The Oklahoman

‘Thor’ fails to highlight Marvel’s first ever LGBTQ character

- BY ZACHARY ZANE

LGBTQ youths have long been drawn to graphic novels and comic books. For them, it’s more than a form of entertainm­ent. Comics tackle the feelings of shame and not fitting in — feelings that LGBTQ adolescent­s know all too well.

Joey Stern is a founding member of the group Geeks OUT, a group dedicated to “celebrate our shared geekiness and to focus and promote our own unique LGBT voice within that community.”

He also is leading organizer of Flame Con — New York City’s first LGBTQ comic convention. Before launching Flame Con two years ago, Stern told Slate: “When I was a kid I developed a passion for reading, and I loved the philosophi­cal debates in comics like X-Men. I loved the message that you can be different, and special, but conflicted about that. Comic books gave me a way to see that in myself.”

This speaks to why LGBTQ readers are drawn to comic books, but also why they have been frustrated with the lack of LGBTQ representa­tion in Marvel’s cinematic universe. The 17-film franchise has yet to feature a non-heterosexu­al character.

Tessa Thompson’s Amazonian-esque character, Valkyrie, in “Thor: Ragnarok” was supposed to change that. Valkyrie is a member of an elite group of female warriors dedicated to defending the citizens of Thor’s home planet, Asgard. In an interview with Rolling Stone, Thompson pointed out that Valkyrie is bisexual, citing Valkyrie’s “Fearless Defenders” storyline, which included a romantic tryst with anthropolo­gist Annabelle Riggs.

Thompson went so far as to pitch director Taika Waititi on depicting her character’s sexuality more visibly. Apparently, Thompson convinced Waititi to shoot a glimpse of a woman walking out of Valkyrie’s bedroom. Rolling Stone reported that the director eventually cut the scene because “it distracted from the scene’s vital exposition,” which feels like a flimsy excuse at best.

Neverthele­ss, Thompson claims, “There were things that we talked about that we allowed to exist in the characteri­zation, but maybe not be explicit in the film.”

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