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Bisexual reveal is a step forward for Marvel – The Hollywood Reporter




[This story contains spoilers for Loki episode three.]

“What makes a Loki, a Loki?” The third episode of Loki, “Lamentis,” directed by Kate Herron and written by Bisha K. Ali, finds the titular god of evil (Tom Hiddleston) stranded on an alien moon on the verge of destruction and forced to team up with his variant, Sylvie (Sophia Di Martino) in order to escape before annihilation. Audiences spent a week wondering who the mysterious “Lady Loki” was who appeared at the end of the second episode, seemingly set to be the series’ big bad guy. But the truth, if there is such a thing to be found in the midst of Lokis, promises to be a lot more complicated as this most recent episode raises interesting questions about who and what qualities make someone him. -even.

The Lamentis-1 moon where Loki and Sylvie are located, which originally appeared, but only briefly in the comics through 2007 Annihilation: Prologue of Conquest Dan Abnett, Andy Lanning, and Mike Perkins No. 1, gives the characters a break from the deviations of time travel that defined the previous two episodes. As a result, characters and viewers have a few precious moments to catch their breath, although Loki and Sylvie waste no time exchanging sharp words and sizing up each other. While we only get brief information about Sylvie’s story, it’s clear that her journey has been very different from Loki’s. She refers to the fact that she was adopted from a young age, barely remembers her adoptive parents, and has spent most of her life running away from VAT, which she now seeks to destroy. Comparing the notes of their lives, there is a certain shared sorrow between the two, and in a fitting nod to the planet they reside on, a lament for the life they could have had and the loves they have had. ‘they might have known.

Despite their frequent quarrels and their differing approaches to magic and confrontation, there is a connection between Loki and Sylvie that is in part an infatuation with their own thinking, a reinterpretation of Narcissus’ story, filtered through the mythology of Marvel, and genuine interest in one game. in someone outside of themselves. But where does the separation between oneself and the other begin in the case of Sylvie and Loki? While their stories and methods are different, there are some commonalities in their personalities, losses, and revelations about the two characters’ bisexuality. This latest development is an important step forward for the MCU, but it also stays true to the main themes of the series as it reflects its themes about choosing and how much of Loki’s past has been defined by controlling the others on his tale and setting him in a cage wait.

Returning to the Norse myths upon which Stan Lee and Jack Kirby built Marvel’s Thor and associated characters in the 1962s Journey into the mystery # 83, Loki is a deity defined by prophecy, his role in events to come, and the inevitability of Ragnarok. Speaking metatextually, Loki is one of the few characters in Marvel, along with the other Asgardians, whose history and morals are defined by a preexisting narrative. As such, Loki is still the trickster, and still somewhat malicious in nature – a villain. Thus, Loki is defined by actions that are not his own, by the stories told about him rather than the stories in which he was directly involved. Likewise, Sylvie’s comic book story, which differs significantly from her role in the MCU, is also set. by the role she is charged to play, rather than by what she chooses for herself. Sylvie Lushton, created by Paul Cornell and Mark Brooks, and first appeared in Dark Reign: Young Avengers Number 1 in 2009, was created by Loki, his memories are made from his and his powers of control. While not a variant in the MCU sense of the term, she is an offshoot of Loki, more than a copy and less than a child. It is something to be used as a tool and functioning only under the illusion of free will.

Loki seems to be heading to a place where Loki and Sylvie can both break free from the constraints that defined their comic book counterparts. It’s this recovery that defined Kieron Gillen and Doug Braithwaite’s 2010 Loki-centric comic, Journey into the mystery, in which Loki is reborn as a child and has the opportunity to become something other than the villain that his past self had spent his life being, despite his past self and his darker reflection, Ikol, seeking to push him back into the dark, for prevent its history from being rewritten. Loki does not adapt the narrative of the Journey into the mystery revive. Rather, it adapts a number of its themes in order to say whether these characters are ultimately at the mercy of determinism, or if they can, to borrow from another oft-used Marvel title, be “Reborn.”

Sylvie may have the answer to this question. She is obviously much more than a tool, and “Lady Loki”, but what agency does she have? Is his path defined by the actions of the now deceased Prime Loki, or perhaps some other variant pulling his strings? Despite Sylvie’s insistence not to be called Loki, it seems she was once on her trip. But now, apparently through the process of her own transformation, she has become someone else, separate from Loki. There are those whose personal experiences might speak better at this point than I do, but there is the potential for a transgender allegory in Sylvie’s reclaiming herself and refusing to be “named dead”. Her existence and the terms by which she asks to be defined suggest that Loki doesn’t always have to remain a Loki. And if that’s true, what we’re seeing with the Loki variant of Hiddleston is not the “continuing adventures of,” but an origin story for a Loki on the verge of becoming something and somebody else. ‘other. With a major change to the series set to arrive during Episode Four, this third episode may provide Loki with an opportunity to mourn and bury himself on Lamentis-1, and rise out of the rubble to be reborn, remake, and recover. .

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