Batman: The Animated Series- Harley and Ivy

 "You're just one big, forgiving doormat, aren't you?"

Another superb episode here, from the opening scenes with the very Tim Burton-esque Gotham cityscape evoking his two Batman films to the highly satisfying ending with Officer Montoya being the one to apprehend Poison Ivy and Harlequin. But, despite the highly 1960s-style deathtrap and the very Thelma and Louise crime wave (much of it shown via newspaper headlines in the use of a splendid old trope). this episode succeeds because of character.

It's fun seeing the two ladies capering together, especially sticking it to the Patriarchy in various ways. But this episode is fascinating as the first to truly depict the relationship between Harley and the Joker as it would later be understood- abusive, co-dependent, complex. Harlequin knows the Joker is abusing her but she misses him when he's not there, and needs him. It's complex, tragic, nuanced, and depicted so very well.

It's a Batman-lite episode, yes, but that's ok. This series is very strongly about its ensemble cast. Batman standing back gives us a chance to see some real depth to poor Harlequin in what is yet another superb episode.

Batman: The Animated Series- The Man Who Killed Batman

 "Without Batman, crime has no punchline."

We begin with rain, with night-time darkness, with interesting camera angles giving a very noir feel, matching the '40s fashions and cars for which the Animated Series is known. And a small time crook, one Sidney Debris, face drawn in that slightly cartoonish way of which the Animated series can be fond, seems to have killed Batman, in circumstances which he relates to Rupert Thorne, and to us.

This is one op those episodes that are "Batman-lite", and are told from a specific perspective. Such episodes are often among the best, and this is certainly no exception.

Debris, except in his head, is a hopeless loser. Set up to take the fall, he accidentally seems to kill Batman, but the fame proves too much for this mouse of a man. Violence, suspicion, a dangerous encounter with a fascinating nuanced and unstable Joker (by this point the character of the Joker, and his rapport with Harley Quinn, is very interesting), all drives him to desperately seek help from Thorne.

And here we have the two clever twists that really make the episode: Thorne doesn't believe him, thinking him a dangerous rival and, less surprisingly, Batman is not in fact dead (interestingly, not only Montoya but also Bullock must presumably have been in on it) but using Debris as a reward to get to Thorne. It's all delightfully clever, and the ending- Debris finding respect as a big man in prison- is perfect.

As is, perhaps, the episode itself.

Batman: The Animated Series- P.O.V.

 "I guess Batman must have gotten a second wind after Detective Bullock dragged him out, because he was in rare form!"

I'm increasingly enjoying not only the subtle '40s style of this series but the fact that the titles being shown on screen is clearly intended to evoke movie serialds. There's a lot of clever stylistic touches thatI'm increasingly coming to appreciate, and the animation continueas to be superb.

But... Batman: The Animated Series does Rashomon. In twenty minutes. And it's superb.

I love how Bullock's low level dodginess is contrasted with the earnestness of Montoya and her fellow rookie but, more than that, with the depiction of Batman as he appears to these overawed young cops. At first I wondered whether Batman would get to speak at all but, of course, he does, as he and Montoyatake down the baddies together.

I simply love the mood of this episode- very noir. This is, let's admit it, not a good day- the next American president is going to be a terrifying fascist, not good for Ukraine and by extension Europe, for the climate emergency, for the very notion of the "West", for decency or, indeed, the freedom of the orange fascist's own country. But good art has its consolations and so, in its small way, is the case here.