It is the story of a clown. He is mentally ill and creepy. He has delusions and is maladjusted. He can’t hold down a job. Of course, like other oppressed people he is literally downtrodden and mocked.

So he gets revenge.

He kills three Wall Street boys on a subway. They weren’t nice. He brutally murders a coworker. The coworker also wasn’t nice. He murders a comedian on live TV for trying to make fun of him.

You see, it’s all justified — except in the eyes of Gotham mayoral candidate Thomas Wayne. Wayne is asked by a reporter what he thinks of the clown (Joker) who murdered the three Wall Street boys. He says there are people who make something of their lives, like himself, and there are “clowns” who make nothing of their lives.

This statement angers Gotham’s equivalent of ANTIFA, who put on clown masks and begin agitating for something akin to eating the rich. The clown protests turn violent, getting so out of hand that Thomas Wayne and his wife are murdered in a dark alley. Thomas Wayne, the father of Bruce Wayne (aka Batman), was not a nice person. You see, Thomas Wayne is the Joker’s real father. He knocked up the Joker’s mom and abandoned her, forcing her to sign nondisclosure agreements. Wayne even falsifies documents showing the Joker was a foundling adopted by a mentally ill mother.

You see, the Joker is a righteous revolutionary. He is really Batman’s brother, well-equipped for his calling by having no conscience. And besides, the rich and powerful deserve to be murdered.

The Joker says he is not political. But it’s one of his not-so-funny jokes, because the whole thing is political. The follow-on revolutionary violence — inspired by a not-so-funny clown — is ultimately accompanied by Frank Sinatra singing “Send in the Clowns.” The context transforms the song into a revolutionary proletarian ballad; especially the last two stanzas:

Don’t you love farce?
My fault, I fear
I thought that you’d want what I want
Sorry, my dear!
But where are the clowns
Send in the clowns
Don’t bother, they’re here

Isn’t it rich?
Isn’t it queer?
Losing my timing this late in my career
But where are the clowns?
There ought to be clowns
Well, maybe next year

If art combines beauty and interest, The Joker is not art. The movie portrays something ugly that isn’t interesting; for what is a self-pitying and disgusting clown? Is not boredom akin to disgust? As such, it is the opposite of interesting.

The Joker movie is boring. Who really cares why a psychopath is a psychopath? Are the leftist social engineers going to cure him? No. It’s too late. He is already broken.

Their solution, after all, is Karl Marx’s solution. They want us to accept the theory that capitalist alienation makes clowns who they are. They want us to believe that clowns will one day make a revolution. By eating the rich they will destroy the social conditions which make people into clowns. That’s Marxist revolutionary theory in a nutshell (literally). It is a theory made for murderous clowns by a murderous clown. It is an excuse for leveling everything.

As an excuse it only pretends to be art — with many clowns now applauding. Yes, they are cheering. Except, an elite few are not applauding because it gives away their game. It is a confession of madness and psychopathy. And also, it is written in the comics that Batman is the real hero. All the self-pity, and all the revolutionary lies, which would make villains into heroes and heroes into villains will not succeed in the end.

The General Staff of the Revolution are not as happy with this movie as their indoctrinated clowns. Too bad it turned out like all their other projects. — Like Venezuela. Like Obamacare. Like the War on Poverty.

The Joke is on them.