Firstly, I'm going to go over all of the things I liked with the series, we'll call that "the good." Then I'm going to cover everything I didn't like, and we'll call that "the bad to the ugly."

THE GOOD:

Right off the bat - pun unintended - the ONLY reason to watch this show is for Batman himself and because of the art style (style, NOT animation -- more on that in a bit)!

Batman in this show is awesome and is individually the only thing good about the show. Perhaps not good enough to counter all of the bad of the show, but he is pretty much exactly his 1939-1940 self come to life, from the bowed out ears to the little Mickey Mouse gloves (although this version, unlike his 1939 counterpart, is still unwilling to kill if necessary).

Hamish Linklater is the best Batman voice after Kevin Conroy. In fact, I think he could have even replaced Conroy in the main DCAU and it would have been fine. His Batman and Bruce Wayne are great and distinguishable from each other. Batman's gadgets, batmobile, fighting skills, and detective work are all the only high points of the show (although it is still laughable how often Batman is able to avoid being shot, yet next to no one can ever evade his batarang).

I also thought Alfred was fine, but he was not the slender, lithe chap we are used to, this version was much heavier, closer to how he looked in his earliest appearance.

The batmobile was also great. I particularly loved the sequence in which Batman rammed it into this show's version of Blockbuster repeatedly in order to stop the monster's rampage.

The Catwoman episode in season 1 is also the best episode of the show and really the only one that I can say is absolutely worth watching if you want to check it out. Catwoman is portrayed well, very close to her 1940s first appearance, and her brief kiss with Batman is unfortunately the only straight kiss in the show.

As for the art style, it is pretty classic Bruce Timm art style designs, straight lines against curves, etc.

THE BAD:

The animation itself, however, is pretty subpar compared to what we have had before. This is obviously entirely my armchair amateur opinion, but I feel there's a certain "click and drag" cheapness to it in that it feels lifeless, where characters' faces and bodies do not move quite right with their spoken words. The animation appears much more limited than what it was even 12 years ago in 2015's alternate world reimagining "Justice League God's & Monsters" feature. There's a touch of Clutch Cargo to it where only the mouth moves while nothing else does in certain scenes.

This show isn't the only recent animated series that suffers from this, Invincible and even X-men '97 have the same issues (although X-men is much more fluid than both this show and Invincible). It's like they've reached a place in animation where they can finally keep the shadow lines and colors consistent, but then they take two steps back on the actual moving part.

There's also an entire city in the show that seem completely empty. Gotham seemingly has no bystanders, no other cars on the road, etc., save the single focal character on screen at that particular moment. I am not sure if this is due to laziness or budget or what, but the strengths of animation used to be that you could blow up 100 cars or have throngs of people and it wouldn't cost as much as having a real set of those things built in real life, yet here, the animation feels like an empty set.

As for the music, Frederik Wiedmann does a serviceable job, but there's nothing near the memorable scale and stuff put forth by Shirley Walker on the original Batman: The Animated Series, or even Lolita Ritmanis on the later Justice League show of the same continuity.

That's the bad of it all.

THE UGLY:

This entire series has Jew Jew Abrams' fingerprints all over it. He, and to a lesser degree, Matt Reeves, are why there are so many race replaced, homosexual, and sex changed characters in the show.

Not that Bruce Timm himself is necessarily free of all blame, I am sure he will go along to get along, he was after all a large part of why black Green Lantern John Stewart was used in the original Justice League cartoon series over Hal Jordan or Kyle Rayner back in the day, but that was a much less malicious decision than any of the choices made in this show, or at least it feels that way now looking back with how far we have gone since in terms of "woke."

(And for the record, John Stewart is a much better character than any of the race replaced and sex changed reimaginings in this series here)

The Caped Crusader series was conceived of and produced during the height of woke in the final years of the Biden administration, when jewry's assault on the domestic white population was its very top priority, and that is felt in this show.

The zealous dedication to anti white DEI combined with the show doubling down on the 1940s world, however, makes for some of the most disjointed television I have ever seen.

While the original Batman: The Animated Series (still the all time best version of the character in ANY medium) was set in a quasi 1930s/40s in terms of its art deco style yet still had things like computers, videos, cassette tapes, DVDs, and portable phones, this series is much more slavishly devoted to every aesthetic aspect of the 1940s.

