How to Watch Joker: Folie à Deux (2024) Streaming on Smart TV Free?

Watch Joker: Folie à Deux (2024) Streaming Free​

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How to Watch Joker: Folie à Deux (2024) on Smart TV​

You can't watch it directly on your Smart TV, also you can’t watch it for free on any movie and TV app. But you can install a browser on your Smart TV and then use the browser to watch it above. The best browser for Android TV you can install yourself.

Joker: Folie à Deux (2024) Guide​

In 2019, the low-budget film Joker triumphed at the Venice International Film Festival, winning the prestigious Golden Lion award. It then swept through the awards season and earned an impressive $1.079 billion at the global box office. Such success was extraordinary, not only for an R-rated film but also for a DC superhero movie. This remarkable achievement naturally spurred thoughts of a sequel, with Warner Bros. eager to replicate its predecessor's glory. Fast forward five years: Joker: Folie à Deux arrives with a bigger budget, the star power of Lady Gaga, and a musical format tailored to her strengths. On paper, this should have been a surefire hit—a luxurious production that once again made the Venice Film Festival's main competition lineup. Yet it’s being labeled as a failure, both critically and commercially. But is that really the case?

The plot is deceptively simple, picking up directly from the ending of the first film: Arthur Fleck is confined in Arkham Asylum, his mind and body under even greater strain. He faces criminal charges and must grapple with his fractured psyche to absolve himself. This journey forces him to reexamine his identity. Visually, the sequel retains the color palette and stylistic choices of its predecessor, but the narrative takes a sharp turn—from the "deification" of the Joker to his "dethronement." Arthur, or rather the Joker, yanks himself off the pedestal he climbed at the end of the first film. He lays himself bare before his followers, admitting: I am nothing more than an ordinary, insignificant outcast. I killed six people. There is no Joker, only Arthur. This revelation, a metaphorical cold shower, extinguishes the fervor of his worshippers, marking a collapse of faith—a betrayal, even.

Upon watching the entire film, it becomes clear that the audience has been "tricked" from the start, beginning with the title. "Folie à Deux," which translates to "shared psychosis," is marketed here as "double delusion." Combined with promotional materials heavily emphasizing Lady Gaga’s role, viewers naturally expected a story centered on the Joker and Harley Quinn. But the narrative remains firmly focused on Arthur. The retro-style opening animation foreshadows everything, and the much-anticipated duet on the stairs vanishes from the film entirely. What remains are sporadic, disjointed musical numbers. Even Joaquin Phoenix's dazzling performance can't save these moments from feeling jarring. By the end, many might echo Arthur’s sentiment: "Stop singing. I don’t want to hear it anymore."

The film’s most frequently uttered and central line is: "Be yourself." This phrase creates a stark tension among the characters—Harley Quinn's version of "be yourself" contrasts with that of defense lawyer Marianne, as well as with the versions expressed by Gary, the dwarf, and Jackie, the prison guard. Jackie’s blunt declaration—"There’s no Joker. There’s only Arthur, isn’t there?"—forces Arthur to confront his dual identity. Egged on by Harley, Arthur appears in court as the Joker, railing against society’s oppression with biting sarcasm and fury. But Gary’s testimony—"Because you were the only one at work who didn’t mock me"—and the guard’s cruelty toward inmates ultimately break Arthur’s resolve. He realizes that someone trusted him as Arthur, not as the Joker, and that even the Joker persona cannot bridge the chasm of class. He remains a marginalized outcast, scorned and overlooked. This heartbreaking realization finds visual expression in the courtroom scenes: Arthur’s suit shifts from the Joker’s signature bright red during his defense to a somber shade during his final statement. Though his face remains painted, his inner self has reverted to the fragile, sensitive Arthur.

If the first film critiqued societal darkness, this sequel delves into individual humanity. This, I believe, is what sets Folie à Deux apart from not only its predecessor but also every other Joker-related story. For decades, the Joker has been the embodiment of chaos and villainy in the DC Universe, with little regard for the human behind the persona. Todd Phillips, however, refuses to enshrine the Joker as a deity. Instead, he shatters the pedestal, exposing the harsh truth behind the fervent idolization: there is no god, no Joker, only a shattered, pitiable, and fragile man. People glorify and celebrate his madness, but who truly sees the vulnerability, sensitivity, and insignificance beneath it?

Perhaps Joker: Folie à Deux, much like the vintage film referenced within it—Caravan—serves as a mirror to extreme fanaticism in the real world. Todd Phillips might be using those dissonant, off-key musical numbers and Arthur’s internal battles to confront the audience with a single question: Do you care about the Joker or Arthur? By peeling back the myth of the Joker, the film forces us to face the reality that there are no gods—only flawed, living, breathing individuals. Even if this approach alienates festival juries and mainstream audiences, it’s a bold and humanistic choice. While this sequel may fall short compared to the cohesion of the original, its exploration of tragedy and its audacious narrative decisions deserve recognition as a form of success.