By the time Age of Ultron rolled around, Thor was basically “Hawkeyed” in that sequel, forced to do busy work and spout expository dialogue meant to set up the Infinity Stones for the coming Avengers sequels. In The Avengers, writer-director Joss Whedon brought out Hemsworth’s innate comedic sensibilities to delightful results, but the character still had to ground the drama of the film as the brother of its tragic villain. Director Kenneth Branagh pulled it off by drawing parallels to Shakespeare and giving Thor a human girlfriend, but the character was still a bit stiff by the movie’s end. The first Thor was arguably the biggest risk of Marvel’s Phase One - a true fantasy film that also had to be grounded in the tech-based superhero world of the MCU. To get to the radically different Thor in Thor: Ragnarok, we must first consider not just the character’s depiction in the MCU, but also the career trajectory of Chris Hemsworth. This is the story of how Thor: Ragnarok was made. In the process - and with the help of a serious organizational shift at Marvel - they paved the way forward for even bolder storytelling. Thor: The Dark World took the character to an overly dramatic place with mixed results, and so when it came time to make a third Thor movie, Marvel decided to try something they hadn’t done before: soft-reboot their own franchise. In Thor he’s a Shakespearean figure in The Avengers he’s a concerned brother with a surprising knack for quips and in Age of Ultron he’s a man fond of hot-tubbing with otherworldly beings. But after Avengers: Age of Ultron, there was still one major character who felt a little ill-defined: Thor.
The Marvel Cinematic Universe had a couple of creative missteps early on with the troubled productions of The Incredible Hulk and Iron Man 2, but instead of harping on what went wrong, they quietly applied what they learned in making those movies to their future films. Marvel Studios isn’t necessarily keen on dwelling on - or even admitting, really - mistakes.
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