
Reacher
The title character is bigger and bulkier now than in the Tom Cruise movies. But so are the problems.
The Gotham City we see in Batman: Caped Crusader feels plucked from 1940s film noir. The cars are long and sleek. Men wear fedoras and fire tommy guns. People read newspapers and use rotary phones plugged into walls. Creator Bruce Timm—who was also behind the much-beloved Batman: The Animated Series in the ‘90s—feels as retro as a Humphry Bogart movie marathon.
And Batman himself? His aesthetic owes everything to the character’s first dark incarnation in 1930s comics—so much so that some original Batman panels land on the pages of the show’s newspapers. His outfit is dark as the shadows he prowls through. (No yellow target on his chest here.) His “ears” are set slightly askew, making the Dark Knight look a bit more like a bat—or a devil. People call him a vampire. And in the opening title sequence, Batman’s visage looms over Gotham like Chernabog, the demon in Fantasia’s “Night on Bald Mountain” sequence.
This Batman is the stuff of nightmares—at least for Gotham’s bad guys. And honestly, most of the police force isn’t so sure about him, either—if they even believe he exists at all. Corrupt cops (of which there are many) are naturally terrified of him. Good ones often see him as one more lawbreaker to bring to heel—even if he admittedly makes their jobs a bit easier.
But not everything feels like a throwback.
In this iteration, Penguin isn’t Oswald Cobblepot, but Oswalda—a female cabaret singer with a thriving crime operation and two rather disappointing sons. Barbara Gordon, Commissioner Jim Gordon’s daughter, is a steely defense attorney who regularly spars with Harvey Dent (the future villain Two-Face) in court. And while the stylistic vibe of the show is pure 1940s, sexuality is purely 21st-century. Even though women habitually wear skirts and high heels (sometimes even when they’re supervillains picking Gotham’s pockets), same-sex relationships are accepted and normal. (Two female characters have a brief romantic dalliance in episode five, for instance.)
And in the third episode, Bruce Wayne is forced to undergo some anger-management counseling sessions with one Dr. Harleen Quinzel—who isn’t buying Wayne’s “billionaire playboy” routine at all.
“This whole life that you’ve built for yourself, it feels so—obvious,” she says. “Almost a cliché.”
Batman: Caped Crusader tries to steer away from cliché when it can, even if the broad beats of the story don’t deviate much from Batman’s traditional mythos. It may be retro, but it feels fresh and resonant—perhaps one reason why it’s clocking in at 100% on Rotten Tomatoes as of this writing.
But as that same-sex romance suggests, Prime Video’s Batman: Caped Crusader isn’t quite as perfect as that score would indicate.
Listen, there’s a reason why bad guys are so terrified of Batman—and it’s not because he treats them to tea and gives them a stern talking to. No, he beats them up. And even in this animated framework, the beatdowns can be plenty violent.
While the Dark Knight famously eschews lethal justice, he walks a pretty fine line here. In one episode, for instance, he dangles a bad guy in front of a speeding train, and then hits three more with his Batmobile. (We don’t hear from any of them again, but we’ll just a assume they were knocked unconscious.)
The bad guys, of course, have no qualms about killing—and what qualms they might’ve had seem to be vanishing over time. A notable change with the second season is that the rating shifted from TV-14 to TV-MA, with the main difference in content being an increase in violence. While Season 1 is mostly bloodless, the sophomore outing features frequent spurts of blood from machine-gun fire, stabbings, and limbs being crushed.
Viewers can expect to hear a smattering of mild profanities in every episode. And addition to the occasional kiss (featuring both opposite- and same-sex couples) you might hear some light, provocative banter and see a bit of (animated) skin, as well.
These content concerns push it beyond what we saw in the original 1990s animated series. And it’s the increased level of bloodshed that confirms this show is not made with kids in mind.
(Editor’s Note: Plugged In is rarely able to watch every episode of a given series for review. As such, there’s always a chance that you might see a problem that we didn’t. If you notice content that you feel should be included in our review, send us an email at letters@pluggedin.com, or contact us via Facebook or Instagram, and be sure to let us know the episode number, title and season so that we can check it out.)