Men wear suits with heavy shoulder padding, wide lapels, and high-waisted, wide-leg, pleated trousers. Women wear shirtwaist dresses, straight knee-length skirts and peplum dresses and jackets. There are no computers, no cell phones, no DVDs, videos, or blu rays, not even in the batmobile.

All this, and yet, we have nonwhites and open sodomites in every positive authoritative position in the show from police commissioner to judge to public defender to a prolific shrink for the societal elite.

This jewish rewriting of history is something I have seen a lot in media recently. In constructing their warped Bizarro World liberal cosmopolitan utopia, they want the aesthetic, beauty, and competency of a majority white community but want to couple it with the diversity of current year jewmerica. And the opposite is true of their portrayals of post apocalyptic dystopias: they pair a white homogeneous community with the discordant, low trust, trashy reality produced by the diverse modern jewmerica ZOG lords over in the current year.

The 2025 Fantastic Four film, set in the 1960s, also did a similar thing where they featured out and proud interracial lesbian couples as background characters in crowd scenes all dressed in era appropriate 1961 attire. Truly jarring!

You would think, for the shitlib's perspective, that if they were going to retcon nonwhite, interracial, and LGBTQP pervert characters into a fictional version of the 1930s, that they would at least be interested in putting them in historically accurate societal roles to highlight how evil and bigoted majority white america/europe was back in the day. It's as ridiculous as making a black woman the president in the 1850s, or the Founding Fathers all blacks, mulattos, and mudstizo Puerto Ricans (oh wait, Hamilton exists).

But apparently ZOG doesn't care, thinks you are a stupid goy anyway, and it is more important to just put these characters in the show to advertise them rather than even be slightly educational by addressing their historic role, even from a liberal perspective.

So instead, we get the following:

Caped Crusader's Commissioner Gordon is race replaced as a black man. A black police commissioner in a major city is something that did not exist in the US until the 1980s. His daughter, Barbara Gordon, formerly a white redheaded girl who becomes Batgirl (#gingercide continues), is also race replaced as a black woman who is now a Public Defender as a way to stick it to her pops.

Renee Montoya, formerly a straight white Spanish woman introduced in the original Batman animated series as a by-the-book cop and counterweight to rule breaker cop Harvey Bullock, is now reimagined as a fat, mudstizo open lesbian in a sodomite relationship with the show's version of Harley Quinn, who is now also a fat, asian lesbian.

This new version of Montoya is basically written as a man. She dresses like Sam Spade, even down to the cocked fedora. Her fat interracial lesbian relationship is the only consistent romance portrayed in the show and at great length. It is truly jarring at times: the show will go from a scene of Batman doing something really cool in the batmobile and then jump to a 5 minute extremely forced interaction between the fat interracial dykes having a romantic tryst that builds to a makeout sesh and will leave you wondering what the fuck you are even watching and why were you even watching the show in the first place. Beyond being perverse and evil, it is just wildly off putting and cringey in how tone deaf and in your face it is.

In the original animated series, Harley Quinn was not actually ever a real competent psychiatrist. She was a talented gymnist who sought fame as a shrink and basically fucked her teachers to get passing grades, then ended up as the Joker's gunmoll.

JJ Abrams’ new version of Harley Quinn, in contrast, is now a serious actual psychologist full of plenty 2020s pathologizing therapy-culture lingo in addition to being race replaced as a fat asian lesbian woman. She’s also a sort of anti-hero in the show and protected by the fat mexican mudstizo dyke Montoya.

These 4 characters: black Comissioner Gordon, fat mudstizo dyke Detective Montoya, fat asian dyke shrink Harley Quinn, and black mulatto public defender Barbara Gordon, are the show's moral backbone and the supporting characters to Batman.

The Penguin is now sex changed into a woman. Mad Hatter is now also a woman who is basically a televised gossip columnist that everyone for some reason tunes in to. Mr Freeze is a black guy who cannot speak and makes human ice sculptures by putting people in freeze rooms.

Roxy Rocket was one of the more comical reimaginings for me. Formerly a one note, sexualized white woman thrill seeker adrenaline junky, she is now reimagined as a strong independent black woman who is single handedly responsible for rocket science that put America into space, and is having her technology exploited by 2 evil wealthy white businessmen and one wealthy black businessman who want to sell it for profit to "foreign powers," she becomes damaged in the process of trying to stop them and becomes a masked vigilante.

The three men exploiting her of course are "The Terrible Trio:" Fox, Shark, and Vulture. Shark is race replaced as a black man. To the show's credit, at least it wasn't just the good guys that got race replaced. Crooked cop Detective Flass is now also race replaced as a black man.

