Wrapping up its most watched season in seven years, The CW Network presented its 2015-16 broadcast schedule today to advertisers, affiliates and national media at New York City Center in New York City. The indie-pop band Of Monsters and Men kicked off the presentation with a live performance of their latest single “Crystals,” and their international hit song “Little Talks.”
“This has been a terrific season for The CW, and is a result of a strategy we set in motion a few years ago to broaden out and grow our audience,” said Pedowitz. “We had our most watched season, and our highest-rated season among men, in seven years. We launched The CW’s most watched series ever with THE FLASH, and with THE FLASH and JANE THE VIRGIN, we received more critical acclaim than ever before.
“The CW is heading into next season with incredible stability and strength, and continuing its strategy of adding more original programming all year long. Our new fall series CRAZY EX-GIRLFRIEND is original and hilarious, and will work as a perfect companion for JANE on Monday nights, while at midseason we have the much-anticipated DC’S LEGENDS OF TOMORROW, and the tense action of CONTAINMENT. These three new series are a terrific complement to our already strong schedule, and allow us to keep building on our momentum in 2015-16.”
The CW will launch its 2015-16 broadcast season in October, with premiere dates to be announced later.
Monday night is back-to-back comedy night with CRAZY EX-GIRLFRIEND at 8:00-9:00 p.m., starring Rachel Bloom as an unhappy lawyer who quits her job and moves across the country in search of love, with her inner monologue providing irreverent musical interludes, followed by Golden Globe-winner Gina Rodriguez starring in JANE THE VIRGIN returning at 9:00-10:00 p.m.
Tuesdays, Grant Gustin returns as the Fastest Man Alive in The CW’s smash hit THE FLASH at 8:00-9:00 p.m., followed by the brainy zom-com iZOMBIE, starring Rose McIver at 9:00-10:00 p.m.
ARROW, starring Stephen Amell as Starling City’s masked hero, is back on Wednesday in the 8:00-9:00 p.m. time slot, followed by the monster-hunting Winchester brothers in SUPERNATURAL at 9:00-10:00 p.m.
Thursdays will be fang-tastic, with Damon and Stefan returning in THE VAMPIRE DIARIES, 8:00-9:00 p.m., followed by the first family of vampires, THE ORIGINALS at 9:00-10:00 p.m.
Mary, Queen of Scots will face off with Queen Elizabeth this season on REIGN, moving to Fridays at 8:00-9:00 p.m., followed by Cycle 22 of AMERICA’S NEXT TOP MODEL, which will move from Wednesdays in the Summer to Fridays in the Fall.
The new series DC’S LEGENDS OF TOMORROW and CONTAINMENT will premiere in midseason, and THE 100 and BEAUTY AND THE BEAST will return with new seasons in 2016.
Following is The CW’s 2015-16 primetime schedule, a night-by-night breakdown and accompanying details on all the programs. All times ET/PT.
THE CW’s 2015-2016 PRIMETIME SCHEDULE
MONDAY
8:00-9:00 PM CRAZY EX-GIRLFRIEND (New Series)
9:00-10:00 PM JANE THE VIRGIN
TUESDAY
8:00-9:00 PM THE FLASH
9:00-10:00 PM IZOMBIE
WEDNESDAY
8:00-9:00 PM ARROW
9:00-10:00 PM SUPERNATURAL
THURSDAY
8:00-9:00 PM THE VAMPIRE DIARIES
9:00-10:00 PM THE ORIGINALS (New Night)
FRIDAY
8:00-9:00 PM REIGN (New Night)
9:00-10:00 PM AMERICA’S NEXT TOP MODEL
MONDAY
8:00-9:00 P.M. “CRAZY EX-GIRLFRIEND”
Rebecca Bunch (Rachel Bloom) is a successful, driven, and possibly crazy young woman who impulsively gives up everything – her partnership at a prestigious law firm and her upscale apartment in Manhattan – in a desperate attempt to find love and happiness in that exotic hotbed of romance and adventure: suburban West Covina, Calif. (it’s only two hours from the beach! Four in traffic). From CBS Television Studios, CRAZY EX-GIRLFRIEND stars Rachel Bloom (“Robot Chicken”), who also serves as executive producer along with Aline Brosh McKenna (“The Devil Wears Prada”); and Marc Webb (“500 Days of Summer,” “The Amazing Spider-Man” films).
