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Glorious purpose indeed.
Well, it’s happened again. A work of fiction had a strong start and then devolved into lousy material.
First off, obviously, spoilers for the Loki 2021 series as well as the general MCU films and shows up to now. You’ve been warned.
To give you some background, I actually wasn’t a Loki fan until far later in the game. I paid him no mind in the first Thor, enjoyed him in Avengers, and then slowly over the time between Thor: The Dark World and Ragnarok, Loki slithered his way into my heart. It’s not as if I think he’s the best character in the MCU or anything, but I adore him. He’s a shitlord. He’s so extra. He’s the embodiment of chaos. He managed to charm me and make me care about him, even becoming a sort of anchor character for me in my fanfiction writing sessions. Naturally, I was quite excited when they announced he’d been given a spinoff series after the events of Avengers: Endgame. I wanted to see Tom Hiddleston continue to shine in the role, even if it was just going to be for a brief extra story for us to enjoy.
And that’s how it started off.
Episodes 1 & 2 of Loki (2021) contain the content that I’d hoped for. We got to see Loki at the end of his rope, but in a different sense than his fate in Infinity War. He was thrown into an organization he knew nothing about and without his powers. He had to figure out how to survive without any hope of outside help, which we know he’s done before. It gave us some nice introspective moments, showed us he was human, showed us vulnerable bits to his character. We also got to see plenty of his faults and shortcomings, all of which was fun and interesting.
And then Sylvie showed up.
And as soon as she did, my enjoyment of the show pretty much evaporated.
ICYMI, Sylvie is a Loki variant who was caught by the Time Variance Authority at a young age, but she managed to (easily, so easily it was insulting) escape and hide in apocalypses her entire life plotting how to destroy the TVA for kidnapping her and removing her from her own timeline. Now, granted, on paper, that backstory is okay-ish, but Sylvie is my newest entry on the exhaustingly long list of fictional characters who suffer from what I call White Bitch Syndrome.
Now, I still plan to write a full essay on White Bitch Syndrome, but let me do a short definition here. White Bitch Syndrome is when a female character—and most of the time, she is white and blonde—in a work of fiction is given undeserved credit and disrupts the dynamic of whatever work of fiction she is in, causing negative consequences for those around her but never having to suffer those same consequences herself. To me, she is almost a subversion of a Mary Sue. She takes valuable screentime away from other far more interesting and well-written characters and does all of it with a sense of entitlement that makes me want to pull my hair out.
And that’s exactly what Sylvie is.
I cannot fathom what made the writing team for Loki decide that they should give 60% of Loki’s screentime to this snotty, entitled, obnoxious Loki variant. As soon as episode three hits, she completely co-ops Loki’s show to make it all about her.
And here’s the kicker: she’s not even interesting.
It’s a bait-and-switch. I came here for Loki (or Tom Hiddleston, depends on who you ask) and what did you do? You found the world’s most irritating white woman and gave her his show. This isn’t why I came here. At all. So not only did you give me something I don’t want, you didn’t bother to make her likable or even just interesting in general. The rules of writing, at least in my mind, are to make main protagonists in a work either likable or interesting. Sylvie is neither. She is such a borderline Mary Sue. She’s stronger, smarter, more powerful than everyone around her, she constantly shoots her mouth off to disparage Loki and the other characters, she thinks she’s better than everyone and the writing of the show seems to agree, and she makes EVERYTHING about her every second she’s on screen. It’s insufferable.
But that’s not the worst part.
What truly broke me was episode 4. I had to put up with this snotty character, fine, okay, as long as maybe I get some good Loki content with what little screentime he has left after she’s sucked it all up. No. It had to get worse. The show then states—after only one and a half episodes of interactions—that Loki has a crush on Sylvie/is attached to her.
Seriously?
He’s known her for like five minutes.
What the hell do you mean he likes her?
This element of Loki (2021) is what switched me from disliking it to outright hating it. Anyone who knows me knows that I hate it when fiction generates attachment between two characters without doing the leg work first. There are few things I hate as much as when characters barely interact and then the fiction states that now they’re in love or best friends or care about each other when there is little evidence in the work itself. Loki and Sylvie spent the entire third episode hating one another. The dynamic comes across like a brother and sister who can’t stand each other being stuck in the same place, having to make nice. Then the show just decides Loki is into her, despite no evidence, despite limited screen time, despite Sylvie showing no regard or concern for him at all. It comes across as the show telling us “this is a thing because I said so.”
And that’s not good enough.
Look, I know I’m biased. I’m attached to Loki and I don’t like blonde white women in fiction because of repeated instances of White Bitch Syndrome. But this isn’t jealousy. This is lousy writing. It is lousy of them to stuff this character into the narrative to take the focus away from Loki and it’s lousy of them to have Loki inexplicably have some sort of attachment to her when the evidence points to the opposite. He should simply be using her to get what he wants, but instead they have him following after her like a helpless puppy because her Super Special Awesome Powers are so much better than his and he can’t do anything on his own. They took a show with a unique premise and made a hard left, instead making it a platform for “ooh, look at this cool white girl” instead of keeping the focus on Loki trying to survive the TVA and destroy it. Loki honestly had more chemistry and attachment to Valkyrie–who soundly beat his ass and later begrudgingly tolerated him because they needed to stop Hela–than with Sylvie. I would believe he was into Valkyrie before I’d ever believe he was into Sylvie.
For me in particular, this is unacceptable because it just feels like Sylvie is nothing more than a vehicle for the white fangirls to imagine themselves into Loki’s story. It’s no secret that Loki’s fandom is majority female and I imagine it’s largely white women. Sylvie is a transparent Audience Surrogate Mary Sue-adjacent character designed to make said fangirls feel like they have a personal connection to Loki. They can easily see themselves as Sylvie and it seems to be the only real reason she was written into the story. If she had been properly written, she would have just remained a tangential antagonist either getting in Loki’s way or preventing him from reaching whatever goal he has for himself. There was no reason to write a forced wannabe romance into the story. It’s so unearned and unnecessary.
Alright, so I’ve made my case for why Sylvie sucks. Let’s pretend for a moment that I didn’t hate her with the fire of a thousand suns. That’s not the show’s only problem. Another reason why Loki (2021) began to tank for me is that Loki has almost no agency after the end of the second episode. The second he starts following Sylvie around, the show seems to forget this is a thousand-year-old demigod with magical powers and a wealth of schemes and plans. Everything from episode 3 onward has Loki little more than a doofus who likes to run his mouth. We don’t get to see any of that calculating intelligence that made us love Loki in his previous films and appearances. He’s not doing anything. He’s just stumbling from one place to the next utterly failing and not affecting change nor the plot itself. I fear part of the problem is that the writing staff took too much from Thor: Ragnarok without understanding that the film, while a comedy, also knew how to write a balanced Loki. We know Loki is capable of making mistakes, but the ones he commits in this show are egregious. It’s not organic to the character. It feels as if they are trying to emulate Ragnarok without allowing Loki the same agency and behaviors that made him so lovable in the first place. Think about it. Loki tricked Thor into thinking he was dead and impersonated Odin convincingly (or so we’re assuming, since we don’t catch up to him until 2017, which is 4 years after Thor: The Dark World) for entire years without anyone catching him. He then lands on Sakaar after Hela attacks and manages to worm his way into the Grandmaster’s good graces in only a matter of weeks. Loki has been an effective antagonist and part time protagonist for several films, which is why he’s been so popular. I don’t understand why they have written him completely bumbling and ineffective in this series after the halfway point in the story. In Fish Out of Water stories, you still need to have the protagonist affecting change and making important decisions that affect the plot and develop them as characters. He’s not learning anything, he’s not changing, he’s not growing. He’s stuck in the passenger’s seat while Sylvie drives the car off the cliff.
Speaking of unearned nonsense, this whole “friendship” between Mobius and Loki also annoys me. It’s like I’m not watching the same show. When did they become “friends”? Do they not know what that means? Presumably, Mobius and Loki spent several hours together investigating the Loki variant and while I actually quite like their banter, they too were not with each other long enough to consider each other friends. I don’t like it when fiction drops the F-word (friend, of course) unwarranted and this is another example. Mobius and Loki were at most colleagues. They were only together for two and a half episodes and then for a short bit in episode 4. The show yet again did not do the leg work but then handed us this forced claim of friendship when they’ve really just been enemies temporarily on the same side. I do think aspects of the relationship work, just not enough for the show to claim that now they are magically friends. It’s less of an eyesore than the claim that Loki likes Sylvie, but it’s still poorly written and has little evidence to back it up.
Another aspect of the show that bothers the hell out of me is they introduce Hunter B-15 and Judge Renslayer as powerful, competent women…and then sideline them. Hunter B-15 becomes Sylvie’s lackey after Sylvie’s enchantment caused her to remember her life before the TVA erased her memory. Hunter B-15 was introduced to us in a spectacular fashion, bitchslapping Loki and being an incredible force to be reckoned with. I remember being so excited to see a dark-skinned black woman on the Loki posters, hoping for more representation, and yet they’ve done what too many shows and movies have done with black women—forced them to be in the shadow of their white counterparts. Judge Renslayer is even more of a letdown that B-15. She is introduced as smart and coldly calculating, but then Mary Sue Sylvie EASILY beats her in combat and she’s turned into a mugging, desperate mess instead of someone who was ruling an entire organization with an iron fist for God-knows how long. It was fine for Renslayer to be off-balance finding out the Timekeepers weren’t real. What wasn’t fine was a white blonde woman domineering over a black woman who previously held authority. Renslayer presided over the TVA…and that’s the best she can do? Stall, lie, and babble in front of Sylvie? It’s so painfully obvious that the show wants to keep kissing Sylvie’s ass and insisting she’s the most powerful Loki of all and they sacrificed any potential greatness for Renslayer as a result. I don’t mind Renslayer turning out to be bad; she wasn’t giving off any other impression in the first place. What I do mind is having this white woman just sling her around like it’s nothing when Renslayer should be far more effective than that considering she’s been the boss for presumably years and years. Why the hell was she leading the TVA if she can’t even handle this one variant?
