You are Superman, aren’t you? Lois, look, we’ve been through these hallucinations of yours before. Can’t you see what you almost did? Throwing yourself off a building 30 stories high? Can’t you see what a tragic mistake you almost made? I made a mistake? I made a mistake because I risked my life instead of yours. Lois! Don’t be insane! And don’t fall down ‘cause you’re just going to have to get up again! Superman II: The Richard Donner Cut (2006)
This was Donner’s original plan for Lois figuring out Superman’s secret identity. Lester changed it to something sillier, with the fireplace and whatnot, but I prefer this version. It’s so Lois.
On the surface, it seems like a pretty straight forward role. Ace reporter, Superman’s girlfriend. Easy enough. But it’s a deceptively tricky part. There’s a difficult balance to it that’s so essential to the character. A good Lois needs to be a take charge, courageous reporter, brash and almost a little bit foolhardy in her dedication to tracking down…
Y’all, I am not kidding, almost all of the DC Bombshells are queer. I’m behind but last I was in, there were at least 9 and I know the number has increased since then.
Action Comics
#1 (June 1938) Written by
Jerry Siegel, art by Joe Shuster
Action Comics
#1 kickstarted the superhero genre and debuted a brave and fearless character
who would inspire fans for generations. Her name was Lois Lane, and after
reluctantly agreeing to go on a date with Clark Kent, she took matters into her
own hands when a goon tried to cut in on their dance. The goon kidnapped her
later, which led to her first encounter with Superman, but Lois probably could have figured out a way to escape the goon’s clutches on
her own eventually.
Superman #11
(July 1941) Written by
Jerry Siegel, art by Leo Nowak
This was a
common scene in the Golden Age, and for all of the ages that followed really: Whenever
danger arose, Lois Lane ran toward. Here she stepped in front of a speeding
police car, forcing it to top so that she and Clark Kent could jump in and
hitch a ride to the disaster scene. The police weren’t happy about it, but they
obliged. Arguing with Lois wouldn’t have done any good anyway.
Molly's Monsters 