9:00-10:00 P.M. “JANE THE VIRGIN”
Jane Villanueva (Gina Rodriguez) has always lived by the rules. She is studying to become a teacher, working her way through school by waitressing at a hot Miami hotel, and she has never forgotten the lesson her grandmother Alba (Ivonne Coll) taught her long ago about the importance of saving herself for marriage. But when Jane was accidentally artificially inseminated (!) her life became as dramatic and outrageous as the telenovelas she grew up watching. Adding to the drama, the donor is reformed playboy Rafael Solano (Justin Baldoni), the owner of the hotel where Jane works, and her teenage crush. Although Jane is engaged to her long-time love, Michael (Brett Dier), a detective with the Miami Police Department, and Rafael is married to the scheming Petra (Yael Grobglas), she and Rafael are drawn closer by the pregnancy and begin to fall for each other. The tension proves too much for Jane and Michael, and they call off their engagement… and Jane and Rafael begin seeing each other. But happily ever after is interrupted by murder and mayhem, by scheming exes and maniacal criminal masterminds. Oh, and then there’s the fact that Jane learns her long lost father is Rogelio De La Vega (Jaime Camill), her favorite telenovela star! And now he’s back in her life… with a vengeance. But amidst all the crazy, there are the Villaneuva women – Jane, her mother Xiomara (Andrea Navedo), and her grandmother, Alba, who band together to support each other always, no matter the twists and turns thrown their way. And ultimately, Jane gives birth and a new Villanueva enters the world. And believe it or not… the drama is just getting started. JANE THE VIRGIN is produced by CBS Television Studios and Warner Bros. Television, in association with Electus, with executive producers Jennie Snyder Urman (“Emily Owens, M.D.”), Ben Silverman (“The Biggest Loser”), Gary Pearl (“10.5: Apocalypse”) and Jorge Granier (“Que el Cielo Me Explique”).
TUESDAY
8:00-9:00 P.M. “THE FLASH”
Until recently, 25-year-old Barry Allen (Grant Gustin) lived a normal life as a perpetually tardy C.S.I. in the Central City Police department. Barry is secretly in love with his best friend, Iris West (Candice Patton), daughter of Barry’s surrogate father, Detective Joe West (Jesse L. Martin). Joe adopted Barry fourteen years ago after Barry’s mother was murdered and Barry’s father, Henry Allen, received a life sentence for the crime – though Barry maintains that a mysterious “Man in Yellow” was responsible. Nine months ago, the S.T.A.R. Labs Particle Accelerator exploded, creating a dark matter lightning storm that struck Barry – bestowing him with super-speed and making him the fastest man alive. But Barry wasn’t the only person who was given extraordinary abilities that night. The dark matter also created meta-humans, many of whom have wreaked havoc on the city. With the help of his new scientist friends at S.T.A.R Labs, Caitlin Snow (Danielle Panabaker), Cisco Ramon (Carlos Valdes), and Dr. Harrison Wells (Tom Cavanaugh), Barry begins a journey as The Flash to protect the people of Central City from these powerful new threats. However, Barry’s mission gets sidetracked when he comes face to face with the Man in Yellow. Barry isn’t fast enough to catch him but in a shocking revelation the team figures out their beloved mentor, Harrison Wells, is in fact the Man in Yellow and the man responsible for killing Barry’s mother. Harrison Wells reveals his true identity as Eobard Thawne, a man from the future who traveled back in time to kill Barry. When Barry is finally forced to confront Wells, will he be fast enough to catch him? Or will Wells be successful in killing Barry and returning home to the future? Based on the characters from DC Comics, THE FLASH is from by Bonanza Productions Inc. in association with Berlanti Productions and Warner Bros. Television, with executive producers Greg Berlanti (“Arrow,” upcoming “Pan”), Andrew Kreisberg (“Arrow,” “Eli Stone”), David Nutter (“Arrow,” “Game of Thrones”) and Sarah Schechter (“Arrow,” upcoming “Pan”).
9:00-10:00 P.M. “IZOMBIE”
Throughout the riveting first season of iZombie, television’s only zom-dram-rom-com, Liv Moore (Rose McIver) learned to embrace her undead life and use her zombie powers for good. As an intrepid, zombified medical examiner, Liv ate the brains of the morgue cadavers and, under the guise of being a psychic, used her visions to assist Detective Clive Babinaux (Malcolm Goodwin) in solving murder cases. While Liv’s boss and sole confidante, Dr. Ravi Chakrabarti (Rahul Kohli), worked on a cure for her unthinkable condition, Liv battled the evil, zombie-making, brain-dealing Blaine (David Anders) and struggled to protect her loved ones and all of Seattle from a potential zombie apocalypse. Standing directly and unwittingly in the path of the oncoming zombie train is Liv’s ex-fiancee Major Lilywhite (Robert Buckley), whose life spiraled out of control when he began investigating forces beyond his understanding. In our final episodes of the debut season, those closest to Liv are thrust into mortal danger and Liv will be forced to make the ultimate sacrifice to save them. There will be heartbreaking consequences and as the dust settles we’ll see that nothing in Liv’s partially dead life will ever be the same. In season two, Liv will face new and even more powerful enemies and old enemies in surprising new forms. Unlikely alliances will be struck, relationships will be challenged, and the line between good and evil will blur for both zombies and the fully living. Based upon characters created by Chris Roberson and Michael Allred, and published by DC Entertainment’s Vertigo imprint, iZOMBIE is from Bonanza Productions Inc. in association with Spondoolie Productions and Warner Bros. Television.