This issue in particular burns me up because while Marvel has been doing a really good job introducing people of color into the lineup and giving them agency, there has also been this trend of what I like to call checkmark diversity. This is when shows or movies include POC in a work as supporting characters in order to check off the diversity box, but they’re not actually giving these POC much to do. They are constantly overshadowed by the white characters instead. The show gets to claim they’re progressive and diverse, but when you look at the POC’s storylines and interactions, you actually don’t end up with anything other than window dressing. I can tell you several different ideas I had for what would become of Hunter B-15 and Renslayer, but none of those came to fruition. The focus remained on the three central white characters: Loki, Sylvie, and Mobius. We know for a fact that the MCU can write excellent black characters like Sam Wilson, Monica Rambeau, and Luke Cage. It’s a damn shame to have two enjoyable black women on this show and they’re just there to fill in a checkbox. It’s especially sad since I’ve seen some behind the scenes bits with the actresses and Tom Hiddleston and they get along wonderfully. It’s truly adorable seeing some of their interactions, so for the show to have them both end up doormats to the white leads is an utter disappointment for me personally as a black fangirl.
At the time of this post, there is still the Loki finale to be watched. Honestly, though, I have no hopes for it any longer. I had hoped that with the plot of episode 5 being Loki in what is basically Purgatory with other versions of himself that we’d get the focus back on him and his desires, but no. Sylvie finds him in like 10 minutes of screentime and goes right to making everything about her, fulfilling her White Bitch Syndrome duties and securing herself as a Mary Sue-adjacent character. I’m tired. I will watch the finale, but I’m expecting it to be just as disappointing as it’s been since the halfway point in the series.
It hurts me to say these things. I’ve written a metric ton of Loki/MCU fanfiction. I truly enjoy his character. I cried like a baby when he died in Infinity War. I really like him, but this show stupidly managed to take from him rather than give him more things, ironically enough. It’s not yet to a point where I declare it Discontinuity, but I am unfortunately not going to be really be taking anything away from this series. I’m probably going to ignore it and go back to my Denial Land of fanfiction instead.
My final point is that Loki (2021) is a cautionary tale because of its utterly squandered potential. The show’s trailers promised lots of things that looked amazing, but then once you pull off the cloak, all you get is a snotty OC and a very diminished, borderline derivative version of Loki. I am far more satisfied with the canon timeline Loki than with this Loki variant, which is a shame. I’m not to a point that I wouldn’t recommend the show, but of the MCU shows, Loki is certainly the weakest. It doesn’t live up to what it promised because of the writers’ inexplicable decision to give away his screentime to an entitled bratty character with, and this is just personal taste, a substandard actress with a grating performance. The lesson to be learned from this is that you have to know what you’re going after when you set off on a side story. The overall consequences of Loki have yet to be seen, but the implication is that the timeline is going to be destabilized and will then set off the Multiverse of Madness that will be addressed in Spider-Man 3: No Way Home and in Doctor Strange: Multiverse of Madness. That being said, I don’t think this show is strong enough to warrant anyone other than die-hard Loki fans a watch. I am open to the thought that maybe the finale will redeem the show, but it’s doubtful based on the evidence I currently have. More than likely, it’s going to go out on a whimper and not a bang and the romantic red string the writers forced around Loki’s neck is going to strangle him same as Thanos did.
I hope I’m wrong.
But I’m probably not.
Here’s to the multiverse. At least it has a version of Loki that’s not a disappointment.
“It’s the end of the world as we know it, and I feel fine…”
How do you say goodbye to 1/3rd of your life?
Really. I’ve been asking myself that in the weeks leading up to Avengers: Endgame.
And honestly, I don’t have an answer to that question, because it’s kind of impossible.
So here’s the thing: I read comic books as a kid when I had access to them, but I was never someone who had a massive collection of Marvel comics. I had some of them, so growing up I knew who the Avengers were, but not to any significant degree other than names, powers, and aliases. Like a lot of people, Iron Man was the first time I took notice of Marvel heroes who weren’t Spider-Man or the X-Men, and that movie opened an entire avenue that I don’t think any of us thought would be possible someday.
I had already been fully on board when the announcement that the incredible Robert Downey Jr. would be starring as Tony Stark, and to this day, that is still one of the all-time most perfect casting choices. Fans were dancing in the streets when we heard it, because we all knew if nothing else, Tony Stark would get a first-rate performance. RDJ had gotten himself back on track after his troubled past, and we were so ready to see him return to his former glory.
And he did just that.
To date, I still rank Iron Man in my personal top 10 MCU films, for so many reasons, but for the sake of this retrospective post, let me sum it up by saying it is so fitting that we began this 11-year journey with RDJ and with Tony Stark. Iron Man is about heart. Literally and figuratively. By being put in the danger he found himself in, Tony inadvertently grew a heart and became the man who so many of us will Stan until the end of time. He had nothing but his wits and a faithful friend at his side, and when he was told to bow to his enemies, he instead defied them and saved himself. In doing so, it kicked off the first domino for the Marvel Cinematic Universe, and even though it had a steady stream of interest, everything changed when at long last our beloved heroes teamed up for The Avengers.
The Avengers, whether you like it or not, changed history.
There had never been an attempt to combine solo stories of heroes on this kind of scale before, and that was when people realized that this wasn’t just a passing fancy. The Avengers broke box office records for a few reasons, but one that I am quite fond of is the fact that word of mouth was so powerful. All the hardcore fans saw it and sang its praises, but the great thing about the Avengers is it was written in such a way that even if you had missed the previous films, you could still enjoy it, and people did. The non-fans took notice of that killer opening weekend and heard the rave reviews, got curious, and saw it. And then they went home and told everyone how phenomenal it was, and then the process repeated itself. What I have always loved about the Avengers, and what it began when it came out, was its inclusiveness. It had something for everyone in it. And not only was it taken seriously, it was given an excellent script, fantastic visuals, and a kick ass soundtrack that still gets us hype as hell even 7 years later. Most of us fans used to fantasize about a team up movie, never thinking it would be possible considering all the legal and copyright hoops studios had to jump through, but then the day arrived and it was every single thing we dreamt it would be.
What made the Avengers so prolific was the ability to take that many characters and tie them to each other, giving each one time to shine in an extremely well-paced story. Ensemble films are everywhere, but this was the first time that a major film studio took individual heroes from their films and had them interact, and then sent them back out on their own, with the promise of calling them back again. What continues to impress me with the Avengers is that everyone had a stake in the game, and everyone contributed something. (Note: people shit on Hawkeye constantly as the “useless” team member, but I invite you to remember that Hawkeye nearly killed the entire team when he attacked the heli-carrier, so honestly, the haters can shut the hell up.) Too often movies have a group of characters who are supposed to have specific skillsets or traits useful to either the plot or the story, but really, there’s no reason for them to be there. (*cough* Fast and the Furious *cough* *coughs harder* the Justice League movie *coughs harder*) Here, you understood everything, and it all had its own harmony to it. A great story is one in which everyone has both inner and outer conflict, and while they butt heads, they’re together to reach a collective goal, no matter what the cost.
And frankly, The Avengers is when shit got real for everyone.
In my lifetime, I’ve only seen a handful of films more than twice in theaters. I saw The Avengers in theaters four times. The only other viewing at the time that came close was the Dark Knight, which I also saw four times. That is just an idea of how damn much I enjoyed that film, and what a legacy I think it left in its wake. Even back with 2012 ticket prices, I had such a great time that I happily bought multiple showings just to see it again.
So after 2012 when we all found out it was possible for something this awesome to exist, Marvel figured out that the winning formula was not in some of the paltry tricks that Hollywood likes to sell us, but in having a strong story with its roots in the proper place—the comics—and in trusting the vision of their actors and directors. In 2014, we were blessed with Captain America: The Winter Soldier, which is arguably the best Marvel movie period, to say nothing of one of the best comic book movies of all time. Winter Soldier is one of the highest praised MCU films for a tight spy-espionage story, interesting characters, a razor-sharp script, and some of the most stunning fight choreography in film history. It blew our minds that anything could be as good, or maybe even better than The Avengers, and it didn’t rely on simply having an orgy of superheroes. It was just a damn good experience in every aspect.
Then, after the MCU films had a few unsteady steps like Age of Ultron (which I still think is great, but is a troubled film) and Doctor Strange, they surprised us by going all in with two films that arguably innovated their franchise yet again: Black Panther and Thor: Ragnarok.
Black Panther told the world what us nerds already knew: that black people are just as interested in science-fiction and comic books as other people, and they came out in force. It was the most liberating experience to see a mature, well-written, well-acted, flat-out gorgeous big budget film that was 90% black both in front of and behind the camera. Ryan Coogler went out of his way to create an unforgettable experience that delighted and amazed everyone in a way most people had never considered. Black creatives have been here forever, but this was one of the first times we were able to see it on a massive scale and for a massive audience. Finally, we were given a voice and got to tell an excellent story that wasn’t watered down or apologetic or riddled with stereotypes. And with it breaking box office records, it became indisputable proof that diversity does not lose money and it is not only welcomed, but encouraged by the world, and I cannot thank the MCU enough for that fact alone.
Thor: Ragnarok is living proof that you can dust off something that was fairly good, but just needed a new angle and make something absolutely outstanding. Remember how I said I saw The Avengers in theaters four times? Yep. Did the same for Thor: Ragnarok. And don’t ask me how many times I have watched it since I got it for home release. It’s got to be 50 times by now, honestly.
Ragnarok showed that sometimes a great, radical idea is exactly what you need, and that if you put your trust in the right creative mind, you can take a middle-grade character and elevate him to a level no one thought possible. Truth be told, I liked both of the previous Thor movies (and again, the haters can just exit stage left, because The Dark World is nowhere near as bad as people keep saying it is) but this pumped entirely new blood into Thor’s veins as well as our own. One of my favorite things about Ragnarok is that it shows the trust between the director, the cast, and Marvel Studios. It took serious balls to pitch some of the things that went down in Ragnarok, but thanks to the miles and miles of talent from the movie’s cast and crew, it became a top tier MCU film, and can easily stand next to not only some of the best comic book movies, but some of the best comedies.
