Opinion: Morbius is an AIDS revenge story in disguise.
When I was a teenager in the ‘90s, I watched a man slowly die of AIDS. He was a friend of my theater teacher; someone she had worked with back when her focus was on acting instead of instruction. I don’t remember why she took me to see him one day when she was visiting, but I remember thinking that I had seen corpses in coffins that had more life than he did. He passed not long after I saw him, another victim of the American government’s negligent genocide against the LGBTQ+ population.
Though the two are only couched as friends, they are extremely physical with each other to the point of obvious romanticism. Milo is unambiguously queer-coded, constantly in flamboyant color and surrounded by excess. He is nominally supposed to be minor comic character Loxias Crown, but between the name change and the fact that we meet him in Greece, his entire presence is more reminiscent of fallen far-right gay would-be villain Milo Yiannopoulos. It’s too spot on to be a coincidence.
“All our lives we’ve lived with death hanging over us,” he screams. “Why shouldn’t they feel it for a change?” That shadow is what makes a newly empowered Milo into an enthusiastic predator. Cast out by science and society, he wreaks revenge now that death comes to the normies from his changed blood. When Morbius starts a romantic relationship with his female colleague Dr. Martine Bancroft , Milo immediately moves to destroy it. Seeing Morbius edging into heterosexuality and perceived acceptability makes Milo even more keen to upend the world that condemned him to die.
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