WEDNESDAY
8:00-9:00 P.M. “ARROW”
After a violent shipwreck, billionaire playboy Oliver Queen (Stephen Amell) was missing and presumed dead for five years before being discovered alive on a remote island in the Pacific. He returned home to Starling City, bent on righting the wrongs of his family and fighting injustice. To do this, he created the persona of the Arrow and allied himself with former military man John Diggle (David Ramsey), computer-science expert Felicity Smoak (Emily Bett Rickards), billionaire inventor Ray Palmer (Brandon Routh), lawyer-turned-vigilante Laurel Lance (Katie Cassidy), and his sister Thea (Willa Holland). Uneasy alliances and rivalries will shift as Oliver faces his most difficult challenge yet. Based on the characters from DC Comics, ARROW is from Bonanza Productions Inc. in association with Berlanti Productions and Warner Bros. Television, with executive producers Greg Berlanti (“The Flash,” upcoming “Pan”), Marc Guggenheim (“Eli Stone,” “Percy Jackson: Sea of Monsters”), Andrew Kreisberg (“The Flash,” “Eli Stone,” “Warehouse 13”) and Sarah Schechter (“The Flash,” upcoming “Pan”).
9:00-10:00 P.M. “SUPERNATURAL”
The thrilling and terrifying journey of the Winchester brothers continues as SUPERNATURAL enters its eleventh season. Sam (Jared Padalecki) and Dean (Jensen Ackles) have spent their lives on the road, battling every kind of supernatural threat. Over the years, after countless bloody adventures, they have faced everything from the yellow-eyed demon that killed their mother to vampires, ghosts, shapeshifters, angels and fallen gods. With the help of allies — both human and supernatural — they’ve discovered that every victory comes with a price. In the show’s tenth season, the Winchester brothers faced their most personal threat yet. The all-powerful Mark of Cain threatened to consume Dean, turning him into one of the monsters he has spent his life hunting. Meanwhile, a formidable witch, Rowena (Ruth Connell), rose to power to claim her position at the right hand of the King of Hell, Crowley (Mark Sheppard). Once Rowena revealed herself to be Crowley’s mother, the King was forced to choose between his family and the Winchesters. All while Sam, with the help of Castiel (Misha Collins), Crowley, and some unlikely allies, wages a desperate battle to save Dean from the Mark of Cain. Will Sam be able to find a cure for the Mark in time? Will it be enough to save his brother? And a more frightening prospect – does Dean want to be saved? SUPERNATURAL is produced by Wonderland Sound and Vision in association with Warner Bros. Television, with executive producers Jeremy Carver (“Being Human”), Robert Singer (“Midnight Caller”) and Phil Sgriccia. Eric Kripke created the series and serves as executive consultant, along with McG.
THURSDAY
8:00-9:00 P.M. “THE VAMPIRE DIARIES”
Season six of THE VAMPIRE DIARIES began with our heroes mourning the devastating loss of Damon (Ian Somerhalder) and Bonnie (Kat Graham), who turned out to be trapped in a 1994 prison world by a sociopathic magic-siphon named Kai Parker (guest star Chris Wood). Unable to cope with the loss of her love, Elena (Nina Dobrev) compelled away all of her memories of loving Damon, which meant that when he finally returned to Mystic Falls, he had to win her over again. Meanwhile, Caroline (Candice Accola) had to come to terms with her feelings for Stefan (Paul Wesley) in light of her mother’s heartbreaking battle with cancer. That battle ultimately proved fatal, sending both Caroline and Stefan down a dangerous path as humanity-free vampires. Bonnie returned from the prison world with a surprise for Damon, the cure for vampirism, which he ultimately chose to give to Elena. Damon and Stefan came face-to-face with their mother Lily (guest star Annie Wersching), who they long since believed to be dead. As the season built to a wedding between Alaric (Matt Davis) and Jo (guest star Jodi Lyn O’Keefe), Damon used the ceremony to profess his dedication to Elena, but not without a catastrophic event that left lives hanging in the balance. In the wake of Elena Gilbert’s goodbye, in season seven, some characters will recover while others falter. As Lily tries to drive a wedge between the Salvatore brothers, we’ll still hold onto hope that Stefan and Caroline’s love story is strong enough to survive. Based on the series of books by L. J. Smith, THE VAMPIRE DIARIES is from Bonanza Productions Inc. in association with Outerbanks Entertainment, Alloy Entertainment, Warner Bros. Television and CBS Television Studios. The series was developed by Kevin Williamson (“The Following,” “Scream”) & Julie Plec (“The Originals,” “Kyle XY,” “Wasteland”), who serve as executive producers along with Leslie Morgenstein (“Gossip Girl,” “Pretty Little Liars”) and Caroline Dries (“Melrose Place,” “Smallville”).