And then, while we were still reeling from the amazing combination of Ragnarok and Black Panther…along came Infinity War.
Infinity War once again broke the mold.
I’m fairly certain almost none of you read my college essay-length review of Infinity War, but the main gist of it is that there is no other film like Infinity War. Period. And I don’t mean that in some kiss-ass way because I happen to be a fan of the MCU. No, really, I mean it as a writer and as a creator and as a moviegoer in general. I’ve watched hundreds of films in my 30 years of living, and I cannot name another movie that had an impact on me the way that Infinity War did, and what’s more is that I am not alone.
Infinity War, for me, stands on its own category simply for the emotional depth that it was able to achieve. It’s not just the suckerpunch ending—it’s that the film is not only funny and action packed, but it’s a story where it took one of the largest cast of characters in film history and still managed to make a story for each of them, and gave each of them stakes and a role to serve. Think about that. I mean, do you understand how much talent it took in order for the sheer number of characters to not only interact, but contribute to the overall plot and story in a manner that was personal to them? In case you forgot, count them up: the five of the six original Avengers (Steve, Tony, Bruce, Nat, Thor), the expanded team (Sam, Rhodey, Vision, Wanda, T’Challa, Okoye, Shuri, Bucky, Parker), and then the Guardians (Peter, Gamora, Rocket, Drax, Groot, Nebula, Mantis), and then the villain Thanos, not to mention introducing a few new characters like the Nidavellir Dwarf or the Children of Thanos. Yet they were able to combine these 22 people into one story that actually made sense and was excellently paced as it rotated between the POVs of what each of them were doing as the events of Thanos’ terrible mission unfolded. I just don’t think people sit down and take the time to appreciate that sort of coordination. Not only did you have 22 people being relevant and involved with a story, but you pulled former motivations and personal relationships into it all to a point where there was not a dry eye in the house at the end.
What I remember so clearly about the premiere of Infinity War was the universal reactions from the audience, both hardcore fans and regular viewers alike. Sometimes in movies, you get annoyances like people or kids talking, people checking their cell phones, etc.
Not so with Infinity War.
Everyone was absolutely enraptured.
As far as I can recall, that’s only ever happened three other times at a movie premiere for me: The Dark Knight and Interstellar (Note: that makes total sense to me, because Christopher Nolan is an absolute master of storytelling and his suspenseful scenes leave you clutching your arm rests), and I Am Legend.
And that ending to Infinity War?
Jesus Christ.
The absolute stunned silence when those credits rolled after our heroes lost the war was devastating.
All I could hear was the sound of people everywhere crying, myself included.
It’s not about movies that make you cry. Plenty of movies have the ability to do that.
It’s about the fact that this same phenomenon happened in damn near every theater in every state and every country during their premieres.
We’re talking a universal experience.
How fucking cool is that?
Am I alone in thinking that it’s so amazing that they could dig so deep into our hearts that all of us from all walks of life sat there with tears streaming down our faces, feeling like Thanos personally walked up and walloped us in the gut with that gauntlet? No matter who you are, you probably have at least one favorite MCU character, and what’s so prolific about Infinity War is that in the end, it’s about every character’s nightmare coming true.
Think about it.
Steve’s fear was of losing his friends, especially his best friends Bucky and Sam.
Peter’s fear was of losing Gamora.
Tony’s fear was of losing the war and being a survivor of the devastation.
Gamora’s fear was of being helpless in Thanos’ control again.
Rocket’s fear was of losing his family.
Wanda’s fear was of having to kill the love of her life in order to save everyone.
Vision’s fear was of his possession of the Mind Stone allowing Thanos’ mission to be completed.
Thor’s fear was of being unable to avenge his brother, his best friend, and all of Asgard.
I could go on and on like that, but the sheer weight of this disaster brought all of us to our knees at once, and as much as it hurts me (ask my friends; I was sobbing so hard I had to put my hand over my mouth to keep from disturbing everyone else) I have to commend them for being able to make us feel something so powerful for what are fictional characters. It’s an amazing achievement that it felt as if we were the ones losing loved ones when we watched Infinity War. It’s one of the reasons we go to the movies in the first place—to feel something and experience something we never have before, and I really think that is what Infinity War delivered. It was an entirely unique movie-going experience that still reverberates with us a year later.
And it’s why Avengers: Endgame might be yet another first for us.
Many of us have experienced something similar with the end of a long running TV show. I personally am old enough to have seen the live endings to Will & Grace, Castle, Friends, Frasier, 30 Rock, The Sopranos, and various cartoons. I believe the closest equivalent in the film world might be the Star Trek movies, but even then, it’s different because they have always been an ensemble cast and don’t have individual-centric stories. It’s going to be the ending of an 11 year journey, and even though we know several heroes are going to survive and continue on with solo sequels (Black Panther, Spider-Man, Captain Marvel, Doctor Strange, Ant Man, Guardians of the Galaxy, and Black Widow are confirmed) or with the upcoming mini-series on the Disney Plus channel (Falcon and Winter Soldier, Loki, and Vision & Wanda are confirmed), this is still possibly the ending of the original Avengers lineup. All we know for sure is that Endgame is Robert Downey Jr and Chris Evans’ final solo performances of Tony Stark and Steve Rogers. If we’re really fortunate, their stories end in such a way that we could see future cameos from them (ex. Steve Rogers in the Spider-Man: Homecoming end credits) but for all we know, it’s the end for them and we have to say goodbye.
And I’m not sure that I know how.
The closest equivalent for me is Logan (2017). Goodness gracious. Talk about gross sobbing. I was an absolute wreck saying goodbye to Hugh Jackman in his final scene of Logan. However, now that it’s been two years, and Hugh Jackman is running around still being utterly adorable and fun in every way, I have been able to come to grips without my grumpy Canadian badass. Still, though, Endgame is going to be rough for me because while I adore Logan to no end, I wasn’t a fan to the degree that I would actively participate in fandom things related to him, like say fanfiction or Tumblr.
And that’s not the case with the Avengers.
I’m a straight up MCU fangirl. I reblog photosets and engage in silly theories and headcanons and read and write fics on a weekly basis. The Avengers are an active part of my life because watching the MCU films is a full blown hobby of mine. I have never been asked to let go of something that is a part of my daily life, not since Castle at least, and even then Castle ended so badly that I had let go of the show two whole seasons before it actually ended.
So that’s the hardest part of all with Endgame on its way.
How do you say goodbye?
I don’t know. I just don’t bloody know.
No matter what ending they choose for my Avengers, I’m going to be in tears, but I hope and pray that the Russos continue with their trend of being excellent storytellers and that they give us a worthy ending for those of the Avengers who will not continue past Endgame. I cannot control what happens and I will either make peace with it or reject it for a headcanon so that I can get to sleep at night (here’s looking at you, Loki; you’re still alive in my mind, you beautiful trashlord). However, I do feel encouraged to believe they will give them the endings they deserved based on what Chris Evans has been allowed to say about his final day of filming. Chris Evans basically is Captain America. He is Steve Rogers. And if he felt that Steve was given a great finish to his run in the MCU, then it’s possible I will be able to let him go to a certain degree and appreciate the time and care the character has been given since his introduction.
It’s such a bittersweet place to be, isn’t it?
If nothing else, I just want to thank the original Avengers actors for portraying such vibrant, fun, deep, relatable characters for a whole decade. I mean, that’s so much dedication, and all of them went above and beyond trying to do the characters justice. People can debate left and right about the accuracy or the mythos, but in the end, what I love about the MCU is that for the most part, every last one of them gives a shit. It should be a no brainer, but it isn’t in Hollywood. I can name so many movies or franchises that shit something out just to make money and have no passion or interest in the product. The people who work on these films have given them their all and they have left behind something no one can touch for as long as time exists.
In the end, I suppose that old saying is the best way to try and prepare for the end: “Don’t cry because it’s over; smile because it happened.”
You’re damn right I’m gonna cry, but my hope for Endgame is that I’ll be smiling through my tears.
See you guys on the other side.
Love always,
Kyoko
I have done it, ladies and gentlemen. I have held the ever-coveted Tom Hiddleston in my arms.
And it was as glorious as it looks.
So funny story.
In August, I’d gotten bored at work and out of pure thirst curiosity, I Googled to see Tom Hiddleston’s remaining con appearances in 2018. Lo and behold, he was attending Ace Comic Con in Chicago, IL in October. I’d never been to Chicago and I have a friend who lives here and it was JUST enough time for me to save up some money to fly out for a three day weekend to meet the man I’ve been enamored with as of the last three or so years. And that’s exactly what I did. I bought a Saturday only ticket for my only 2018 “official” vacation to meet the utterly wonderful Tom Hiddleston.
Unfortunately, since I only found the con roughly two months out, all the autograph sessions were sold out, leaving only the photo op, but it’s not a huge deal and I love having photos snuggling awesome famous people anyway, as my followers know. I might be able to see him again someday in which I can say more than two things. As it stands, I probably would’ve ended up just giggling incessantly anyway if I’d have gotten an autograph from him today.
Anyone who is a veteran congoer knows that photo ops at MOST are ten seconds long. It’s simply because hundreds of fans show up and in order to cram all those photos within the time frame, it has to be that short. Therefore, I had to practice staying calm in the face of one of the most handsome bloody men I’ve ever met.
So here’s how it went down:
Me: *walks over to him and he puts one arm around me* Hi! Is it okay if we do a hug!
Hiddles: Sure!
**photo is taken**
Hiddles: That’s a beautiful dress, by the way!
Me: ^///////////////////////////////^ Thank you so much! You are phenomenal! Thank you! *scurries off*
Doesn’t that sound easy to say to him? Trust me, it wasn’t.
First off, Tom is tall af. I’m 5′8′’ and I was wearing 2 inch heels and he still sort of dwarfs me in this photo and I have A Whole Thing about tall men. They butter my egg roll something fierce.
