‘Thor: Love and Thunder’ and queer aesthetics

With a few daring visuals and innovative artistic references, writer-director Taika Waititi’s “Thor: Love and Thunder” merits more superlatives than any of its peer Marvel Studios blockbusters following 2018’s “Avengers: Infinity War.” 

While satisfying viewing experiences are subjective and dependent on the individual watching, the stylistic risks and occasionally relatively daring tonal departures should be a welcome guest for all viewers.

Thor Odinson (the occasionally pants-less Chris Hemsworth) is no longer the only Thor. The power of Thor transfers to whoever is worthy of Mjölnir, the iconic hammer, and Jane Foster (the return of Natalie Portman) has been deemed “worthy” and carries the mantle “The Mighty Thor.” 

The two Thors, together with the gender-role bending King Valkyrie (the ineffable Tessa Thompson), are determined to prevent the deicide of all gods at the hands of Gore the God Butcher (Christian Bale, who does what he can with what he’s given). 

Gore kidnaps Asgardian children and brings them to the Shadow Realm to lure Thor, whose portal-opening weapon he requires to fulfill decide. 

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