9:00-10:00 P.M. “THE ORIGINALS”
The Mikaelson family tragedies and triumphs continue as THE ORIGINALS enters its third season. The Original vampire-werewolf hybrid Klaus Mikaelson (Joseph Morgan) and his brother Elijah (Daniel Gillies) have spent one thousand years fighting to protect their dysfunctional family, but now that Klaus and the hybrid Hayley (Phoebe Tonkin) share an infant daughter, Hope, the stakes are higher than ever. In the second season, Klaus and Elijah united against their resurrected mother, Esther, who tortured them with demons from their pasts in an effort to persuade them to surrender their vampire bodies and become mortal. Esther, however, was only the harbinger, as Klaus learned that a long-standing curse had marked Hope for a life of isolation and terror at the hands of Esther’s sister, the witch Dahlia, whose defeat came at great cost to the family. Season 3 finds Klaus and Elijah estranged from each other, even as both brothers adjust to life with their long-lost sister, Freya (Riley Voelkel). Hayley suffers mightily at the hands of Klaus’s petty vengeance, while Marcel (Charles Michael Davis) and Davina (Danielle Campbell) rule the city under a new status quo. Meanwhile, Cami (Leah Pipes) and Vincent (Yusuf Gatewood) find themselves caught up in a surprising mystery involving the newest resident of New Orleans — the first vampire ever sired by the Mikaelsons a thousand years ago. THE ORIGINALS is from Bonanza Productions Inc. in association with My So-Called Company, Alloy Entertainment, Warner Bros. Television and CBS Television Studios. Julie Plec (“The Vampire Diaries,” “Kyle XY,” “Wasteland”), Michael Narducci (“The Vampire Diaries,” “The 4400,” “Medium”), Diane Ademu-John (“Body of Proof,” “Medium”) and Leslie Morgenstein (“The Vampire Diaries,” “Gossip Girl”) are executive producers.
FRIDAY
8:00-9:00 P.M. “REIGN”
The second season of REIGN begins with marriages and allegiances torn asunder, as well as the rise of enemies and political unrest. Mary, Queen of Scots (Adelaide Kane), and her husband the King of France, Francis (Toby Regbo) lived through the birth of the King’s, but not the Queen’s, son, the plague, and a nation divided. Catherine de Medici (Megan Follows), realizing her limited power now that her daughter-in-law wears her crown, made a bold move to align herself with Mary’s ultimate enemy, Queen Elizabeth (Rachel Skarsten) of England. Bash (Torrance Coombs), wounded from his failed marriage with Kenna (Caitlin Stasey), sought refuge with an ethereal woman with mysterious powers, while Greer (Celina Sinden) was ousted from favor and took up a surprising occupation, where she flourished. REIGN begins its third season with Mary and Francis realizing that they are more powerful together than apart, believing there is hope for them to move forward, leaving behind the anger and hurt. It also introduces us to another Court, that of Elizabeth, “Virgin” Queen of England. Still early in her reign, Elizabeth faces opposition on all sides, particularly from men who doubt a woman’s ability to rule. Like Mary, and Catherine de Medici, she struggles to hold onto power, and love; the women have much in common, and Mary and Elizabeth are reluctant foes, but foes nonetheless, each positioned by birth and fate to destroy all the other holds dear. REIGN is produced by CBS Television Studios and Whizbang Films/Take 5 Productions with executive producers Laurie McCarthy (“The Ghost Whisperer”), Frank Siracusa (“Beauty And The Beast”), John Weber (“Beauty And The Beast”), Brad Silberling (“Moonlight Mile”), Gretchen Berg, and Aaron Harberts.
9:00-10:00 P.M. “AMERICA’S NEXT TOP MODEL”
AMERICA’S NEXT TOP MODEL returns with an all-new cycle of guys and girls competing for the TOP MODEL title on Wednesday, August 5 (8:00-9:00 p.m. ET), and the series will move to Fridays in the Fall. AMERICA’S NEXT TOP MODEL is produced by 10 by 10 Entertainment in association with The Tyra Banks Company. The executive producers are Ken Mok (“Making the Band”), Tyra Banks, Dana Gabrion, and Laura Fuest Silva. The series was created by Tyra Banks and developed by Mok and Kenya Barris. Tyra Banks also hosts the series. Currently, “America’s Next Top Model” is under license in over 100 markets around the world and has 20 international versions in production. ”America’s Next Top Model” and the “America’s Next Top Model” format are licensed internationally by CBS Studios International.
