Maybe it's not the punchline we deserve, but Todd Phillips and Joaquin Phoenix danced through a messy delivery to land on a pretty killer joke.
, which was nominated for 11 Oscars and won best actor and best original Score. A sequel with Phoenix reprising his role as Joker/Arthur Fleck, and Lady Gaga as Harley Quinn seemed like one of Hollywood’s safest bets this year, despiteFrancis Ford Coppola Praises Todd Phillips as 'Joker: Folie à Deux' Flails: "He's Always One Step Ahead of the Audience"
Fleck is stopped by a fellow inmate, one we’ve seen throughout the film, never speaking, only watching Fleck, and the reactions he gets from the other inmates and the citizens at his televised trial, with resolute seriousness. The inmate tells Fleck a joke, the punchline being the same one Joker gave to Murray Franklin in the first film: “You get what you fuckin deserve.” The inmate then stabs Fleck multiple times in the abdomen.
Yet, because the Joker was mentally ill, and abused, some felt that there wasn’t enough within the character to clearly define him as villainous and that the film created a slippery slope. Around this same time, there emerged a popular conversation regarding Batman and the argument that he used his wealth to beat up the mentally ill instead of using those resources to help change the infrastructure of Gotham.
When we’re reintroduced to Fleck, he’s a shell of a man, awaiting trial for the five murders he committed in the previous film. He’s heavily medicated, obedient, and hasn’t told a joke in months. Surrounded by his fellow inmates at Arkham, he’s back to being a nobody inside these walls. That changes when he meets Lee Quinzel, an inmate in a lower security wing of the hospital.
As Joker manipulated Gotham’s poor in the first film, one of Gotham’s wealthy in turn manipulates Fleck, and for similar reasons—the camera. Much of the film features characters playing for the camera, whether it is Fleck’s interviews, the televised trial, or the musical sequences which feel more like bits from, and less like the grand musical productions of Hollywood’s Golden Age.
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