That is the epiphany that allowed Edward to become Riddler, and the knowledge he used to enact his terrible scheme to expose all of the city’s corruption from the failed urban renewal: the mayor, the D.A., and even out of spite Bruce Wayne (luckily Riddler never figured out his imaginary BFF, Batman, is his rich kid doppelgänger). In fact, by the time he reached his 30s as a meek and lowly accountant for the city, he discovered that with Thomas Wayne long dead, his money had become a slush fund for corruption, be it from the mob to D.A.s and cops on the take. However, as Ed tells Batman during his interrogation, a week later Thomas and his wife Martha were murdered, and like so many other of the best laid civics plans, the renewal fund never invested in Ed’s orphanage. crimefighting), the high point of Edward’s life before he became the Riddler appeared to be when he was used as a campaign prop by Thomas Wayne a week before the Waynes’ murder.Īs we eventually learn, young Edward was one of the children in the orphanage behind Thomas when he announced his mayoral candidacy and pledged to donate a dazzling $1 billion to a renewal fund for the city. Yet unlike Bruce Wayne, the “poor orphan” who still inherited untold billions of dollars and grew up able to indulge his passions (i.e. Like Bruce, Riddler, aka Edward Nashton, is an orphan-a child left behind by a cruel world and even crueler man-made systems. This is echoed by the Riddler’s backstory since he very much is intended to mirror Bruce Wayne. ![]() (We wrote more on the Riddler’s similarities to the Zodiac Killer here) As we slowly discover, he doesn’t think he’s taunting the Batman like the Zodiac Killer mocked the real San Francisco police force he thinks he’s collaborating with Batman by punishing the city and calling down a veritable biblical flood. Here’s how it came to this.Įvery villain thinks they’re the hero of their own story, and that is rarely more true than for Paul Dano Dano’s sad, and ultimately pathetic, interpretation of the Riddler. After three hours of anguish and violence, it is both a moment of hope and resignation, one that casts everything that came before it in a new light. Rather than an ending, it’s a renewed start, and rather than a tease for romance, it’s a bitter acknowledgement that we-the audience and Pattinson’s Bruce-have only begun to understand what fresh hell we’re in. But the Robert Pattinson version of the same character in this weekend’s The Batman? For the first time in the whole film, he realizes there is something bigger than his own trauma, his own pain, and is only right now truly beginning his caped crusade. In Nolan’s final Batman movie, such a moment was at the last gasp of Bruce Wayne’s war on crime, an admission that he wants to go but cannot. ![]() ![]() ![]() Yet for all the similarities, the context is wholly different. It’s the final scene in Matt Reeves’ sinewy The Batman, and it echoes a similar moment from Christopher Nolan’s The Dark Knight Rises (2012): Catwoman asks Batman to come with her and give up on this hellhole they call a city he refuses. A Dark Knight and his feline companion stand by a motorcycle, parting ways for what feels like forever-but probably won’t be. We’ve witnessed this scene before in a Batman movie. This article contains major The Batman spoilers.
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