MIDSEASON
“DC’S LEGENDS OF TOMORROW”
When heroes alone are not enough… the world needs legends. Having seen the future, one he will desperately try to prevent from happening, time-traveling rogue Rip Hunter is tasked with assembling a disparate group of both heroes and villains to confront an unstoppable threat — one in which not only is the planet at stake, but all of time itself. Can this ragtag team defeat an immortal threat unlike anything they have ever known? DC’S LEGENDS OF TOMORROW stars Victor Garber (“The Flash,” “Alias”); Brandon Routh (“Arrow,” “Superman Returns”); Arthur Darvill (“Doctor Who”); Caity Lotz (“Arrow”); Ciarra Renee (“Pippin”); Franz Drameh (“Edge of Tomorrow”); with Dominic Purcell (“The Flash,” “Prison Break”); and Wentworth Miller (“The Flash,” “Prison Break”). Based on the characters from DC Comics, DC’S LEGENDS OF TOMORROW is from Bonanza Productions Inc. in association with Berlanti Productions and Warner Bros. Television, with executive producers Greg Berlanti (“Arrow,” “The Flash,” upcoming “Pan”), Marc Guggenheim (“Arrow,” “Eli Stone,” “Percy Jackson: Sea of Monsters”), Andrew Kreisberg (“Arrow,” “The Flash,” “Eli Stone,” “Warehouse 13”) and Sarah Schechter (“Arrow,” “The Flash,” upcoming “Pan”).
“CONTAINMENT”
When a mysterious and deadly epidemic breaks out in Atlanta, a vast urban quarantine is quickly enforced, forcing those stuck on the inside to fight for their lives while local and federal officials desperately search for a cure. Trying to keep the peace on the streets is police officer Lex Carnahan, who has quickly risen through the ranks of the Atlanta PD. But Lex’s job becomes even harder when he learns that his longtime girlfriend, Jana, and his best friend and fellow officer Jake, are trapped within the cordoned area. Also quarantined in viral ground zero is 17 year-old Teresa, who is eight months pregnant and now separated from her boyfriend on the other side; Katie Frank, an elementary school teacher now placed on lockdown with her entire class, including her young son; and CDC researcher Dr. Victor Cannerts, the doctor who initially made the controversial call to quarantine the area and is now racing to find a cure for the virus. On the outside, Dr. Sabine Lommers is leading the government efforts to contain the outbreak, and has asked for Lex’s help in enforcing the cordon – which grows increasingly difficult as the public trust deteriorates. And the public has reason to be wary, as journalist Leo begins unraveling a conspiracy, finding that something doesn’t add up in the official story being told. Torn apart from their loved ones, the survivors trapped within the cordon are fighting against not only fatal infection, but also isolation, fear, and the disintegration of society around them. But as they begin to gain each other’s trust, hope remains, and on either side of the cordon unlikely heroes will rise. CONTAINMENT stars David Gyasi (“Interstellar”); Christina Moses (“Starship: Apocalypse,” “Starship: Rising”); Chris Wood (“The Vampire Diaries”); Kristen Gutoskie (“Beaver Falls”); Claudia Black (“The Originals,” “Farscape”); George Young (“Casualty”); Hanna Mangan Lawrence (“Spartacus: War of the Damned”); and Trevor St. John (“One Life to Live”). Based on the original Belgian series created by Carl Joos for Eyeworks, CONTAINMENT is produced by My So-Called Company in association with Warner Bros. Television, with executive producers Julie Plec (“The Vampire Diaries,” “The Originals”) and David Nutter (“The Flash,” “Arrow”).
“THE 100”
For two seasons, the refugees of The 100 sent to Earth have been at war. First with themselves, then with the Grounders, and finally with Mount Weather. Many have lost their lives along the way. All have lost their innocence. They have learned the hard way that in the fight for survival, there are no heroes and no villains. There is only the living and the dead. But now the war is over. The battle against Mount Weather has been won. The prisoners have returned home to a world seemingly at peace, but can they find peace within themselves after what they had to do to escape? And is there more to life than just surviving? Unfortunately, their newfound sense of normalcy will be short-lived, and their lives will be changed forever, as threats both old and new test their loyalties, push them past their limits, and make them question what it truly means to be human. First, they fought to survive. Then, they fought for their friends. Now, they will fight for the human race. Based on the book series by Kass Morgan, THE 100 is from Bonanza Productions Inc. in association with Alloy Entertainment, Warner Bros. Television and CBS Television Studios, with executive producers Jason Rothenberg and Leslie Morgenstein (“The Vampire Diaries”).
Disclaimer on Apple TV+ delivers a gripping psychological thriller, blending mystery with moral complexity. Created by acclaimed director Alfonso Cuarón, this series is based on the novel by Renée Knight, and stars Cate Blanchett as Catherine Ravenscroft, a successful documentary filmmaker whose life is upended when a disturbing novel appears, revealing her darkest secrets.
The series centers around Catherine, who stumbles upon a novel that eerily mirrors events from her past that she believed were long buried. As the book’s existence begins to unravel her personal and professional life, she must confront disturbing truths about herself. What makes Disclaimer intriguing is its delicate balance between psychological suspense and character-driven drama, allowing the viewers to feel empathy, even for morally ambiguous characters.