Second off, he has the biggest, sunniest smile and it’s like staring into an eclipse. I was almost blindsided but his compliment of my dress–keep in mind, I BOUGHT THIS DRESS SPECIFICALLY FOR HIM AND HE COMPLIMENTED IT AND OMFG THIS IS EVERYTHING TO ME YOU GUYS–is actually what helped kick my dazed little brain into remembering to speak to him. My Chris Evans photo op was heavenly, but he was so goddamn handsome and that hug was so goddamn good (he rubbed the small of my back before he let me go and I almost fainted dead away in his arms) that I got tongue-tied and didn’t get to tell him anything aside from “thank you” as I wobbled away on weak knees. Tom, however, unknowingly helped me out by complimenting me and that’s so wonderful I can’t even express it.
Third off, wow, hearing his voice up close is…hnnnnngh. There are no words. It’s like silk. It’s like velvet. Hiddleston’s voice is just plain powerful, and I don’t know how anyone is able to act opposite the man. He said two things to me in just a normal tone of voice and I wanted to just melt.
Lastly, the hug was so light and gentle. He’s a good hugger. He was very comfortable next to me and I loved that big friendly grin. Generally, I don’t photograph well and his grin was so infectious that I think it’s why it turned out so great.
I’m on cloud fucking nine. I really am. 2018 has been a hard, miserable year for me and this was finally a lump sum of good karma. I’m going to be high off of this Chicago trip for months and I can mark the incomparable Mr. Hiddleston off my Bucket List. (Although I do have very loose plans to try to catch him again for an autograph; I really do think he is an incredible actor and I’d love to tell him in detail, but we’ll see what 2019 has in store for me.)
And yes, it’ll be weeks before I wipe this idiotic fucking grin off my face.
#SorryNotSorry
#TheHiddlesThirstIsReal
Kyo out.
Is Loki evil?
Doesn’t that sound like such a simple question?
I mean, I could have answered that question quite easily back when we only had two movies to base the evidence on: Thor and the Avengers. Now that we’re at a total of five performances by the lovely Tom Hiddleston, I find myself struggling with evidence for and against this simple little question. It’s sort of made me consider that maybe the idea of good and evil isn’t as clean-cut as I once thought. I’m no stranger to grey area, but Loki has made me examine my own definition of evil now that we’ve gotten a complete scope of who he is as a character over the course of the Thor and MCU franchise. I thought it would be fun to muse over the question and see if I can draw an actual conclusion, or if I’ll remain undecided on the issue.
Naturally, major spoilers for every single film Loki has been in.
Evidence supporting evil:
- Arranging Thor’s banishment: Loki of course made the excuse that he was simply trying to stall Thor being crowned King of Asgard as “a bit of fun” and because he believes Thor is a buffoon. He egged his brother on to go after the Frost Giants, knowing Odin would blame Thor and cast him out, leaving the throne to eventually fall to him. Gee, what a nice thing to do to someone who was raised alongside you and shows clear signs of having loved you since the moment you met each other, Loki. You ass-hat.
- Plotting Odin’s assassination: Now we get into some tricky territory. Loki planned to secure himself as the hero and savior of Asgard by letting the Frost Giants into Asgard to slay his father and then killing Laufey in a double cross. It then gave him an excuse to wipe out the Frost Giants, thereby erasing his past and whatever feelings of guilt and inadequacy that their existence created in him. He also murdered his own damn father with zero remorse, and while I can agree that I can see why since Laufey appears to be nothing more than a monster who left him to die, it’s still incredibly messed up.
- Killing Thor: Yep. There’s no if, ands, or buts about it—Loki tried to kill his brother, innocent people, and Thor’s comrades to keep himself on the throne. He didn’t even seem remorseful about it either.
- Attempting genocide on the Frost Giants: This also speaks for itself. The reasoning here doesn’t hold water, either. Loki found out he wasn’t Odin’s son by blood and it twisted up inside him until it completely warped his view on his upbringing. Therefore, to him, eliminating the Frost Giants out of revenge for being abandoned and finding out he’s just a monster who looks like a prince made sense. Out of sight, out of mind. Still, even though the Frost Giants didn’t appear to be anything similar to good, decent beings, there is no excuse for genocide. Loki had no right to kill them all based on the actions of Laufey and Odin.
- Trying to kill Thor a second time on the Rainbow Bridge: This is a particular sting to me because Thor so clearly didn’t want to hurt Loki, and certainly didn’t want to kill him. One thing that tears me up about Loki’s selfish, cruel nature is what it does to Thor. Nothing pisses me off more than the fangirls trying to say that any of this shit is Thor’s fault. We never see Thor treat Loki wrong. At most, sure, he talked over him and has probably embarrassed him in the past, but there is no abuse shown in their background. Thor loves his brother to death. Truly, selflessly. It’s so tragic that Thor loves him unconditionally considering what happens next in their joined narrative. At the end of the day, Thor just wants his brother back. He doesn’t care about Loki being a Frost Giant. He wanted to fight by his side and laugh and do all the dumb things brothers do. So Loki trying to kill him twice in the same film where we see how much Thor’s family means to him is just a big fat gut-stabbing to the feels.
- Pretty much everything Loki does in The Avengers: the strongest argument for Loki being evil is largely here, in my opinion. I mean, we have blatant murder, mind control, plotting to have the mind-controlled Clint murder Natasha, at least two direct attempts to kill Thor, trying to kill all the Avengers as well as everyone aboard the helicarrier, killing Agent Coulson in cold blood, and then blowing up a good chunk of New York in the process of trying to rule the planet earth. Odin’s beard, this is Loki’s most evil actions that we’ve seen from him period. What’s so fascinating to me is that we still see just a peek that Loki pretends that he’s just an apathetic cold bastard, but then there are moments where we know that’s not the whole truth. The way he quietly asks Thor, “Did you mourn?” with this conflicted look that kind of sums up why I wanted to write this argument in the first place. He wouldn’t have asked if he didn’t care. Loki cares what Thor thinks of him, to some degree. It’s even in the scene atop Stark Tower where Thor tries again to bring his brother around. It’s very quick, but an actual tear slides down his face right before he stabs Thor and mutters, “Sentiment.” Loki keeps choosing the wrong side, choosing to be a selfish, thoughtless monster, and yet it’s still clear he feels fear, regret, remorse, and other emotions same as Thor does, but he refuses to let his emotions control his actions. He’s set course for the iceberg and he’s just going to crash into that thing no matter what. Good intentions mean nothing. The actions make the man, and the man is a monster in The Avengers.
- Guiding Malekith’s lieutenant to Odin’s bedchambers: Ooh, if there’s one thing that burns me up with Loki, it’s his constant blame and revenge against Odin. Don’t get me wrong—Odin’s no prize. He’s a garbage father by the time we piece together what he’s done since his sons (and as we discover in Ragnarok, his daughter too) were born and/or found, but in this case, Loki’s in the wrong in so many ways here. Odin showed mercy taking Loki in, and it doesn’t matter his intentions. Odin raised Loki alongside Thor as an equal and Loki, from what we can tell, was just as loved by their mother Frigga. He has no excuse to pretend like his background justifies his desire to see Odin dead. It’s all just to cover up his own shortcomings and envy. It’s just a damned shame that Frigga paid the price for Loki’s hateful nature.
- Faking his own death and bespelling Odin so he could impersonate him and keep the throne on Asgard: Once again, this one is such a freaking gut-stab to the feels. I want to slap Loki so hard for lying to Thor and making that poor man think he’s lost his brother again, and after saving his life. It’s just the worst. Loki is the most self-serving, egotistical piece of crap for doing this to Thor. It makes me want to throw Odin’s words right back in his smug face: “All this because Loki desires a throne.” “It’s my birthright!” “Your birthright was to die!” As mean as it is, Odin is right. Loki was shown mercy and what does he do with it? Get his mother killed and try to usurp the throne yet again, and not because he’d be a good ruler, simply to appease his damned ego.
- Trying to kill Valkyrie: Thank Odin he was soundly beaten senseless, but it’s messed up that Loki tries to kill Valkyrie so she can’t get in his way. It’s even worse since he forces her to relive the absolute worst moment of her life, although it ends up spurring her to do the right thing and help Thor save Asgard. Loki is such a bastard for that, for driving the knife in and twisting it.
- Betraying Thor on Sakaar: Thankfully, Thor had enough sense to know Loki would try it again, but even after all this time, Loki is perfectly happy to throw Thor to the wolves in order to get ahead. It’s worse because he knew the Grandmaster would either continue enslaving Thor or kill him outright. He couldn’t act as if there was some other fate awaiting Thor if his betrayal had panned out for him. It’s even worse when you consider the conversation right before it where Thor tells him, “Loki, I thought the world of you.” Loki’s so quick to blame Thor, to act offended when Thor suggested Loki stay on Sakaar if they get rid of the Grandmaster. He never holds himself accountable, just using that blanket “I’m the God of Mischief” excuse in place of accepting his reprehensible actions.
- Stealing the Tesseract from Asgard during Ragnarok: As we come to find Loki’s fate in Infinity War, all I can think is this could have been avoided if he’d left the damned thing there. Loki, Loki, Loki, why are you like this? Half of Asgard would still be alive if he hadn’t taken it from Odin’s vault before Asgard was destroyed. Does that mean that Thanos would have failed? Who knows. But Loki’s decision costs him his life, Heimdall his life, and also the lives of many innocent Asgardians thanks to his power-hungry nature. I suppose this argument is sort of answered in that Loki pays for his selfish act with his life, but it also ends up being a point for and against him, as you’ll see below.
When you add all that up, it makes quite the statement. We have strong evidence to support the “Loki is evil” argument. He is vain, self-centered, ego-centric, callous, and most definitely a sociopath of epic proportions. Everything he does is in service to himself, for the most part. He wants power and he wants attention (or as Tony so cleverly put it, “he’s a full-tilt diva.”) Loki appears to love nothing except himself and nearly everything he does serves that purpose.
But not everything.
