This week on MindMatters we examine the themes and subtexts of this nihilistic anti-hero story: how Joker holds a mirror up to our contemporary societal malaise - and how the film succeeds in its functioning as art. We also look at how it strips away the charismatic "clown prince of crime" and agent of chaos - into a much more clinical, nuanced and accurate reading of the criminal mind, and just why this depiction is so insightful, rightfully disturbing, and extremely valuable to a public that is all too used to two-dimensional representations of evil in popular culture.
Running Time: 01:54:24
Download: MP3 — 105 MB
Harrison Koehli co-hosts SOTT Radio Network's MindMatters, and is an editor for Red Pill Press. He has been interviewed on several North American radio shows about his writings on the study of ponerology. In addition to music and books, Harrison enjoys tobacco and bacon (often at the same time) and dislikes cell phones, vegetables, and fascists (commies too).
Born and raised in New York City, Elan has been an editor for SOTT.net since 2014 and is a co-host for MindMatters. He enjoys seeing and sharing what's true about our profoundly and rapidly changing world.
Corey Schink was born and raised in the Midwestern United States, where he worked on farms and as a welder, musician, and social worker. His interests in government, philosophy and history led to his writing for SOTT in 2012 and to becoming a SOTT editor and SOTT Radio co-host in 2014. He now resides in North Carolina, where he enjoys the magnificent views of the Appalachian Mountains.
Reader Comments
Possession is not a rare occurrence, but modern people tend to resist crediting it, whether it's positive - inspiring art or genius when the individual's own skills and capacities are inspirationally enhanced, or negative, replacing the broken individual with an inspiration to chaos and a magnetic charisma, as is exemplified by the Joker. It goes against the grain of modern sensibilities to acknowledge the reality of this, because we want so badly to be the sole source of authority over of our individual minds and hearts.
The power of this movie seems to come from artistically, and seemingly convincingly, illustrating a process in which the observer is taken on a journey from witnessing a human personality being irretrievably broken, to seeing the demonically-possessed one take its place. At the end of the process, there is no longer a human being present, which means that empathy is no longer possible. The viewer is left with having to understand this change in himself, due to the fact that what he intuitively knows to be reality conflicts with what he wants to believe. If this, indeed, was what the writer and director intended, my hat is off to them.
What if these extra-dimensional forces somehow rearranged the human genome to the point that it allowed the creation of psychopathic and sociopathic individuals without the ability to feel empathy or compassion, thus mirroring their *own* minds, and creating "organic portals" that they could access to affect this reality and create chaos and fear to feed themselves via negative emotions? Perhaps this movie shows how such beings are created, and how they - through them - continue to exert a very real influence on events and control that would otherwise elude them.
What if these extra-dimensional forces somehow rearranged the human genome to the point that it allowed the creation of psychopathic and sociopathic individuals without the ability to feel empathy or compassion, thus mirroring their *own* minds, and creating "organic portals" that they could access to affect this reality and create chaos and fear to feed themselves via negative emotions?My understanding is that organic portals are the natural denizens of this realm, and that the souled beings are not.
-It was pretty much what I expected. Brutal and ugly and very well made. It was operatic!
I've got a couple of notes to make which I've not seen anywhere else...
I hate to admit it, but the SJWs had a point, (probably without intending it). This film IS an excuse for violence. Everybody the Joker killed in the film pretty much deserved, perhaps not outright murder, but certainly punishment.
Those teens in Chile were torching subway stations, were they? Before or after they saw this thing? Hmmmm..!
Everybody finds losers tiresome and everybody loves a winner. When the Joker found his calling, found himself, discovered his purpose in life? The dispenser of brutal justice to those who richly deserved it? I was happy for him! I was cheering inside. "Yeah, shoot that bastard!"
"The meaning of life is to give life meaning."
Oh crap! That applies to the Dark Side as well, doesn't it?
I bet everybody who watched the film felt the same way, though you have to be pretty comfortable with your shadow self to admit it. There's a reason we don't let our monsters out, or there would be bodies in the street. But in Arthur Fleck's case, his outbursts seemed warranted to me.
In this film, the Joker was the hero! He wasn't psychopathic at all! He wasn't taking joy in people's pain, he wasn't killing at random; he understood love, he knew the difference between kindness and what horrible people were. He kissed the dwarf and let him go, "You were the only person who was ever kind to me."
He was cognitively deranged, psychotic, his reality was warped, but I wouldn't call him a psychopath, or even a sociopath.
The dude had had enough, had his anti-psychotics cut off, was being regularly attacked. He fought back. Good for him!
