The main goal of this paper is to provide an analysis of the film Joker (2019) within the frameworks of sociology and political science. The paper insists on the power of film as a medium for demonstrating social problems and as a major part of popular culture. As an extremely popular film, Joker (2019) was able to unintentionally launch a public discussion about the portrayal of violence in film, toxic masculinity, and the wealth gap. As a part of that public discussion, this paper sought to analyze the two temporalities of the film; the setting of NY City in the 80s and the temporality of filmmaking. By analyzing these two temporalities, it was argued that a political arc could be drawn between them, making Joker (2019) a social commentary on the issues of a forty-year-long political cycle stretching from the 1980s until today. Because of these issues, it was argued that Arthur was not recognized in multiple spheres of his life which caused him to search recognition in other forms, thus creating the destructive persona of Joker. The paper also proposes an argument why the crowd sees a symbol of resistance in Joker, both in the film and in real life. In a way, the paper also suggests that a society that ignores the vulnerable will breed its worst enemies: criminals, or in this case, psychotic clowns who start revolutions.