Evidence against evil:
- Goading Thor into fighting him on the Rainbow Bridge: the action itself doesn’t present a counterargument to the “Loki is evil” theory, but it does poke a hole in it. It’s a very carefully written scene, in my opinion, because now we see the cracks in Loki’s metaphorical armor. Loki pretends he’s this big bad wolf, but some of that young pup comes out through this scene where Thor demands that Loki turn off the Bi-Frost to prevent him from destroying Jotunheim. He’s so desperate to prove himself and to accept this “I’m a monster” mentality that he keeps pressing Thor to fight him, knowing that Thor doesn’t want to and that he wants it all to be over. He could have ended it all right then and there and it’s possible that Loki would have just served a sentence for his crimes instead of being executed, but Loki can’t accept his past and rejects everything in favor of becoming the monster of his origin. What also gives me some massive feels is a line that I’ve long debated with myself about being genuine: when Thor puts together that he can’t stop the Bi-Frost, so he starts destroying the bridge and Loki yells, “What are you doing? If you destroy the bridge, you’ll never see her again!” Ouch. You could definitely use that exclamation for both the argument and the counterargument. On the one hand, maybe Loki is just trying to manipulate Thor to get him to stop destroying the bridge. On the other hand, maybe Loki does realize what a selfless thing Thor is doing and some part of him doesn’t want Thor to suffer being stuck on Asgard away from the woman he was falling in love with. It’s a delightfully ambiguous line. Does Loki actually mean it? He still tries to stop him right after this line, but that doesn’t make it completely invalid. It’s a vastly interesting idea in and of itself. The whole struggle between the two is that Thor loves him and wants them to be brothers again, and Loki cut himself off from his adopted family and wants to rule so he doesn’t have to accept being an outcast. So does Loki actually have a remnant of his old self somewhere inside him and that’s the part of him that called out to Thor when he was destroying the bridge?
- Loki’s reaction to Frigga’s death: Alright, here’s where the gloves come off in terms of Loki’s characterization over the course of the Marvel films. Loki and Frigga have an argument shortly before Loki guides Malekith’s lieutenant to Odin’s bedchambers and unfortunately Frigga dies defending Jane. Loki loses it. He’s a complete and utter wreck when Thor returns after Loki has gotten the news, and Loki knows it’s all his fault. He’s so wracked with guilt that he doesn’t even reveal to anyone that it was because of him. What gets me—and this is a testament to Tom’s skill as an actor—is that vulnerable little question right when Thor sees through Loki’s illusion: “Did she suffer?” Ouch. Oh man. It’s now apparent that the big bad wolf is a scared pup inside, at least for a moment. He knows he’s screwed up and he can’t take it back. It’s definitely sealed on the scene as they travel to meet Malekith on the abandoned planet: “Trust my rage.” One of the only real, true things we see from Loki is his desire to get revenge for Frigga’s death.
- Loki saving Thor on the Night Elves’ planet: For once, he actually follows through with Thor’s plan and tries to help him stop Malekith. He even saves Thor’s life, and while it ended up being a con in the end, I still think that was a genuine moment of Loki being Thor’s brother again. He could have let Thor die, let Malekith consume the nine realms, and just rule another world in the ashes of what’s left, or he could have become a true ally of Malekith’s as well, but he didn’t. He stuck to the plan and he saved Thor when he didn’t have to and that’s surprisingly touching considering the monstrous things Loki has done in the past.
- Loki shedding tears upon Odin’s death: Tom Hiddleston is a hell of an actor, man. I have to keep giving him props for knocking this complicated character out of the park. There are two interactions that are truly important during this scene: First, the look of shame on Loki’s face as he steps up next to Odin after apparently casting a spell so strong that it took Odin months or years (the timeline is a bit hard to tell, but Thor says it’s been two years since Ultron, so that gives you an idea of how long Odin had to have been on Earth either still bespelled or accepting his exile) and yet Odin doesn’t strike him, yell at him, or even denounce him for it. Odin says, “my sons.” Loki glances over at him, and the look of utter disbelief and vulnerability on Loki’s face is just like a kick in the nuts. That one expression shows that after all is said and done, Loki still wants a family. He still cares what Odin thinks of him, and he’s been wrapped up in this cocoon of hatred only to find out that maybe he was wrong the whole time to assume Odin rejected him for Thor, or to assume Odin hated him after all that he’d done. For just a second, Loki sees the light and sees the truth. Second, as Odin’s ashes float off into the ocean, Loki openly weeps. Wow, wow, wow, does Hiddleston kill this part of the movie. It truly tugs at the heartstrings to see that in spite of how many times Loki’s betrayed Odin, he sheds tears at his father’s passing, and after finding out that after all this time Odin still calls him son. Monsters don’t cry. Human beings do. Loki is still human. Maybe not completely, but there is definitely a part of him that isn’t a monster.
- Trying to convince Thor not to fight the champion on Sakaar: Again, this is definitely pretty self-serving here. As much as Loki despises Thor, he knows good and well that Thor is a contender and Thor could help him overthrow the Grandmaster if they banded together. I think Loki actually meant it, personally, that he would get Thor out of the arena fights and they’d just try to survive on Sakaar in the meantime until they figured out what to do. What also seals it is Thor’s refusal to speak and it genuinely bothers Loki. He starts to prod him to reply and gets more agitated the longer Thor just sits there and stares at him. I dig that a lot. That’s a great scene, because in spite of all the horrid things Loki’s done, part of him still wants to be reunited with his brother. He just can’t help himself. He wants acceptance and he wants power and he wants to prove that he’s just as good and worthy as Thor at the end of the day. He even shows signs of worrying about Thor fighting the champion since the champion is undefeated. In the end, Loki just closes back up again and becomes his same old self, but the fact that he reveals his plan to Thor and tries to get him to go along with it suggests that he still cares. He doesn’t want to, but he does.
- The elevator conversation during the escape from Sakaar: Thor crushes my heart into paste with this scene, which is a testament to the awesomeness of Chris Hemsworth. It hits me so hard when Loki says, “Do you truly think so little of me, brother?” and Thor just looks at him and says, “Loki, I thought the world of you. I thought we were going to fight side by side forever.” Oh, my heart. It hurts so much when the camera pans back and Loki’s honestly stunned. As mentioned above with Odin’s death scene, Loki figures out that he was wrong about what Thor thought of him this whole time and wrong about their relationship as well. Thor has been forced to fight Loki time and time again, and yet he always tries to be kind or show him mercy because Thor is just that kind of loving, genuine person. Loki lies to himself and believes that Thor is a thoughtless bully who always wants to show him up, but here he realizes it’s not true and maybe it never has been. Loki constantly projects his own rejection onto Thor and uses it as an excuse for being the villain. He thinks he’s a monster, and this is what monsters do: they turn on their loved ones and they try to get ahead. For just a moment, Loki can’t help but face the fact that Thor loves him in spite of all that he’s done.
- Loki returning to Asgard to help: again, yes, this is mostly because Loki is a full tilt diva and he wants Asgard to know he’s coming back to be their “savior.” (My God, was that not the most satisfyingly over-the-top reveal? I love you, Loki, you little extra shit.) While it’s mostly so he can get some recognition, Loki still risks his life to protect the people of Asgard and help the Revengers defeat Hela. If he didn’t care, he wouldn’t have gone. He would have stayed on Sakaar and tried to overthrow the Grandmaster. I like the small touch of Thor coming back from facing down Hela and Thor says, “You’re late” and a visibly worried Loki replies, “You’re missing an eye.” Oh, and Thor saying Loki’s late? Another body slam to the feels. Thor had been hoping Loki would come around and believing that he would, and Loki came through. The big dopey smile Thor has on his face when the ship shows up does me a world of good, man. I just can’t emphasize how much I love Thor’s endless forgiveness and desire to see his brother be what he could have been all along: an ally. For just one instance, Loki lives up to the potential he’s been unconsciously seeking the whole time over the course of his journey as a character. He could be that guy. He could be the hero and the brother that Thor deserves, and that he himself deserves to see and believe in. It’s such a great show of the complexities that mix together to form this ridiculous horn-having, hair-flipping demigod.
- Loki and Thor’s scene on the ship: “I’m here.” Loki didn’t run away. He’s there with Thor in the end and Thor’s so happy about it that it makes me cry knowing it’ll all go to shit soon afterward in Infinity War. The warmth we see from the two Odinsons in that scene could make the Eternal Flame tremble in comparison. It’s one of the rare scenes that Loki shows some honesty and good will towards Thor, even if he still has ulterior motives behind the scenes.
- Loki dies trying to save Thor. Oh, boy. Here is the mother of all convincing facts that maybe Loki isn’t entirely evil. As we approached Infinity War, my gut had been telling me that based on his character development and the arc the MCU set him on, Loki would die giving up the Tesseract in order to save Thor’s life. However, it’s one thing for me to have had this theory beforehand and an entirely different thing to watch Loki die in an attempt to save his brother. It hurt me deeply. It hurt me simply because if Thor hadn’t kept believing in Loki and loving Loki in spite of all his horrible actions, Loki would have simply let Thanos kill him. What really tears the scene is that Loki does try to just let Thanos kill Thor rather than give up the Tesseract, but then he watches his brother scream in agony at Thanos’ hands and he simply can’t go through with it. It just destroys me that there were tears in his eyes as he watched Thor suffer and in the end, he tried to do the right thing, and he died protecting his brother. It was inevitable that Loki would meet his end this way, but it still says so much about the powerful relationship we’ve seen change and grow from the first Thor movie to now. Does it invalidate all the evil he’s done in other movies? Hell no. However, it definitely is the most compelling counterargument for this essay that Loki isn’t completely evil. He made his own bed and he’s finally had to lie down in it, but he went out trying to repay his brother’s love after so many years of betrayal. It breaks my heart, honestly.
So what does it all mean, in the end?
If we go by actions alone, the bad outweighs the good and Loki is evil. However, how do you define evil? If we go by Webster’s definition, we find that evil is: “morally reprehensible” or “arising from actual or imputed bad character or conduct.” Is evil simply the absence of good? If so, then no, Loki isn’t evil. There is good in him. There’s more bad than good, but it’s still there and in the end he chose to do the right thing rather than defaulting into his old ways. Furthermore, is he evil in part of the story and not in the rest? Possibly, yes. What makes Loki so hard to pin down is the fact that up until Infinity War it’s an ongoing story, so if you pluck him out at certain points, it’s still open for debate what constitutes as evil. He certainly is evil for large chunks of his overall storyline, but when he develops, the picture gets away blurry and hard to describe. In that case, what is the measure of evil? Is it the whole journey or the ending? Can the lives he’s taken be weighed against the lives he’s saved? What tips the balance on the scales of the soul?