He's hardly any different from Batman, with the singular exception being that Batman puts people in prison and doesn't kill them. That's why that line is so important in the comics, and when people cross it, they're doing comics wrong. (But that's a whole other rant.)
In any case.., I'm damned GLAD the Far Left smeared this film from the outset! I hope they collectively continue to reject it. Because the damned thing is an Antifa war anthem. I don't think they have the collective maturity to understand that it's meant to be educational material made for responsible adults.
Have no fear - you and your ilk on both sides of the ideological divide will have your day in the sun, and it won't be long now.
I was happy for him! I was cheering inside. "Yeah, shoot that bastard!"There are or will be bodies in the streets anyway... The reality could be as strong as the movie, is there a hardest movie than the atomic bomb or asteroid? if it seems right to you to censor it is the same as saying that free information is dangerous... we must return to the censorship of the middle ages where only a few "responsible" people can access it to obtain knowledge?
"The meaning of life is to give life meaning."
Oh crap! That applies to the Dark Side as well, doesn't it?
I bet everybody who watched the film felt the same way, though you have to be pretty comfortable with your shadow self to admit it. There's a reason we don't let our monsters out, or there would be bodies in the street. But in Arthur Fleck's case, his outbursts seemed warranted to me.
In any case.., I'm damned GLAD the Far Left smeared this film from the outset! I hope they collectively continue to reject it. Because the damned thing is an Antifa war anthem. I don't think they have the collective maturity to understand that it's meant to be educational material made for responsible adults.
I think movies like these provide a great opportunity to learn about how hard our world is and history in general and try to act accordingly (not fundamentally as a SJW but as Peterson says for example, that you can't act really without dealing with the shadow) since the information to be knowledge must be analyzed and discussed to incorporate it. Something that seems simple is not promoted in schools, universities or the family, why? are we all covert killers?
I see what Peterson says, good people who can't see these kinds of movies have a hard time acting or dealing, or get their hands dirty in this world
In Jordan Peterson's first book, Maps of Meaning, he describes a couple of early experiences which marked him. The first was meeting a serial killer in prison. Peterson describes his shock at how absolutely ordinary this man appeared to be, the literal face of the 'banality of evil'. The second realization was much worse: that he also had the same homicidal urges.
The point Peterson makes is: there isn't much separating ourselves from the chaos of Joker's world, if we are truly honest about it. How do we know we wouldn't fall into the same homicidal glee, if the walls of civilization would suddenly collapse? A study of Nazi German and Stalinist Russia indicates that most of us wouldn't be very heroic, to understate the case.
Many of Peterson's insights are of this nature and have been disturbing to people for the same reason that the recent Joker movie is disturbing; it cuts a little too close to the bone. Who really wants to see, in viceral form, the darkest aspect of our own nature that Joker embodies, and which Peterson constantly points us towards?
Some of Peterson's most interesting articulations have been in describing how somebody like Arthur Fleck, the failed artist, becomes Adolf Hitler, the clown dictator, through failure and resentment. And Peterson has written and taught extensively about how 'ideological possession' has caused whole populations to descend into murderous genocide. The shadow , says Carl Jung, reaches right down to hell.
But Arthur Fleck has no ideology, nor principle to guide him. He is not animated by Marxism or Fascism or any other kind of ideology. In a way, this is all more terrifying: Joker is one without any grand narrative or promise land to believe in. Such a person can only smash things; he cannot create anything but chaos.
Perhaps Jordan Peterson, in his political fury, has conflated the pathologies of the idealistic protester with the pathologies of pure nihilism — which are antisocial and 'beyond good and evil'. Not that he isn't correct to show how idealism leads to nihilism, which is actually the lesson of Joker.
But today it is not dogmatic marxism or fascism that we have to contend with, but something much worse: the one who is invisible, but who screeches with laughter and wants to drown the world in blood. He has no name. And his name is Arthur Fleck.
For example, Woodsman writes: I bet everybody who watched the film felt the same way, though you have to be pretty comfortable with your shadow self to admit it. There's a reason we don't let our monsters out, or there would be bodies in the street.The darkness functions more successfully when it is unknown, when one doesn't acknowledge it, or own it. Which reminds me of something the Cs say quite alot,... Knowledge protects, Ignorance endangers.
I think Woodsman's comment is quite insightful!
The truth is more visceral and fundamental than that described by our psychological lingo, in which no one, often including ourselves, is ever really there. Just ideas and ideologies. Just abstractions. Fundamentally, just lies.
