Taika Waititi Thor: Love and Thunder didn’t sit well with the majority of Marvel fans for well-explored reasons. But the biggest reason of all was its relentless mockery of the pre-established themes that built Marvel from the rubble. While the film wasn’t the first to bear the director’s signature brand of snarky comedy, it was certainly the most radical. And now, it seems there was too much subversion for the studio to miss in the final cut of the Phase Four movie.
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The epic transgression of Thor: Love and Thunder
One of the most talked about scenes of Thor 4 was the Omnipotence City that served as a gathering place for gods from afar. Amid the rowdiness and overbearing cavalier attitude of Zeus, most of the gods were eclipsed unless the setting focused exclusively on their on-screen portrayal. Among them were the Bao, Fur Dog, Minerva, Dionysus, and even Korg’s own Kronan god, Ninny of the Nonny. But one god considered too risky for Zeus’ pandemonium was the God of Carpentry aka Jesus Christ.
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In an interview with BBC Radio 1, Taika Waititi explains the decision that was made to incorporate the gods Omnipotence City into the script of Thor: Love and Thunder. The Kiwi director refers to a scene where Tessa Thompson’s Valkyrie would mention a carpentry god and the camera would then be “cut to you-know-who. Big J.” Obviously, Feige’s intentions to take creative liberty from the director wouldn’t extend to the hurt religious feelings of the majority of Marvel’s audience demographics. It’s no surprise that “Big J” ultimately failed to join the orgy community.
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A theme 3 months later review of Thor: Love and Thunder
In Taika Waititi’s ideology, not everything can be played safely, or even by the rules. This was made clear when the director sadly stated that caution should be exercised when it comes to sticking to the source material. His film, Thor: Love and Thunderfelt more like an ode to pride and ‘love is love’ rather than a deconstruction of Thor’s healing journey in the wake of The Blip – who, moreover, almost became the sheep noir from the family of the Marvel Universe that no one is allowed to speak beyond phase three.
Additionally, Marvel’s usual sinister and dark impersonation of Thor proved key in balancing the more mischievous Loki. However, after the (successful) experimental diversion of this theme in Ragnarok, Waititi’s full dive into comedy was necessary to fill the role otherwise reserved for Loki. It also served to numb the void the antihero’s death left in the collective consciousness of moviegoers throughout its 119-minute run.
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In the aftermath of the epic disappointment that was that of Taika Waititi Thor: Love and Thunder, the scenes left on the cutting room floor resurface in one humbling episode after another. As fans cry foul, the film inadvertently gets a bit more from its part of “no publicity, it’s bad publicity.” Perhaps the $250 million film wasn’t a mistake at all, but truly a carefree saga of the Norse god and his acceptance of the reality of living with grief and loss.
Source: BBC Radio 1