I hope you guys know, ‘cause I sure don’t.
All I can safely say is that Loki is complex. He’s mostly bad, but the streak of good in him has honestly saved lives, so it’s hard to throw him away completely as the villain. He’s neither totally the villain nor anti-hero, but just this sassy asshole who straddles the fence. Big props to the many writers who brought our brilliant trashlord to life. He shall be sorely missed.
Man, it’s rough when an entertainment company you love breaks their winning streak.
Marvel’s been cranking out consistently good material both in the cinematic universe and in the television universe for years now, and I think maybe we all got so used to it that we forgot it’s possible to completely miss the mark. To me, that’s what their latest venture, Iron Fist, is in essence: a swing and a miss.
To be frank, I rage quit the pilot to Iron Fist twice. Keep in mind, I wasn’t one of the naysayers who hated it before it came out and I actually didn’t listen to the early negative reviews because I knew there were people who wanted to hate it right out of the gate and nothing was going to change their minds. I saw the trailer and felt underwhelmed, but with Marvel’s excellent track record, I was willing to give it a try. This is not to say that I haven’t had problems with a few Marvel properties before. For instance, I didn’t finish Jessica Jones—not because it wasn’t good, but rather because I was not the key demographic for that show. Being an urban fantasy author, I have seen the exact same archetype that Jessica Jones is about a million times and so I was already burned out on the “inexplicably attractive but perpetually rude and standoffish private detective with super special powers” trope long before the show came around. Plus, the pacing was too slow and I wasn’t a fan of the gratuitous sex scenes with the far superior character of Luke Cage.
So why did I rage quit Iron Fist?
In order to understand why I’ve included Iron Fist in the cautionary tales catalog on my blog, let’s take a look at just what made me quit watching the pilot twice in the same day. Let’s do a comparison between the first fifteen minutes of Daredevil, Luke Cage, and Iron Fist, and see if you can understand my utter frustration with this new show.
In the first fifteen minutes of Daredevil, here is what is established:
-How Matt Murdock lost his eyesight as a child and gained his powers saving an old man’s life
-Matt’s devout Catholicism and conflicted conscious because of how he misses his father and realizes how much they are alike in having “the devil” in them
-Matt goes down to the docks and stops a bunch a human traffickers from kidnapping innocent women
-Gives us that unforgettable opening sequence of blood over the city
-Introduces the unbelievably perfect Foggy Nelson and what he does for a living with Matt as well as the friend they have on the police force
-Introduces Karen Page and her predicament
-Introduces the dynamic between Karen, Matt, and Foggy
In the first fifteen minutes of Luke Cage, here is what is established:
-That funky, colorful opening sequence
-Introduces Pops and his shop members as well as Luke’s overall cool-as-a-cucumber-but-don’t-push-your-luck-fool attitude
-Introduces a minor character and her son who will impact the plot later on
-Establishes the relationship between Luke and Pops and hints at Luke’s powers
-Hints at Luke’s backstory and shows us his daily struggles to find rent money and his desire to stay under the radar even though he could do more if he wanted to
-Introduces Harlem’s Paradise as well as the first two main villains, Cottonmouth and Mariah
And in the first fifteen minutes of Iron Fist, here is what is established:
-A bland, forgettable afterthought of an opening sequence
-Danny thinks he owns a building
-Danny thinks people he knew over a decade ago still work at his father’s company
-Danny thinks he can talk to the CEO of a company with no appointment and zero proof that he is the founder’s son who was believed to have died in a plane crash a decade ago
-Danny thinks that two people he knew when he was a kid would recognize him as an adult and after he was presumed dead as a child
-Danny presumably has no money and no shoes and just sleeps in the park after meeting a bum who ends up not contributing to the narrative whatsoever
-Danny, still looking homeless, starts speaking Mandarin to the Asian girl hanging up dojo fliers
-Danny breaks into his old house and walks around like it’s not big deal
-Danny’s relationship with Ward is revealed as abusive
Do you see the stark difference between these shows? How is it that Daredevil and Luke Cage can establish that much story in a quarter of the runtime and yet Iron Fist establishes almost nothing in the same amount of time? This is exactly why I couldn’t get through Iron Fist’s pilot in one sitting. First of all, Danny is characterized like an entitled douchebag. We don’t know anything about him other than he’s woefully naïve and just assumes that everything will fall into place for him without concrete evidence towards his claims. We don’t know why he came back to the city or what his mission is, whereas with both of our other examples, we are quickly shown the character’s personalities and what they are working towards. All we know is that Danny thinks he owns the company, but yet we see no skillset that suggests he even could run it when he doesn’t even have the good sense to wear shoes while walking through New York or to find some kind of proof that he is in fact Danny Rand.
I’ve been describing Iron Fist’s script as “something that was written the night before it was due and was never revised.” Now that the whole show is up on Netflix, we’re starting to get stories that fill in why this show is falling flat on its face, such as the fact that Finn Jones, the titular Danny, only trained three weeks before shooting a show about martial arts. That’s unheard of. If you check the backgrounds of most actors who are cast as superheroes, they train for literal months at a time—not only so that they are physically intimidating, but so that the fight choreography is nuanced, believable, and a joy to watch. For example, one of my favorite modern fight scenes is Captain America (Chris Evans) versus Batroc (Georges St. Pierre) because Chris Evans trained for months to be able to do a majority of the shots in that amazing fight scene since he is in fact opposite a real UFC fighter. It is painfully obvious when Danny Rand fights that he isn’t a martial artist, and it would be different if it were like Daredevil when you have the complicated routines performed by an amazing stunt double. I didn’t make it past the pilot, but I’ve heard that Iron Fist’s fight choreography centered around Finn Jones is underwhelming at best, and it’s impossible not to make a comparison to either Daredevil or Luke Cage, which had intense fight scenes that were both unique and engrossing.
Furthermore, even if you forget the sloppy fighting, the dialogue is wooden and poorly done. Dialogue is about moving the plot forward, making complications between characters, or solving a problem, and none of that is included in the pilot episode of Iron Fist. It is so obvious that they are dumping exposition on your head. They don’t even try to hide it. Hell, the two main villains basically have a meeting where absolutely nothing gets done. They just meet to show the audience that they’re evil and in cahootz with each other. They don’t solve the problem at hand; they instead regurgitate rancid dialogue to establish their relationship.
Lastly, it also doesn’t help that Danny comes across as a pretentious college kid who spent one summer abroad and thinks he’s a dyed-in-the-wool Buddhist martial artist. He once again finds the Asian girl and starts condescendingly telling her that she should teach kung fu if she wants more students, mansplains that he’s supposed to “fight the master of the dojo” now that he has entered their city, and asserts that she should just give him a job even though he still looks like a crazy hobo. Understandably, she tells him to get lost, but it still leaves a bad taste in my mouth that he’s so arrogant. The troublesome part is that arrogance is a normal thing in certain heroes like Tony Stark or Thor, but even in those movies, we are immediately shown that both of them have a heart and are just spoiled rather than truly being douchebags. Danny doesn’t give us a moment of humanity in the pilot. He doesn’t give us a reason to care about him, and at the end of the day, if you don’t do that in the first episode of your show, odds are that you are doomed to fail.
In the end, even though I can’t fully judge the show since I won’t be finishing it, I think this is a product of Marvel rushing to put something out so that they have time to work on the Defenders instead. Danny Rand is an afterthought. This whole show feels like an afterthought. It doesn’t have a flavor. It doesn’t have the careful writing or beautiful cinematography of any of its siblings. If nothing else, then Iron Fist teaches us caution—that even when you’re on a winning streak you can still bomb out if you don’t take your time and tell a story worth telling. Even the mighty Marvel can trip and fall. No one is above that.
Let’s just hope they try harder with the upcoming Defenders show.
Agents of Dramatic Posing!
The story of how I came to watch ABC/Marvel’s Agents of SHIELD is rather brief and simple. Like everyone, I adored The Avengers, and I was devastated when Coulson died, so the notion that this adorable, balding, unassuming but still badass man would be the lead of his own show sounded right up my alley. Plus, as soon as I heard Ming Na Wen (Mulan, in case you didn’t know) would be a regular cast member, I was all but fired up to give it a shot.
Let’s just say as of now, two seasons into the show, I have very mixed feelings about it. Needless to say, major spoilers ahead.
Agents of SHIELD started out slow. Most fans note that the first season drags because it’s still trying to establish a lot, and I also think that because the show decided that Coulson isn’t quite the main focus and instead picked Skye, the little hacker chick/orphan, there was a lot of milling around not moving forward. However, the show’s strength wasn’t in its pacing, but rather that it established our little team really well and made you like almost everyone on it. After all, everyone had their own roles as part of the team: Skye was the hacker/heart, Fitzsimmons was the brains, May and Ward were the muscle, Coulson was the leader, and Trip switched his roles here and there between being extra muscle and providing awesome weapons to help fight. You didn’t have to love each character (I seriously did not like Skye or Ward in season one, for different reasons: Skye was a borderline Mary Sue and Ward was as bland as they come before he revealed he was Hydra) but you did know enough about them to feel comfortable and want them to succeed.
The momentum really kicked up once the Winter Soldier happened and we found out Ward was Hydra, and that Hydra had been lurking inside SHIELD all along. From there, for the most part, the show got a lot better and built up to a finale that I personally think singlehandedly saved the show. It gave us everything we wanted, like it was an apology for how slow the rest of the season had been. I remember telling a couple of my friends that the finale was the best episode by far and made me excited for season two since the team was already established so there was no need to have such teeth-grinding pacing.
Well, SHIELD unfortunately didn’t take that left turn at Albuquerque.
And that’s why they’ve reached the slippery slope.
Season two’s main issue is that they threw the core group out the window and instead introduced a bunch of new characters who took up all the original group’s screentime for no real reason. My personal point of anger was finding out Lucy freaking Lawless, Xena Warrior Princess herself, was in the opening episode only to die ten minutes in. Who does that? Who books kick ass Wonder Woman-lite and kills her off? And the most insulting part is that they killed her off and left us with by far the most irritating character on the show’s entire run, Hunter. But we’ll get to him later.
