![]() ![]() It’s refreshing to see DC call a spade a spade: The Joker is an asshole, and Harley’s over it. In this week’s issue, she finally comes face to face with the guy she once called Puddin’, trying to negotiate for her new boyfriend’s life. Unlike other iterations of Harley, her solo run depicts her relationship with the Joker as abusive and unhealthy. I personally prefer the madcap Harley present in DC’s Bombshells comics, but Harley in her solo run is interesting, too. ![]() Harleen Quinzel, M.D., regarding her onscreen appearances and animated form. Inverse’s own Lauren Sarner has a lot of opinions on Dr. Clean Room #5ĭC has been shoving Harley into every comic series it has, in order to capitalize on the only vaguely interesting character in Suicide Squad. A more apt comparison would be to TV shows that pride themselves on dialoging with academic theory: Rick and Morty, True Detective, and Hannibal fans will appreciate Bitch Planet’s density. ![]() The obvious TV comparison here is Orange Is the New Black because Bitch Planet shares a lot with the wildly popular Netflix show - both rely on a lovable cast of ethnically diverse women, and both are set in a women’s prison - but Bitch Planet is far headier, and far more conscious of philosophical feminist theory than OITNB. We get a lovely scene between Penny and Kamau midway through this issue: The women sit naked on the floor of their prison shower and discuss Meiko, and what’s to be done with “the motherfucker who broke her neck.” Angelica Jade Bastién contextualizes this scene within the history of the “strong black female” archetype, in an essay that the comic includes in its final pages. ![]() Kelly Sue Deconnick’s innovative battle comic has returned after its long hiatus, and its primary characters are still reeling from the accidental death of their smallest comrade, Meiko. ![]()
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