Cate Blanchett’s performance is nothing short of mesmerizing. She portrays Catherine as having a complex mix of strength, vulnerability, and guilt. Kevin Kline, who plays her estranged husband, adds further depth to the story, making their fractured relationship a compelling subplot.
Alfonso Cuarón’s direction is both atmospheric and tense. The series often uses flashbacks, slow reveals, and intricate camera work to keep the audience on edge. The mood is constantly one of unease, leaving you questioning what’s real and what’s imagined.
The disclaimer explores themes of guilt, memory, and the consequences of the past. It dives into the gray areas of moral responsibility, showing how events can be perceived differently by those involved. The series also delves into issues of privacy and identity in the digital age, where our pasts are never truly erased.
Visually, Disclaimer excels in creating a sense of looming dread. From its dark, muted color palette to its sharp contrasts in lighting, every frame adds to the psychological tension. The soundtrack complements the eerie mood, with haunting melodies that amplify the sense of paranoia.
Disclaimer is a masterclass in slow-burn suspense, elevated by outstanding performances and a director who knows how to manipulate tension. It may not be a show for those who prefer fast-paced thrillers, but if you enjoy character-driven narratives that challenge your perception of truth, this is a must-watch.
Final Rating: 4.5/5
Spoilers hidden in clown makeup!
Called “The Madness of two”, the love story of Joker and Lee, is set against the backdrop of the murder trial of Arthur Fleck, imprisoned in Arkham, in 1980’s Gotham City.
It’s almost impossible to believe that the film’s director and writers would do this to a character they professed to come to love by the end of the first, admittedly divisive, Joker film. But it happened, and it’s up there for us the audience to be, let’s be real here, tortured with. You’ve been warned.
They turned Arthur Fleck, the downtrodden character who took back his own power at the end of the first film, back into what he began this whole journey as – a victim. Even his Joker persona won’t save him from being objectified at his trial, for his lawyer keeps insisting he’s sick in the head and this “Joker” is the result, and the legion of fans out there clamoring for more are more aimless fan-atics and less revolutionaries. Though one person, a shiny little tarnished pearl set among the crazies at Arkham, stands out for Arthur in a very strong way.
The single bright spot in the whole film, ‘cuz it sure is not the skeleton-thin Joaquin Phoenix trudging about Arkham like a cowed scarecrow, is inevitably Lady Gaga as the reimagined Harley Quinn, or Lee, as she introduces herself to Arthur. They meet, inevitably enough, at music class. And suddenly, Arthur’s heart finds song again! Lee loves Arthur, or rather Joker, with an intensity that actually shocks him awake for a short while. And we see small, short flashes of our beloved madman in his iconic makeup, as he madly pirouettes his way through representing himself at his own trial, defiant in his sharp-angled clown look, his voice flitting effortlessly between entertaining characters, accompanied by musical numbers straight from Jokers cerebral cortex, fully imagined and surreal, joyous and loud, impossible to deny or ignore. Which, remember from the first film, was the whole point folks. Gaga carries in every single musical number, and there is always a just barely-there sense of her singing being just the tiniest bit off, like you know that note and that note was wrong, but she did that on purpose to demonstrate Lee’s own version of reciprocating madness. It’s genius ya’ll, but rather than being any kind of uplifting, the duets especially that Lee does with Joker are a musical dive further into madness. Lee wants Arthur to split and for Joker to explode and entertain and be alive, and nothing will stand in her way. Even enduring an, I kid you not so be prepared for it, totally awkward sex scene.
It turns out, the villain of the film is actually Lee herself. Her carefully crafted fan-cast ways are quite believable, a testament to Mother Monsters excellent acting abilities, but in fact it’s all wrong. In what is arguably DC’s most legendary abusive relationship, Joker is the villain and Harley Quinn is his, however willing, victim. Definitely not the other way around, which is what is presented here in Folie au Deux. And while I applaud a Harley Quinn offered to us as a calculating femme fatale finally, this reduces our formerly powerful Joker to a shell of even Arthur Fleck. This is not what we, the audience, are here for.
The amount of abuse Arthur suffers throughout the film is appalling, and made more so because there is no delicious payoff like in the first film. Joker does not snap and go on a killing spree, or give a joyously psychotic rant, no, he confesses. Traces of the Joker makeup he wore so defiantly in court still remain, but our clever mastermind clown prince of crime, or what he could have been, is reduced to this blubbering, maniacally laughing, apologetic thing on his last stand.
After the trials inevitable conclusion, the torture doesn’t end for poor Arthur, oh no. Lee is gone, the music in his head has ceased, and things at Arkham with everyone’s favorite singing guard Jackie Sullivan (Brendan Gleeson) is about to take a turn for the seriously worse.
The movie has a well-earned R rating and though it isn’t graphic per se, no one in the audience wanted to share head-space with the strongly implied image of Brendan Gleeson having to act out raping Joaquin Phoenix, broken and beaten and lost, utterly powerless.