Crime is worse than ever on the streets of Gotham. Commissioner Gordon’s never-ending war against mob bosses such as Rupert Thorne ravages the city, and Batman begins to realize that one man can only do so much. But in a rare break in favor of law and order, Thorne’s accountant, Julian Gregory, is willing to testify against him–a move that might finally give our heroes enough dirt on Thorne to put him behind bars for good. The only problem is keeping Gregory alive long enough so he can actually spill the beans on his former employers’ dark deeds.
Viewers of Season 1 will be accustomed to the series’ habit of putting a twist on classic characters. In this case, the Riddler has been reduced to an angry hit man, one who frequently kills his own men. A hulking character based on Solomon Grundy appears, too, although his name is changed along with his typical character beats.
Most of the episode’s violence is caused by these two characters. A man is shot multiple times in the back, and another it shot in the head. Multiple men are chopped up by a plane propeller, and their blood canvasses the side of the aircraft. A man is injected with a formula that turns him into a raging monster, who then crushes multiple people who get in his way. The creature is stabbed multiple times and hit with a car repeatedly. A character is choked for information.
A male character gets out of a shower, his animated backside briefly visible in a blink-and-you’ll-miss-it shot. A male comments that his female coworker is a “looker.”
Mild language includes a use each of “d–n,” “hell,” “g-d–n,” along with a misuse of God’s name.
After a burglar is killed mid-heist by a group of men in bat costumes, Batman and Gordon must solve this bizarre murder before such media personalities as Hattie Tetch can use it to further their smear campaign against The Bat. The culprits left a bat symbol drawn from blood at the scene of the crime, pointing Batman in the direction of a recently resurfaced cult—one that worships the “demon bat god” Barbatos.
Caped Crusader tends to shuffle through a lot of the Dark Knight’s most prominent adversaries. But this “villain of the week” feels noticeably more sinister than others the series has covered, due in no small part to a heavy dose of occult spirituality. Cult members revel in the “terrible glory” their twisted savior will soon provide, assuming Barbatos gets the blood sacrifice he needs to rise again. They chatter excitedly about their “lord”, chanting “all hail Barbatos” on multiple occasions. While the mythology of this entity isn’t delved into deeply, and certain members of the cult are faking their belief for power, the distorted spirituality does feel dark, even for a Batman tale.
While the episode could have gone in an interesting direction about the corruption of faith and the danger of unfounded belief, it chooses to use its spirituality as a shallow plot element instead. A character remarks, “People like to believe in things–God, government, capitalism,” implying that their belief is just a way to feel like they’re a part of something bigger.
The cult’s bloodlust manifests itself visually in multiple stabbings and slashings. A character’s neck is snapped. Characters drink alcohol and offer it to others. Mild language includes a use each of “a–” and “b–tard.”
Gotham gangster Rupert Thorne is concerned about a new crime lord horning in on his territory, and he’s not alone: Batman is, too. Worse yet, this new player is more than happy to blow up buildings to make a point. But turns out, this “crime lord” is a lady: a cabaret singer known as Penguin. And in this game of crime, she’s playing for keeps.
We witness a frenetic gun battle. A man is shot and killed. Another is locked in a chest and dropped into the sea. A couple of buildings are blown up (apparently without casualties), and we hear about a couple other explosions, too. A few people are hit by a car. Batman hangs a man in front of a speeding train as an “encouragement” to talk. Missiles are fired. Batman engages in several physical altercations.
Some animated women display a bit of cleavage. Revelers drink what appear to be champagne and martinis on a nightclub/yacht, with Bruce Wayne making several jokes about alcohol. Characters say “a–,” “d–n” and “crap,” and God’s name is misused at least seven times. We also hear f-word stand-ins like “freaking” and “frigging.”
Batman and Detective Renee Montoya both investigate the mysterious disappearance of a famous movie actress. But the missing persons case turns into murder when Montoya discovers the actress’ co-star, Basil Karlo, has been stabbed to death.
The culprit is not pretty. While we don’t see most of his face until the very end, the glimpses we do get depict the killer as a near-corpse with a disfigured face. We see several other dead bodies as well: One we see murdered (as he stands in liquid into which an electrical light is toppled); another stares vacantly as a spider crawls across his eyeball; a third lies in the morgue with a curiously squishy face.
Batman’s butler, Pennyworth, watches a movie featuring the missing actress, where she writhes on a stone slab, wearing a tight, cleavage-revealing dress, as a scythe slowly descends. (Later, that same scene is repeated with murderous intent.) People are punched. Two characters engage in a swordfight. Someone is injected with a syringe of something off-camera. We hear single uses of both “d–n” and “h—.”