That aside, over the course of season two we were introduced to Hunter, Mac, Bobbi Morse, Raina (sort of, she was in season one but we get to know her better in two), Cal, Jiaying, Lincoln, Gordon, the “real” SHIELD, and Agent 33. That is a TON of new characters, and it would be different if they just had some cameos here and there, but no. All of them appear in multiple episodes and take the attention away from May, Ward, and Fitzsimmons. (And don’t get me started on the fact that they killed off Trip. I will Hulk Out.) The only people who pretty much kept their screentime from season one are Coulson and Skye. Everyone else is downsized into the background, and it’s frustrating as hell because we actually liked their dynamics and their friendships. Sure, we’re happy Coulson and Skye have explicitly become father and daughter because, let’s face it, it’s adorable, but it’s not fair that they have booted everyone else out of the spotlight when we spent the entire first season getting to know them.
The worst part is that the new characters are all either annoying, not that interesting, or not developed enough. I admit this is personal taste, but I want to light Hunter on fire and watch him scream and die slowly. He’s introduced as this mouthy mercenary, and spends the entire first few episodes either making every single conversation about him or making insulting comments about his ex-wife. Guess what? Said ex-wife, the incomparable Bobbi Morse aka Mockingbird, shows up a few episodes later and joins the team. You’d think this would mean we get some introspection into what went wrong or why he’s so bitter, but no. He blames her for everything. Constantly. He insults her to her face, in front of the team, to anyone with ears, and how does she respond to his rude behavior? By sleeping with him. Ah, yes. Feminism at its best. We must always reward selfish, ungrateful, misogynistic, verbally abusive men with sex. Why wouldn’t we do that?
The sad part is Bobbi Morse is actually a fleshed out, relatively interesting character if you ignore the fact that she’s somehow in love with the accumulation of British rubbish known as Hunter. She’s deadly, she’s got her own beliefs about SHIELD, she’s quite friendly and amicable to her team, and unlike Hunter, she’s useful. Add on the fact that’s she’s simply stunning and she was almost my favorite female character aside from Melinda May. Bobbi had some great moments in season two, but ultimately, the show misuses her by introducing “the real SHIELD”, which is a bunch of rude, short-sighted, prejudiced assholes who instead of simply talking to Coulson about his behavior decide to invade his base and take it over and try to dethrone him as director. To their credit, the show points out that Bobbi disagrees with a lot of what the “real” SHIELD does, but she still is a swing-and-a-miss character because she is weighed down so much by being in love with a complete asshole who doesn’t deserve her and doesn’t contribute anything to the team other than a guy with an accent who never shuts up.
Speaking of never shutting up, Grant Ward. Oh God. Where do I begin discussing Grant “Human Trash” Ward? As mentioned above, I didn’t like Ward when he was still pretending to be a good guy in season one because he was just bland: bland looks, bland acting, bland motivations, bland romance with Skye, and bland position on the team. Before Hydra, he felt like a placeholder character, like the kind of guy you play through a video game with because he leaves zero impression and you can just pretend you’re him no problem. Then the Hydra bomb was dropped and I went from disliking Ward to wanting May to use that nail gun on his head instead of his foot (though to be fair, May beating Ward’s ass is the best scene in the entire show, bar none. I rewound it about twelve times.) I think I’d hate Ward less if he had a decent backstory, but he doesn’t. It’s so lazy. “Oh, gee, my older brother made me do bad things and my parents were mean to me, so it’s totally fine to become a Neo Nazi and slaughter innocent agents and betray my teammates and kill people over and over again.” What’s more is that Ward actually believes that he’s just a victim of a bad home life and he wears that excuse like armor. He kills and manipulates and refuses to take any responsibility for trying to kill every single person on the core team but Skye, and that was only because his creeper ass has a crush on her.
Ward is a big sign that the writers are scrambling because he felt like such an afterthought in season two. He only pops up here and there to mug the camera and monologue and pretend like he’s some big scary badass when he’s basically a less attractive, less interesting, less powerful, less grounded version of Loki. To their credit, though, the SHIELD writers absolutely skewer Grant Ward twice before the end of the season. First, they have the core team tell him they wish Skye had shot him in the head and that none of his whining about what his family or Garrett did to him is an excuse for being a psychopath, and second, morphing Agent 33 into a Stand With Ward fangirl (yes, that is what his fangirls call themselves online) and then promptly having Ward murder her by accident. Both scenes were immensely satisfying, and it’s reassuring to know that the writers acknowledged that they screwed up the writing for him and are self-aware about the delusional fanbase he seems to have accumulated. That being said, the show seriously needs to decide what to do with this pain in the ass. He’s directionless, and so it feels like he’s here out of obligation to please his irritating in-denial fangirls. If he wasn’t the most popular character behind Coulson, it’s clear that he would have died this season, but since the show has to keep their ratings up, he’s not going anywhere. He’s an evil sack of slime, and that’s good because we just lost two of our main villains in the season two finale, but they need to give him something to do other than just hovering around and twirling his mustache.
Another major issue is that season two broke up Philinda (Phil Coulson + Melinda May = Philinda, in case that’s unclear.) Since the show started, Coulson and May have been the Mom and Dad of Team SHIELD. It worked. They had chemistry, whether viewers see it as romantic or not, and a powerful friendship that really made it easy to love each character. They had a falling out towards the end of season one since May was reporting in secret to Fury about Coulson’s actions, and it made him feel like she didn’t trust or respect him after all they’d been through, but they managed to bury the hatchet. Unfortunately, season two created unnecessary conflict between them by having Coulson keep things from May, namely Theta Protocol and the fact that he was seeing her psychiatrist ex-husband Andrew, and that led her to distance herself from him. She also seemed to blame Skye’s powers being activated on him and that further caused a rift, and the season ends with her absconding to an unknown vacation, possibly with her ex. May is a cornerstone to the group. She offers not only excellent tactical advice and badass pilot skills but also unmatched combat moves. May is the atomic bomb of the SHIELD group. You drop her in there and everything is flattened within minutes. But what is so compelling about May is she seems so cold on the outside, but now that we’ve seen her through Coulson’s eyes, we know she is just as courageous and caring as he is. We see how and why they need each other, and so breaking them up removes an extremely important human element to the show.
Sadly, Philinda wasn’t the only pairing (romantic or friendship-wise) to suffer. At the end of season one, Fitz finally confessed that he loved Simmons before sacrificing himself to get her out of the bottom of the ocean. He suffered permanent brain damage as a result, and Simmons was so crushed by both his confession and what happened to him that she volunteered for an assignment to try and give him space. The Fitzsimmons relationship was another truly adorable thing from season one that made it easier to connect with the team, so choosing to sideline them in order to give Skye more screentime and then fracturing their relationship just made everything worse. For a while, we almost had something enjoyable with the relationship between Mac and Fitz, who became buddies bonding over tech, but then Mac’s storyline pretty much derails after the mid-season finale, and Fitzsimmons essentially vanishes from the story for big chunks of time.
Are you seeing the pattern here? SHIELD’s main issues are ripping apart all the relationships that matter and then not knowing what to do with its own cast, aside from Skye and Coulson. Skye may have the most interesting origin story, but season two makes it clear that she can’t carry the entire show. She doesn’t have a rich enough background or personality to do it on her own, so scaling back on everyone else was a major mistake that could possibly lose this show some viewers, myself included. I honestly have gotten to the point of apathy, where I have the show on in the background while I’m doing other things online and glancing up every few minutes with no real stake in what’s happening. SHIELD has been weighed down heavily by too many clichés this season, from Skye’s “SHE! CAN! DO! AMAZING! THINGS!” Mary Sue powers and super special awesome relationship with Coulson to the real SHIELD being a replacement for the annoying World Security Council from The Avengers and The Winter Soldier. The writers need to clear the table and map out where this show is going. As of right now, it’s highly unclear, and even though they are being bankrolled by the most profitable entertainment company on the planet, they cannot expect to survive in the long run if they keep wandering around aimlessly throwing random images at us instead of focusing on what made us care about Agents of SHIELD in the first season.
The good news is that it appears that the showrunners and writers are aware of both the fandom and the reactions people have had to them, so there is a good chance they go back to the drawing board over the summer and figure out what to do. I personally hope they get rid of the extraneous characters and get back to Team Coulson, and that they stick Ward in a role that fits his ass-hat villainy. It’s possible for this show to turn it around, but they are dangerously close to the edge. I care about what they’ve done with it enough to give season three a chance, but it’s got to show that it knows its strengths or it’ll fall into the abyss like so many others.
It’s official, faux-feminists. I’m-a callin’ you out. *straps on six-guns*
According to Webster.com, the definition of feminism is the following:
: the belief that men and women should have equal rights and opportunities
OR
: organized activity in support of women’s rights and interests
So, therefore, explain to me how the depiction of Natasha Romanoff, aka Black Widow, in Age of Ultron is being seen as sexist? Because it’s been over a week and I just came back from my second viewing of the film, and I am just not seeing it.
What I’m seeing it something else entirely.
In case you’re stumbling across this blog post with no prior knowledge of who and what I am, I’m a girl. A black girl. A black girl nerd, in fact, and I have been since I was old enough to watch television and realize that Batman is someone I wanted to emulate at the earliest possible moment. I wouldn’t call myself a full-blown kick-down-your-door-and-scream-in-your-face feminist, but I am one. I want my ladies, both in real life and in fiction, to be represented in every possible way and to have every single right that they have earned through blood, sweat, and tears. I want writers to push past the easy stereotypes and write women of every kind as long as said writing is not only realistic and reflective of women as a whole, but also writing that is as diverse and layered as the kind used for writing men.
