it Popcorn Frights, behind when I moved to Boston last year doesn't mean I have to give up on horror festivals. And just as I managed to sneak in a trip to the Telluride Horror Show amidst my adventures in Utah back in 2022, so too did I find that -- where else? -- Salem, Massachusetts hosted the annual Salem Horror Show in April and May. Tonight was the first night, and they screened one of the festival's token non-horror films in The People's Joker, a queer Batman spoof made without any official approval from DC Comics or Warner Bros. (They originally had a screening of Hocus Pocus planned with Kathy Najimy as a special guest, but Najimy had to cancel at the last minute.) How was it?

The People's Joker (2022)

Not rated

<Originally posted at https://kevinsreviewcatalogue.blogspot.com/2024/04/salem-horror-fest-week-1-day-1-peoples.html>

Score: 4 out of 5

The People's Joker exists in a place very similar to that enjoyed by Escape from Tomorrow. In both cases, you have independent filmmakers making unlicensed, unauthorized use of American pop iconography, Disney in the case of Escape from Tomorrow and DC Comics in the case of this film, as a way of satirizing and critiquing it with a particular focus on its corporate ownership and its role in the modern economy. Unlike Disney, which permitted the release of Escape from Tomorrow, DC Comics and Warner Bros. actively tried to clamp down on this film, which was ultimately saved by fair use laws protecting parodies like this. And of the two, I'd argue that this film pulls off what it was trying to do a lot better. While both films are elevated by a particular psychedelic edge and punk-rock attitude, Escape from Tomorrow was too incoherent to really stick the landing or even really convey what it was trying to say, while The People's Joker manages to successfully pull off being not only a dark parody of Batman in which the Joker is the hero, but also a hilarious comedy in its own right, a queer coming-out story, a satire of the entertainment industry (especially stand-up and sketch comedy), and a film that manages to get its message across loud and clear. For obvious reasons, I don't expect this to be more than a cult classic, but it's one I enjoyed and do not regret watching.

In this take on Batman's most iconic villain, one that's most obviously based on the movie Joker but draws on many versions of the character (as well as elements of Harley Quinn), the Joker is now a trans woman who leaves her disapproving mother in Smallville, Kansas for Gotham City in the hopes of becoming a comedian like her idol, UCB Live star Ra's al Ghul. There, upon being exposed to the gatekeeping and hypocrisy of the world of mainstream standup comedy, which here serves largely to prop up a corporate-run dystopia even as it still claims the legacy of those who once spoke truth to power, she starts her own underground "anti-comedy" troupe in an abandoned carnival that comes to be comprised of many of Batman's traditional baddies from the comics. (Her trademark gag is inviting people onstage to tell the world their saddest experiences and then huffing Smilex and laughing her ass off at their misery, because after all, this is still the Joker we're talking about.) This eventually puts her on a collision course with Batman himself, who's depicted as not only the jackbooted thug that more cynical deconstructions of superhero comics have framed him as, but also a perverted closet case on top of it. (Let's just say, this film gets a lot of mileage out of all those jokes you've heard about his relationship with his sidekick Robin.)

The film ain't exactly subtle in what it's saying. UCB Live is a clear-cut parody of Saturday Night Live, right down to the fact that Lorne Michaels is a character in the film, and moreover, its initialism is lifted straight from the famed Chicago comedy troupe the Upright Citizens Brigade that played such a major role in the development of standup and sketch comedy in the '90s and '00s, including producing multiple SNL stars. And while the film never names him so directly, you also get the sense that its writer, director, and star Vera Drew really isn't a fan of Joe Rogan or the standup circle he's built around himself, either. The Joker's introduction to UCB Live's casting has her body being scanned and her being deemed a potential comedy superstar because she has a small penis and is therefore mistaken for the kind of insecure man who the industry is built upon. Her comic idol Ra's starred in a Borat-like film whose main joke was making fun of foreigners. The whole reason Batman, an avatar of the elite if ever there was one (being the CEO of Wayne Enterprises and all), comes after her is because she directly criticizes and threatens the ruling class in a way that the corporate, sanitized world of UCB Live merely pretends to. Drew is somebody who clearly has experience with comedy and the people who inhabit it, and is very much writing that experience into the meat of the story, a metaphorical representation of an entertainment industry that, in her view, only cloaks itself in populism and progressive language enough that it can fend off criticism without actually making any meaningful changes.

Much of this is told through a mix of a riotous and raunchy comedy and the Joker's romance with her fellow comic Jason Todd, aka "Mr. J", a trans man who's envisioned here as a mix of Robin and the edgelord Jared Leto version of the Joker from the DC Extended Universe. The gags came flying at a mile a minute, and often had me busting my gut in laughter. The whole cast is game for the material, with Drew making the Joker a compelling anti-hero not just as a comic presence but also as somebody whose journey from a Midwestern girl-trapped-in-a-boy's-body to a flamboyant Clown Princess of Crime was one that I found myself genuinely invested in. Kane Distler as Mr. J was also an interesting presence, somebody whose relationship with the Joker starts promisingly only for him to turn emotionally abusive and self-centered (complete with a "gaslighting" pun that had me cracking up), indicating that, when he transitioned, he wound up embracing the most noxious forms of hypermasculinity. And as for the style of the film, Drew goes for an exaggerated feel that combines live-action filmmaking, highly stylized CGI, what appears to be a mannequin representing Poison Ivy, and very crude animation both 2D and 3D to create a feeling that reminded me of watching Adult Swim or surfing Newgrounds back in the 2000s. There clearly wasn't much of a budget here, so Drew instead leaned on creativity, both her own and the dozens of artists worldwide who each contributed to the film. It was as unique a film to watch as it was an entertaining comedy, one that demonstrated a lot of talent and commitment on the part of everybody involved.

The Bottom Line