Also, tell me in a movie that we’re set in the 1980’s without telling me we’re in the 80’s – damn near every single last character is smoking. Like, constantly. Throughout most of the musical numbers too. Hell, the first thing Arthur Fleck says of any note in the movie, is to ask his interviewer for a cigarette. Likely even unconsciously divisive with the audience, the smoking emphasizes the melancholia of most of the characters and indeed, the very grungy atmosphere of 80’s Gotham City.
The director already said that this version of the Joker isn’t the “real one”, which harkens back to the time of the TV show Gotham, who gave credence to the notion that Joker ideals and madness could be spread like a plague and therefore anyone could in theory be Joker, and this theory holds at the very end of the film and what the assassin does to himself in the blurred, blood-soaked background. Which, hey, I’m fine with the idea of these Joker films being one-offs in a separate but attached DC-verse, but it only makes one pity poor Arthur Fleck even more. Not even the real madman, just a depressed little would-be clown, betrayed by everyone, totally alone. All Arthur ever wanted was to entertain people, and surely the sequel does that idea up big, with larger-than-life musical numbers, dancing and costumes and a love story for two very widely known characters, but in the most grim-dark depressingly bleak manner possible. It mostly really is all in Arthur’s head, after all. None of the truly beautiful parts are real. And that thought is truly depressing, for it’s as close to real life as one is going to get inside the DC-verse. It’s kind of like we the audience are betraying Arthur too, because we’re watching his life unraveling as a form of consumer entertainment. And I don’t watch films for a guilt trip, thank you.
One could say that no matter what strong opinions one has about the movie – and there are many, the Press section in my theater when I saw the film was absolutely abuzz with mostly strongly negative emotions – harkens back to the old thought of, it doesn’t matter if the conversation is positive or negative, you’re still talking about me. Even so, with the film hitting theaters recently and opinions pouring in, scales are leaning more and more towards, “I don’t like it.” Giant do-ups of grandly realized musical numbers, arguably a pair of the biggest stars in the artist world today in the titular roles, and a whopping you-wouldn’t-believe-how-much budget can’t save the Joker sequel from the folly of its own aspirations of … I’m not even sure what. See the film, and you tell me what you think is being presented here.
Listen in for the tears of a clown in Joker Folie au Deux in theaters now!
Cobweb had limited theatrical release in July 2023 where it was immediately swallowed up by the cultural juggernaut that was the summer of ‘Barbenheimer’. Released onto Netflix in September 2024, presumably in preparation for spooky season. It is an interesting watch.
Cobweb weaves its creepy tale around Peter (Woody Norman) a reserved eight year old boy. Peter lives with his mum; Carol (Lizzy Caplan), and his dad; Mark (Antony Starr), in a decrepit house. Peter is kept awake by strange knockings on his bedroom wall during the night. Both his parents dismiss this as Peter’s overactive imagination yet Mark enlists Peter’s help to put down poison for suspected rats.
Peter is quiet at school with no friends which inevitably attracts bullies. We see that Peter’s problems fitting in at school could be attributed to the odd behaviour of his parents. Despite being set in the modern era their house lacks a TV or seemingly any technology bar a landline phone in the kitchen.
The knocking on Peter’s bedroom wall turns into a female child’s voice asking for help then claiming to be his sister whom his parents have locked away, her name is Sarah. The disembodied voice claims the parents are “evil”. The parents bizarre behaviour turns to abusive when they lock Peter in the basement for drawing the attention of his teacher to their home.
Peter’s sister in the wall eventually tricks Peter into poisoning his parents with the rat poison and setting her free. Sarah turns out to be an evil spider-like monstrous being. She gleefully rips through people with her elongated nails while taunting Peter. Peter is eventually rescued by his teacher Ms Devine (clearly from the Charles Dickens school of character naming) and Sarah is locked back into her cage in the basement. Sarah warns Peter that the night will haunt him forever and that they are “family”.
But is all as it seems with this twisted tale? The outlandish ending left many scratching their heads at what began as a pretty grounded movie. Fans and critics alike took to social media to share their theories and thoughts on this underrated horror.
I enjoyed the story. The acting was superb, particularly Norman who sold his role as an anxious child who slowly begins to understand his own strength and resilience. Special mention of course goes to Antony Starr. His wide smile and Patrick Bateman-esque eyes upped the creepy factor significantly. When Sarah crawled out of her prison behind the wall while talking to Peter in her death rattle, I had to mute the film because I was so creeped out!
Many viewers commented that the third act is vastly different from the rest of the movie. Was this simply a rushed production deadline or COVID related problems? Or was the film alluding to something different altogether? There are many fan theories scurrying around the interweb regarding the origin and meaning behind Peter’s, apparently, demonic sibling.