If you want to talk about Natasha Romanoff, then I’m eager to begin, because this woman has been on quite a journey from her introduction in Iron Man 2. Natasha started out getting her feet wet by being gorgeous and tight-lipped for the most part, and I actually had zero opinion of her after I saw the film. I knew of her—that she was a former assassin turned good guy thanks to Nick Fury, Clint Barton, and SHIELD—and that she had some friction with Tony Stark, but otherwise, she wasn’t even a blip on my radar. After all, in Iron Man 2, she didn’t get to do quite a lot other than have some really overcomplicated takedowns that looked badass, but didn’t give me much to go on other than she looks super cool beating down bad guys.
Then The Avengers came along. Holy shitsnacks. This is precisely what I had been missing from both ScarJo and Nat in general. We see beneath the hotness in a jumpsuit. We see that she has an excellent sense of humor and a wonderfully cool poker face, but she also has a drive, a need, and a purpose not only with SHIELD, but also with the other Avengers. Furthermore, we see that Natasha is not only devoted, but cunning beyond measure. Everyone has a favorite moment from The Avengers—hell, the entire damn movie is just one continuous block of Crowning Moment of Awesome—but one of my all-time favorites scenes is still Natasha confronting Loki. It’s beautiful. How she starts off so calm and collected, and then Loki delves into her sordid, ugly past and digs up the reason why she is so determined to save her best friend, and then the entire experience is up-ended when it’s revealed that she was carefully playing on Loki’s ego and mad desire for revenge in order to find out his ultimate goal. Not one other member of that team could have done what Nat did. No one. That moment solidified the reason why Natasha is an Avenger. She may not have all the strength of Thor or Captain America, or the technological brilliance of Tony or Bruce, or the sharpshooting abilities of Hawkeye, but Nat is there for a reason. She adds something to that team, something that they most certainly needed, something that they could not have won the day without. Natasha is not a pretty accessory. Natasha has weight to her character, and that leads me into her next appearance.
Captain America: The Winter Soldier is the exact moment I fell in love with Natasha Romanoff. She became every single thing I’ve ever wanted in a female hero that I haven’t been able to get just yet (though I personally did really enjoy Anne Hathaway’s portrayal of Catwoman in The Dark Knight Rises, and shut up, I don’t care if you don’t agree). The Avengers introduced us to Nat, but this is the film where the onion starts to peel and we see the layers beneath. I adore Nat and Steve together, as partners, as friends, and I admit I actually did see a little spark of attraction there as well, even if Nat’s intentions for Bruce come up in Age of Ultron. I love that she’s so laidback and teasing with him, but then at the same time, there is real conflict beneath her seemingly easy company. The two of them have very different approaches to saving the day, and Steve thinks everything is black and white while Nat sees only the grey. I especially loved the conversation they had in the truck on the way to New Jersey, where she asks what he wants from her, and he simply tells her the truth, and then there’s that incredible scene at Sam’s place where he says that he’d trust her with his life now that they’ve been through hell and back. I love that Steve could tell Nat was shaken by finding out that SHIELD was Hydra all along, and I think it adds something even deeper to what she goes through in Age of Ultron, which we’ll get to in a second. Nat’s “red in my ledger” comment is the baseline of her character development. She’s been trying so hard to wipe out that gushing red, and to discover that SHIELD, the organization that saved her life and put her on the right path, was still evil at its core, was the worst thing that could happen to her. But she puts her trust in Steve and Sam and the others and they get the work done destroying Hydra’s plan, and once again, she is shown to be beyond competent and essential to the mission, stopping Pierce and saving literally millions of lives.
Now it’s time to discuss Age of Ultron. By now, we know a glimpse of Nat’s past, what motivates her to still work for SHIELD, and that she’s perfectly comfortable with her teammates. First off, I do admit I’m not a big fan of the Nat/Bruce ship, but that’s not the fault of the writing for me. I just don’t see chemistry between ScarJo and Ruffalo, that’s all. I think she had way more heat and tension with Evans, but that might also be because the two have worked together before in the Nanny Diaries and in Winter Soldier, so keep that in mind. However, this is where my problem with the faux feminists start.
First of all, how is it sexist that Nat has a romantic arc with Bruce when literally every single Avenger so far has a love interest BEFORE it got to her? Tony has Pepper, Steve had Peggy, Bruce had Betty, Thor had Jane, and Hawkeye had his wife. I’m not kidding. All of them have a romantic relationship BEFORE Nat does, and all of said romances were fully explored and have an impact on our heroes. So does Nat and Bruce’s relationship. I’m not understanding the claim of sexism here. Hell, let’s check Webster yet again for a definition:
Sexism (n): prejudice or discrimination based on sex; especially : discrimination against women
OR
: behavior, conditions, or attitudes that foster stereotypes of social roles based on sex
Nope. Still not seeing it. Where is the sexism in Nat developing an attraction to Bruce, who is quiet, brilliant, kind-hearted, brave, and has shown her nothing but respect since they met? Where is the unfair treatment of this character? She is getting the same amount of attention towards romance that the other heroes received. How does it diminish who she is to want to share her feelings, both physical and emotional, with someone she likes?
Moving on, apparently the other outcry of the faux feminists is that Nat’s reveal about being sterile is also somehow sexist. Again, I’m a girl. I’ve watched this movie two separate times a week apart, and I cannot see any sexism on the part of the writers/director. Are they trying to say that dealing with her sterility is sexist? How? Men and women ARE different. Women DO have issues that men will never have to deal with. Nat’s sterility is definitely something that would impact her negatively and make her feel utterly destroyed if thrown back into her face after what we assume is probably years of repression. She was a weapon, programmed and commanded to do things against her will, and that abuse shaped how she acted for entire years.
Furthermore, how is it sexist to write that it made her turn that negativity onto herself when Bruce brought up not being able to have a family? If it’s the way she phrased being a monster, fine, that wasn’t phrased correctly, but I don’t see how that is reinforcing a stereotype or a negative generalization about women. Infertility is an issue that affects all women, whether they want to ever bear children or not. I personally don’t really want any kids at this point in my life, and I might never get to that point, and I don’t even have a boyfriend. That is a relevant issue to women. Why is Nat getting hatred, and subsequently, why is Joss Whedon and his writers getting flak for discussing a modern, relevant issue that women deal with? Wouldn’t it be sexist to gloss over it? Wouldn’t it be sexist to ignore her background and not discuss what has made her want to bond with Bruce? To make her a one dimensional character who is just a pair of tits or a punchline?
This is why I finally decided to make a blog post discussing the issue. I think that feminism has been corrupted by one specific group of women who like to take this word and warp it into an excuse to complain. Do you want proof? Fine. I’ll give you some examples.
They complain about Nat, but they ignore the fact that Darcy, the brunette from Thor, quite literally did not do ONE plot relevant thing in the entire movie. She was just there to be pretty and crack jokes and so the twenty-something boys would have someone to ogle other than Natalie Portman. Not only that, but they accept her as part of the Marvel universe and even ship her with people like Loki, which makes so little sense that I cannot even offer an attempt at an explanation. She is superfluous. 100% superfluous. And yet no complaints, but praise.
They complain about Nat, but then they scream and rage about Jane falling in love with Thor even though Thor’s entire actions in the first movie were a direct result of things that Jane helped him do, and he would not have been able to regain Mjolnir or defeat Loki without Jane’s help. It makes perfect sense that Thor fell for her because of how smart and sweet and brave and ready to learn about things she didn’t know she was, and it made sense for Jane to fall for Thor because he was a gentleman and he sacrificed himself to save a town full of people as well as her from his brother’s wrath.
They complain about Nat, but they actively worship Loki: a selfish, spoiled, entitled prick who chose to ignore years of kinship with Thor and Odin because his ego and inferiority complex took over. They constantly make excuses for him, saying it’s all Odin’s fault or all Thor’s fault, that Loki went mad with the notion that he was meant to be king. They say that he was just “misunderstood” when he came to earth, gleefully killing innocent people, and intending to enslave mankind not for our own good, but because he wants to be king of the mountain. They blame Thor for being a bully, and ignore the fact that Thor gave Loki chance after chance after chance to reform and do the right thing, even at the risk of his own life, and that Thor still loved Loki even at the moment of his “passing” in The Dark World.
They complain about Nat, but they try to justify the actions of Grant Ward from Agents of SHIELD, who has a boo-hoo abusive backstory that in no way justifies his constant ass-hattery and decision to be an evil, remorseless arrogant son of a bitch time and time again. He has murdered, tortured, kidnapped, and blamed everyone but himself for his own actions, and he has made it clear that his wants and needs exceed everyone else’s, and he refuses to apologize to the people who he betrayed and tried to kill several times, and yet these same women create entire groups to “stand” with him and protest that he’s not a monster when we have physical evidence that he is.
So yes, I use the term “faux-feminist” with no reservations whatsoever when addressing the people who claim that Nat is a bad character written by a “sexist.” All she is as of right now is a lightning rod that they are using to do what their actual agenda is: to stomp their little feet and fight fire with fire. Feminism is NOT about bullying men, or bullying women who disagree with you. Feminism is NOT about throwing so much hatred at someone that they feel the need to remove themselves from a social media environment. Feminism is NOT about treating men like shit so that they “understand” what women go through. Feminism is about finding middle ground so that men understand that women are to be written competently and realistically instead of being objectified or ignored.
Natasha Romanoff was not being objectified or ignored. She had an actual character arc. She had a personality. She had a mission. She was relevant, three-dimensional, and realistic. Does she do things that some of us disagree with? Of course she does! But that is what makes her an actual character. Real characters make mistakes. They screw up. They have faults. That is what the end goal is for feminism. We want to see women who aren’t perfect goddesses or complete screw ups. We want to see women who are both, and every shade in between, and that is exactly what Natasha Romanoff has become from her first appearance to her current one. You don’t have to like her. But you have to appreciate her because she is a fully formed character with motivations, a flushed out personality with layers, and a background that has been explored that affects her behavior.
You wanna complain about Age of Ultron? Be my guest. The movie is by no stretch perfect. It has flaws, and you are welcome to discuss them. But don’t you dare plant that fake-ass feminist flag and proclaim that it’s tearing down women when you have Natasha Romanoff out there kicking ass and being developed and proving that you don’t need a dick to be a fantastic hero. That ain’t feminism. That’s being a dick.
And I’m pretty sure that’s not what feminism is about.
Kyo out.