The race replacements, sex changes, and sexuality changes are so bombastic, so blatant and on the nose, and so everywhere that they seem almost like gimmicks or parodies, almost as though part of the entertainment is seeing who is going to be radically reimagined in what comically liberal way next.

Of all the reimaginings, the one I think I enjoyed the most was the reimagined Riddler. He's basically a cross between James Cagney (one of Frank Gorshin - the best Riddler's - inspirations for his portrayal of Edward Nygma) and Clarence Boddicker from Robocop. He's an insecure, neurotic, temperanental ultraviolent gangster, a truly merciless, nasty guy, and an egomaniacal psychopath in a toxic open relationship. He doesn't bother with riddles much though beyond leaving bullet holes in the shape of question marks. I did enjoy his appearances. It is too bad they killed him off and not fat asian carpet muncher Harley Quinn.

I didn't mind the portrayal of Clayface, Scarecrow, or Hugo Strange, altho I never really cared for Hugo Strange as a character in general. The Mad Monk also made an appearance and was just okay. Nobody's favorite Robin, Carrie Kelly, is now the Gray Ghost, and also adopted by two middle class black parents who are meant to be propaganda to white people as "model citizens" a la The Cosbys. Two Face's reimagining was pretty mid to me, basically Aaron Eckhart in The Dark Knight-lite. Jim Corrigan - aka The Spectre, one of DC's oldest characters - is reimagined as a villain, he is now a zombified former detective who betrayed Barbara Gordon in the show, brought back to life by an experiment.

The show's only jewish character is Detective Eric Cohen, one of the honest cops in the Gotham Police Department, and there's nothing distinctly jewish about him beyond his name and perhaps nose.

Speaking of foreign powers mentioned earlier though, finally, we come to the Joker. While the nazis are surprisingly never mentioned in the series, this version of the Joker has a German accent as a nod to the Joker's original visual inspiration: German actor Conrad Veidt in "The Man Who Laughs," and he kills people with gas (which you know some jew somewhere is happy to have as the big bad method to reinforce guilt by association).

This version of the Joker is very close to the grim, cold, calculating, monotone Professor Moriarty type he was in his first appearance in terms of personality. I was happy that he used laughing gas to kill people again like how he did in the original comics - far more terrifying than just stabbing or shooting someone - although this version of the laughing gas also brings people back from the dead (or an extended suspended state) as grinning, laughing gas-spewing zombies. I enjoyed elements of this Joker but also disliked some of the other decisions.

At first, this Joker seems to have a utilitarian attitude towards disposing of Batman; he sees him as a nuisance and just wants him out of his way (which I argue is the correct perspective of the character in terms of how to write him). Early on when he meets Batman, there is a scene where he just pulls out a gun and shoots Batman and walks over him like it is nothing. Yet later in the very same episode, the Joker is suddenly turned into Heath Ledger-lite anarchist philosophizing about the morality of society, hoping to teach Batman a lesson, emphasizing a deep connection with Batman out of nowhere, calling him brother, and spouting all manner of psuedointellectual psychobabble that was intended to be deep and thought provoking by the writer that just caused me to roll my eyes.

One thing this version of the Joker reminded me of yet again though is that there is almost no wrong way to portray the character, he doesn't break almost no matter how you reinvent him, whether as camp, comedy, drama, etc., similar to Batman in this regard (although the Absolute Batman stuff is truly complete utter garbage but plenty of people still like it despite this). Because he is assumed to be "crazy" by writers, that means that pretty much anyone anywhere can write him however they want and it will work and be acceptable to many audiences. He's barely even a character in that regard.

On the whole, Caped Crusader is very incongruent, too many bones to spit out with not enough good in it to make it worthwhile. It's pretty much exactly what would happen if you took much of the great creative stuff of Batman: The Animated Series but put the neurotic hack jew JJ Abrams at the helm of it during the apex of woke, then fed it through the cheapest of animation workshops. That result is Caped Crusader.

Caped Crusader is still better than Absolute Batman though, but so is vomit on the side of the street, so that is not saying much.

Not to fear: in 10 years time, Batman (and Superman and many other characters) will be in the Public Domain, and even though only the elements in their very first appearance is what will be available for use at first, it's still more than enough, and anyone will be able to make a Batman series. If I'm still around, you best believe that myself and many others will do so, and I believe the result will be much better than the outlet of content we have now.

To be continued...

4/10