The truth is more visceral and fundamental than that described by our psychological lingo, in which no one, often including ourselves, is ever really there. Just ideas and ideologies. Just abstractions. Fundamentally, just lies.Right, hence the quote by the Cs, knowledge protects, ignorance endangers. Knowledge when applied, enhances being, which imbues one with consciousness, making one 'there'.
What you quoted is significant in how it illustrates the need/desire to sanitize evil by abstracting it - making it mental and non-agentive. By doing this, we can pretend to self-awareness without actually achieving it. We acknowledge that it is possible to 'fall into' homicidal glee, into the 'darkest aspect of our own nature,' and that this is made possible by 'failure or resentment.' We can be possessed by ideologies, but never beings.Not that I disagree with what you say here in theme at least, that wasn't what I was getting at. What I was getting at is, that those that think they are above it all, and no evil can manifest through/in/them are lost in the woods without a compass. Not that this observation is directed at anyone, but in general. That is what I read from Woodsman's comment anyway. For example, he (Woodsman) finished his comment with: I don't think they have the collective maturity to understand that it's meant to be educational material made for responsible adults.
I would think that at the so-called higher levels within the STS hierarchy, so-called evil is non-agentive, that no agency is required to collapse further into Service To Self . However, it seems that in 3 density, that through the 'agentic state' manifests a lot of so-called evil. The striving for knowledge, and sharing of knowledge is probably the best prevention.
The Joker as depicted in this film wasn't right. -That is, he killed with reason. There was an (albeit dark and disturbed) rational train of thought behind his selection of victims.
The classic Joker did not function in this way at all. He was driven by, was the embodiment of Chaos.
It might be argued that by humanizing the character, harm is done to the mythological archetypal power that the Joker normally represents in the pantheon of comic book heroes and villains.
I haven’t seen the movie, but from accounts the main protagonist doesn’t seem too far removed from that of the Invunche, since birth he didn’t seem to have much of a chance, although more of a chance than the deliberately deformed Invunche... and everybody seems to be anchoring energies of one form or another.
Society in one way is a living totem and many are keen to mutilate the human form and that of children too in this society and I think we’re all responsible for enabling the forming of a totem nobody wants and people can argue over culpability... while a kind of Chiloe Island extortion racket takes its toll and we all pay.
In any case.., I'm damned GLAD the Far Left smeared this film from the outset! I hope they collectively continue to reject it. Because the damned thing is an Antifa war anthem.
Knowing who made the film, and seeing the continual undercurrent of both violence (from the left) and the mentions of a civil war (also stemming initially from the left), I can't help but feel that things like this film are just more provocations, more subtle pushes for what they want. Which is to create enough violence to make the "rest" of the 99% fight back. To provide a reason for either the government or the UN to try and fix things. Well, that might be stretching things, but they really want to get rid of Trump and to disarm the American people.
I can't help but feel that things like this film are just more provocations, more subtle pushes for what they want. Which is to create enough violence to make the "rest" of the 99% fight back. To provide a reason for either the government or the UN to try and fix things. Well, that might be stretching things, but they really want to get rid of Trump and to disarm the American people.Seems you realized the very purpose of the Hollywood machinery. Predictive programming.
The USofA is scheduled to pass a vale of tears while the epicenter of the Empire moves East. Desintegration and slide back into oblivion.
Lennon: "Don't confuse the songs with your own life".
Wigged out Beatle stalker : "But it all fits"
Lennon: "Anything fits if you're tripping off on some trip".
Without prior knowledge of this, I was looking at some of the clips of The Joker, and one of my first thoughts was "has he based his character on that Sexy Vegan guy?"
Hans DeBartolo III aka Sexy Vegan threatens to fight parking inforcement outside Craigs Restaurant...[Link]
A lot of vegans have that "about to go postal" look.
Just a after seeing the movie I saw on the french channel Arte a short movie of the Libyan revolution with people harboring the Vendetta mask on top of the Joker make up, a little too much for these memes backed up by the left political media.
You didn't talk about the role of the media in the ascension of the Joker, without them Arthur Fleck would have not became a wide meme and the catalyst of the anger of the masses. And it's really interesting to see that he was not in any case consciously searching for being covered by the cameras but simply acting his descent to hell in a flimsy manner.
Grandiosity was wonderfully put in the back and expressed as coming from him, compared to other marvel/DC movies, even at the final scene on top of the burning cop car we feel his crumbling mind trying to mimick a danse.
The poem cited by Harrison and Collingwood really touch me, I found poem from the author.
[Link]
Hope for others movie analysis !