The Gotham Museum is displaying some of the city’s most fabulous jewels, including some literal gems from the Wayne family. Selina Kyle, a mysteriously lucky jewel thief toying with the idea of creating a costumed alter-ego, is eying a particularly attractive set of pearls owned by Bruce Wayne. Batman certainly can’t have that. But when a reporter makes a crack about those pearls and their role in the death of Bruce’s mom, the normally mild-mannered playboy socks him one—which earns him a stint with a counselor to deal with his anger issues.
“Have you ever found yourself resorting to violence in other situations?” asks his psychiatrist, Dr. Harleen Quinzel. He denies it, but we know better.
In flashback, we hear the gunshots that killed Bruce’s parents when he was a boy, and we see the young lad transition from unremitting grief to an unrelenting desire for vengeance. As Batman we see him fight with a couple of corrupt police officers and wrestle a black panther. Kyle tangles with people, too—giving the face of one policeman some bloody clawmarks. She’s grazed in the thigh with a bullet, leading to a bit of animated bloodshed. Kyle socks Batman in the gut with electric brass knuckles and nearly runs him over with her car.
But Catwoman also kisses Batman rather leisurely. Kyle jokes with Bruce Wayne that she’s about the only single woman that Bruce hasn’t dated. Speaking of Bruce’s womanizing, Quinzel asks her patient if any of his myriad conquests has meant anything to him. “Is there even love there, or even lust?”
We hear “a–,” “crap,” “h—” and one misuse of God’s name.
Some of Gotham’s greediest tycoons have mysteriously given their money to charity, or mysteriously disappeared, or mysteriously … turned into deranged costumed third-tier villains. Both Batman and Barbara Gordon are determined to figure out why. But the evidence leads straight to the door of an eminent psychiatrist both know well: Harleen Quinzel.
Quinzel is revealed to be Harley Quinn, of course. In established Batman canon, she was an impressionable young therapist who was warped and ultimately broken by Joker, with whom she has a deeply disturbed (and mostly one-sided) romance with. But here, Harley’s romantic inclinations swing the other way: The smitten shrink asks Det. Renee Montoya out for dinner, and the two share a kiss before Quinzel runs out to take care of a bat in her belfry.
That belfry is filled with some very odd characters (at least some of which are D-listers in Batman’s traditional Rogue’s Gallery), and Batman ultimately tangles with all of them simultaneously. (People are hit and thrown, and one character sports a black eye.) Elsewhere, Batman also knocks out several policemen. A man tries to jump off a rooftop. One guy under the influence of Quinn attacks another with a sledgehammer (albeit off camera). Another man is tickled into submission. A couple of people fall victim to sleeping gas. A building explodes, and a great deal of its wreckage slides off a cliff into the sea—nearly carrying a few people with it. (A couple of characters indeed fall into the waters below, but both ultimately survive.)
Quinzel and Montoya drink wine during dinner. A character believes he’s the ancient Egyptian king Tutankhamun, and we see various Egyptian artifacts (many of which had religious significance in that ancient culture) in his secret lair. Characters say “d–n,” “h—” and misuse God’s name once.
Jonah Parker’s first interaction with Plugged In came when he was just five years old, after his parents read a review for The Chronicles of Narnia: Prince Caspian and deemed the content too intense for him. What started out as a contentious relationship between Jonah and a staff of reviewers who knew not of his existence would later turn into an appreciation for the site’s ability to present media content in a way that was accurate and fair. Jonah enjoys analyzing how our entertainment echoes the creativity of our Creator while finding glimpses of Biblical truths within every genre. He believes that Robert Pattinson’s Batmobile is the perfect mix of cool and practical.
Paul Asay has been part of the Plugged In staff since 2007, watching and reviewing roughly 15 quintillion movies and television shows. He’s written for a number of other publications, too, including Time, The Washington Post and Christianity Today. The author of several books, Paul loves to find spirituality in unexpected places, including popular entertainment, and he loves all things superhero. His vices include James Bond films, Mountain Dew and terrible B-grade movies. He’s married, has two children and a neurotic dog, runs marathons on occasion and hopes to someday own his own tuxedo. Feel free to follow him on Twitter @AsayPaul.

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