Here are a few of my favourites:
Sarah is Just a Figment
Throughout the narrative we are reminded that Peter has a big imagination. He’s also lonely, he has no friends at school and spends recess helping the teacher. It also becomes clear that Peter is being abused by his parents, their behaviour becoming increasingly more erratic. Seeing a young child being locked in a basement is far more terrifying to me than any ghost or ghoul. When he’s finally allowed out of the basement his mum brings him a tray of cupcakes to celebrate his freedom and bathes him. In typical abuser fashion Peter is made to apologise for his behaviour. Is it any wonder this little boy conjured himself an imaginary friend? Maybe even one with a familial bond? He would at least have one family member who doesn’t abuse him.
The majority of the story takes place at the family home. Its very noticeable that the outside of the house doesn’t exactly match the layout of the interior (and not just because one is a sound stage). Every shot is so beautiful that we have to believe this was deliberate. Despite the house being colonial in design, the inside is spacious with the use of wide shots. Everything feels so big, is this because we are seeing through a small child’s eyes? In this large, sometimes scary house maybe Peter’s damaged mind build up a fantasy around the sounds of actual rats scratching the walls. Imagining a sister he could run away with and start a new life.
This theory is supported by the almost nonchalant way Peter’s parents treat the whole situation. They have sealed their daughter in the walls of their house, did they not ever think she would maybe try to communicate with their son? Carol doesn’t even seem particularly alarmed when Peter starts talking about hearing sounds coming from inside the walls.
Maybe an abused little boy would fantasise about his magical imaginary sister tearing his bullies limb from limb. Not only that but his favourite teacher arrives in time to rescue him from the massacre.
Did Peter invent a fantastical scenario to escape his abusive parents?
Sarah is Peter’s Subconscious
This is related to the first theory. A Redditor pointed out that in the style of Jungian psychology there are many dream-like ‘hooks’ in the movie. A hook in a dream is something non-sensical to let the dreamer know they are dreaming. There are many of these in Cobweb. The family inexplicably have a beautiful pumpkin patch in their backyard. Very atmospheric but why? Are they selling these pumpkins? They don’t like Halloween. Some viewers think the soup the family ate (every night) was pumpkin soup but looked to me to be the wrong color. Not just the patch but there is a child’s swing hanging from a tree right in the middle. Why would you encourage a child to play in the middle of delicate fruit he could tread on? Or if we lean into the dream theory; the swing in the pumpkin patch could represent Peter’s life from his perspective. Trying to play and be a normal child but with one wrong move he could destroy everything and anger his parents.
Keeping with the narrative Sarah becomes Peter’s subconscious or shadow self, all the repressed thoughts and feelings that are not acknowledged in daylight. The walls of Peter’s bedroom are covered in pictures and drawings except the wall through which he talks to Sarah, which is completely bare.
Sarah encourages Peter to stand up for himself against his bullies and the next day he pushes one down the stairs injuring the bully. Sarah eventually convinces Peter to poison his parents, she warns him they want to kill him. Even Sarah’s appearance; starts off initially creepy with Sadako’s spiderlike movements, long matted hair filled with spiders, and long lethal nails. When we finally see her face the CGI is admittedly awful. The rest of the film has seemed so deliberate with every shot is the CGI deliberately phony looking? Sarah has a too-wide mouth with sharp teeth and shining eyes, basically how a child would draw a ‘scary face’. Sarah taunts Peter, Evil Dead style, from beneath the grate in the basement saying he is just like her. So are they one in the same? Peter seemingly rejects his shadow self, leaving her to rot in her cell. But is that enough after he killed his parents? Is cute little Peter a burgeoning psychopath and this is his origin story?
And They Were Demons!
This is a fun one. While Sarah is locked in her cell she pleads with Peter saying that “it is in our blood”. What exactly does that mean? Sarah is not a normal girl if the walking up walls didn’t give you a clue. How could these outwardly normal-looking parents have birthed such a monster? Unless they are monsters too. It would explain Mark’s sinister attributes. During Peter’s nightmare, his mother has shining white eyes just like his sister.
So is Peter some kind of demonic being? During the movie, Peter shows no outward supernatural abilities. Some have argued he shows super strength when pulling Sarah by her hair or it may just be plot convenience. However, eight-year-old Peter thinks to use the rat poison to poison his parent’s dinner. He even thinks about cutting the phone line so they can’t call 911. That’s extremely evil behaviour to put it mildly. Is this Peter’s demonic genes?
This theory also explains why Peter’s parents are so strict with him. Why did they overreact when Peter pushed the bully down the stairs? They knew what happened with Sarah, she almost got them found out.
Will Peter start to mutate like his sister? Ideas for a sequel maybe?
Even without these theories, Cobweb was a fun ride while it lasted. For an hour-and-a-half film, I personally fell into a virtual world of critiques and fan theories. Perhaps it is best to think of it like a modern fairytale, certainly more Grimm than Hitchcock!
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