"Chris Hemsworth is like Christopher Reeve in that he can do two things: he can wear a big red cape without a shred of self-consciousness. But he's also funny as hell, and he's so sweet. So with all the fish-out-of-water stuff, he's so funny. So he does almost two jobs in a way"
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Hiddleston is doing a very actorly kind of praise: he’s not just complimenting Hemsworth’s talent, he’s defending the whole precarious enterprise of big-budget hero-making. The Christopher Reeve comparison is doing heavy lifting. Reeve has become shorthand for a disappearing skill - the ability to play myth straight, to treat the ridiculous (a cape, a god, a symbol) as sincere without winking at the audience. In an era trained by postmodern snark and superhero overload, “without a shred of self-consciousness” is basically a superpower.
Then Hiddleston pivots to the second job: comedy. That’s not a throwaway; it’s a diagnosis of why modern tentpoles survive. The cape requires conviction, but the box office now demands a pressure-release valve: the star must puncture their own grandeur at just the right moments. Hemsworth’s “funny as hell” isn’t described as cleverness; it’s framed as sweetness, a disarming warmth that makes the joke feel generous rather than smug. The “fish-out-of-water” bit signals Thor’s key cultural function: he’s the immigrant god wandering through our banal world, a setup that lets the film make fun of masculinity, power, and fantasy while still letting audiences indulge them.
Subtext: Hiddleston is also staking out a value system for blockbusters - sincerity plus self-awareness, spectacle plus likability. It’s an inside-Hollywood acknowledgment that the job isn’t one role; it’s tonal labor. The star has to sell the myth and mock it, sometimes in the same breath.
Then Hiddleston pivots to the second job: comedy. That’s not a throwaway; it’s a diagnosis of why modern tentpoles survive. The cape requires conviction, but the box office now demands a pressure-release valve: the star must puncture their own grandeur at just the right moments. Hemsworth’s “funny as hell” isn’t described as cleverness; it’s framed as sweetness, a disarming warmth that makes the joke feel generous rather than smug. The “fish-out-of-water” bit signals Thor’s key cultural function: he’s the immigrant god wandering through our banal world, a setup that lets the film make fun of masculinity, power, and fantasy while still letting audiences indulge them.
Subtext: Hiddleston is also staking out a value system for blockbusters - sincerity plus self-awareness, spectacle plus likability. It’s an inside-Hollywood acknowledgment that the job isn’t one role; it’s tonal labor. The star has to sell the myth and mock it, sometimes in the same breath.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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